Sunday, April 18, 2010

Thesis Proposal

- Community Gardening Poster and Urban Design Planning Community Issues

Title: The Benefits of Encouraging Sustainable Organic Gardening in Home Gardens and Community Collective Gardens in Urban Canadian Locations
Research Question:
How can design help to promote organic farming in the Toronto area based on the growing information of its benefits to sustainability and ecological green awareness that is shaping the 21st century experience?

- After School Program Information Page (Web and Print Based) Thesis Proposal

Title: Informing Lower Income Toronto Area Families About After-School Programs in order to Increase Utilization and Creation of Diverse Public and Private Programs for 6-12 year olds.
A Research Question:
What is the best way to use design for informational and organizational purposes?

- Refugees in Canada Project:

Title: Raising Awareness or Methods of Promoting Positive Understanding of Why We Should Help Refugees Settle in Canada
Research Question:
How can graphic design play a role in creating a more positive nurturing environment for refugees in Canada that draws attention to their needs and to the benefits of Canada’s adopting a humanitarian and compassionate stance as a model to other societies?


Reza Abedini

Reza Abedini graduated as a graphic designer at the school of Fine Arts in Tehran in 1985. In 1992 he received his B.A. in painting from the Tehran Art University. From 1993 onwards, Reza Abedini Studio’s reputation grew steadily along with its body of work. Recognition came first in Iran, and quickly followed in the rest of the world. His vision and work has traveled the world through exhibitions, awards and lectures. In 2006, he won the prestigious Prins Claus Prize. In 2009, he founded international design agency OrientationLab with LAVA. Abedini currently lives and works in the Netherlands.











































Oi Va Voi "Everytime"

http://vimeo.com/4211147

The Universal Declaration of Human Rights

http://www.youtube.com/watch?v=hTlrSYbCbHE

[ 70 Million by Hold Your Horses ! ]

http://www.youtube.com/watch?v=erbd9cZpxps&feature=player_embedded

Vanishing Point

http://vimeo.com/8837024Link

Massive Attack

http://www.youtube.com/watch?v=O86iI7oXYfA

[ Who’s shot the Silence ]

http://vimeo.com/4586430

[ Who’s shot the Silence ]
Music:
Mario Basanov & Vidis feat. Jazzu
Design, direction and animation:
Andrius Kirvela / PetPunk

Design Currency

http://www.youtube.com/watch?v=WjpzNfi2H9I&feature=player_embedded

[Crow]

http://vimeo.com/734237

[ Sparks ] The rythm thief

http://www.youtube.com/watch?v=etUIJwhaE1Q

What is different about graphic design in Iran from what is known in western countries that we label it with the distinguishing term "Iranian"?





The most distinct features of Iranian graphic design come from the use of a different writing system, and therefore a different typography. After the advent of Islam the art of calligraphy, both in Islamic and Iranian cultures, was considered one of the most important art forms. Although the Persian writing system is closely related to the Arabic, its function in Iranian calligraphy has developed on a completely different basis since the 17th century AD.

In a sense, this process can still be observed in the typographical works of contemporary graphic designers. This brilliant calligraphic background in Iranian arts enabled the New Generation of Iranian graphic designers to present a new and different typographical attitude to the world. An attitude that is drawing its originality and identity from the golden age of Iranian calligraphy with a fresh and contemporary approach.

Iranian Typography

Calligraphy has been considered among the artistic symbols, letters and elements, which form the word, always bear undeniable esthetic qualities. Iranian Calligraphic Styles, such as Taliq, Nastaliq, Naskh, Thulth, Reqa, Towqi, Shekasteh, Kufic and decorative scripts, stands proud as charming among those of every other nation; particularly so, when those are adorned with illumination, which bestows hundred-fold prominence to their sublime forms.
Indeed, Iranian calligraphy truly deserves such illuminations, and such a reverence; its masterpieces, when framed and set upon walls, bear all the attraction of great paintings, affecting even foreigners. Thus many of them are now lovingly collecting items of Iranian Calligraphy.
Iranian Kings and Princes have always been fond of penmanship; Soltan Oveis and Soltan Ahmad Jalayer, Ibrahim Mirza and Baisonqor Gourkani, Shah Tahmasb, Bahram Mirza and his brother, Ibrahim Mirza Safavi, Fath Ali Shah and Abbas Mirza, Mohammad Ali Mirza Dolatshah, as well as many personalities and ministers, and also a number of Qajar Princesses, have all been famous in calligraphers.
Iranian masters in Taliq were:
Khajeh Taj, Abdol Hai, Moinoddin, Darvish Abdollah, Khajeh Ekhtiar and Rouhollah Monshi;
and in Nastaliq:
Mir Ali Heravi, Soltan Ali, Mir Mohammad Baqer, Soltan Mohammd Nour, Soltan Mohammad Khandan, Mohammad Abrishami, Mir Jan, Mohammad ebneh Eshaq, Khajeh Ibrahim, Mohammad Qasem Shadi Shah, Abdi, Shah Mahmoud, Moezeddin Mohammad, Mir Seyed Ahmad, Malek Deilami, Mohammad Hossein Tabrizi, Mohammad Zaman, Mir Emad, Shah Mohammad, Baba Shah Mohammad Reza Tabrizi, Alireza Abbasi and Mohammad Saleh;
And in Shekasteh:
Morteza Qoli Soltan, Shafia, Mirza Hassan Kermani, Darvish Abdolmajid, Mirza Kouchak, Mirza Abdolqasem and Motamedoldoleh Neshat, alongside hundreds of other illustrious names of past calligraphers.
Evolution of various styles of penmanship, esthetic changes and developments of Iranian calligraphy, assess essential esthetic variations, evaluate the degrees of evolution attained and discover the brilliant agility of Iranian Artist’s mind within the context of history, show that, although certain decays be more or less conspicuous in the course of history of calligraphy, this very beauty has kept it from annihilation.
Mind of the average Iranian spectator is basically familiar with calligraphy, so that, even though he (she) may not be a calligrapher Himself (herself), nevertheless has a close recollection of tradition of penmanship. This “recollection”, which bears extensive influence from the works of the immediately preceding generation, generally corresponds with the latest basics evolved by the present one, and thus has a relatively clear-cut opinion about calligraphic esthetics. Therefore, it is not so strange that this “recollection” may not deem a panel penned by Mir Ali Heravi (16th century A.D.). Obviously, such a judgment is an unjust one; rather, to be fair, one should recognize and evaluate highs and lows of calligraphic styles by the criteria prevalent in their own time.
In this respect, Iranian calligraphy has followed a path similar to that of Iranian painting. Thanks to innovations achieved by creative minds of Iranian artists, various manners and schools have left such distinct influences, that in most cases , it seems quite easy and safe to single out a work executed in conformity with Iranian Artist’s ideal of beauty.
In both calligraphy and artistry, acquired foreign elements were properly and entirely modified in accordance with Iranian taste, and combined with all the innate elements, traditions and memories of this nation. All this was achieved at once, but rather slowly, with discipline, from father to son and from hand to hand.
In calligraphy, Iranian artist made truly immense contribution by innovating Nastaliq script and the latest step of evolution was taken when created Shekasteh Nastaliq. Similarly in painting, at about the same time, when Nastaliq script was being born, artistic originality of Iranian painting achieved utmost brilliancy and in the same time of Shafia Heravi, while Shekasteh Nastaliq was reaching its ideal configuration, followers of the school of Reza Abbasi and Aqa Reza were busy perfecting sublime curves of their compositions.
Natural evolution of both arts continues until the early 20th century A.D. Esthetic regulations were set, each complementing previous ones. Yet, in contemporary period, a totally different event takes place; Iranian painters and calligraphers suddenly free themselves from the natural course of progressive artistic evolution. Rejecting every boundary, they turn back to past styles and manners.
Iranian painters take to considering past artistic schools as national elements and according to their taste and need, start drawing upon them, in part or entirely. Iranian calligraphers also adopt the same attitude. Many great masters, instead of continuing the trends, set by their immediate predecessors, such as Emadolkotab, focus their attention on older manners, sometimes even reverting to examples set by Mir Emad Hassani, Abdolrashid Deilami and Assadollah Shirazi.
This trend of turning back to the manners of ancient masters had also existed in the past, as Mirza Reza Kalhor exercised considerably following examples of Mir Emad, but more in order to learn about the intricacies, refinements, technical and artistic innovations of notorious styles than to revert to the past and to revive its esthetic principles.Such is the case of many contemporary calligraphers, who exercise in the manner of Mirza Qolamreza Isfahani or Mir Hossein, writing Chalipa or Siah-mashq panels, or of others, who freely make use of calligraphy as a rhythm for composition, rather than an ascetic skill, creating works not unlike bridges thrown between painting and calligraphy.

Can-Bike Summarize and Analysis

Cars and other motor vehicles used for transportation causes the emission of green house gases (GHG). In 2002, along with the Kyoto Protocol governments stated a mission on reducing the amount of GHG’s emitted by the year 2012. The solution entails the population to use fewer cars and more bikes as a mode of transportation. Governments state this will be both economically, mentally, and physically beneficial for the population.
Following recent trends, the amount of cyclers on the road are increasing, with almost double in British Colombia and Ontario since 2001. Unfortunately, the Canadian census only includes the use of a bike, as transportation to work rather than many other purposes the population requires traveling. The census also excludes a variety of months during the year, therefore, excluding the months of rain and snow. This may alter the statistics gradually due to the impracticality of cycling as a mode of transportation. However, using this information, other recent trends include a decrease in cycling fatalities and injuries by 61% in Ontario. Therefore, if there continues to be an increase in the population cycling, there will be more awareness and consideration in society for cyclists.
There are many policies that range from Federal, Provincial and local government. The Federal government had neither funding nor policies for cycling until 2003. Provincial involvement varies by province. For example, Quebec is exceptionably known for their advocacy towards cycling including road paths and funding. Unlike Quebec, Ontario provides almost no funding or planning to advocate for cycling transportation. This is reflected in the remarkable statistics in Quebec versus those in Ontario. When there is a positive development from the government, it is evident that funding and advocacy plays an influential role on the population’s choice of transportation. The convenience of cycling also plays a large role in the populations decision. The local government creates bike lanes and barriers as well as bike parking at rail transit stations and bike racks on buses or trains.
Quebec’s cold weather does not stop the population from choosing cycling over driving. This province accomplished a high rate of cycling with a low rate of injuries. They provided convenient bike paths, lanes and routes on less trafficked roads as well as separate bike paths over shared roads. This may sound more appealing to the population of Quebec, looking at the benefits and accommodations cyclists have, and may wish to take part in this method of transportation. Once it is more convenient to the population, it becomes more popular and accepted in society. Quebec not only provides convenient accommodations but also provides promotions to convince the population to choose cycling. Velo Quebec is a non-profit organization that sets up tours, conferences, races and cycling courses to promote the smart choice of transportation.
Ottawa’s percentages of cyclists are higher than those of the Toronto Metropolitan area. However, both cities have succeeded in the improvement of safety. As a result, injuries have decreased by 33% in Ottawa and 9% in Toronto. In British Colombia, the decrease in injuries is a result of cycling facilities, traffic calming in neighborhoods and improved education and training. The Can- bike program is designed to promote practical day-to-day purposes of cycling as well as providing education on this matter. They promote through the Internet and newspapers on safety concerns and solutions towards cycling. In order for Can-bike to appeal to society, they must provide all benefits for this mode of transportation as well as its special accommodations. Perhaps this program should become more well known and promote cycling to people of the younger ages, specifically high school students who are in the process of receiving their license. Once the younger generation begins a trend of ‘green’ transportation, there may be a chance that it will follow prior to that generation. Due to the suburbanization and the inconvenience of living in North America rather than Europe, it is a difficult task to convince the population that a slower and harder working means of transportation would be beneficial for the environment and themselves.
Evidently, there has been an increase in Edmonton and Calgary as a result of their cycle plans and multi-use trails. If Can-bike is able to appeal to the population by offering the health and economic benefits as well as the danger of green house gases, there may be a trend to follow. The convenience and safety of cycling plays a major role in reaching out to the population. If there are more promotions and negatives towards automobile transportation such as traffic and unpleasant stress, the population would no longer neglect cycling and become open to a new beneficial means of transportation.

Project 1 (Can-Bike)

In regards to the group case study project, I have worked alongside the assigned group consisting of Braenden Watts, Lorraine, Michelle Lefebvre, and Andy Khuziyev. As a group we have chosen the CAN-BIKE project as the subject of our research. The primary contribution to the group case study on my part has thus far been focused on the written organization of group decisions. I therefore have worked on establishing a written copy of decisions made by the group in the form of a recording of minutes. I then carefully transcribe a handwritten copy of relevant insights and comments made by the individual groups members, as well as a clear written record of any and all decisions to which the entirety of the group may arrive. Following the meetings, I proceed to then create a typed, electronic copy of the minutes, which are then appropriately organized and arranged alongside all previous records. Upon completion of the necessary field research in the following weeks, I will also take on the role of an analyst of the findings and data collected. I will act alongside Braeden and Michelle in order to assess the raw data and organize the information collected. I also conducted several research interviews and research articles to assess the general public opinions and based on these interviews, I wrote the summary then I analyzed them. From this analysis we can make a final assessment of the CAN-BIKE program with regards to its current progress, its benefits to the public, particularly in the urban environment on Toronto, and any perceived shortcomings.