Unit 1.3: Identity of Minsk 2012
Major Project Proposal.
Student: Elena Tereshkova;
Tutor: Russell Bestley;
Group: P.
Research Question:
In my major project I intend to focus on methods of research applied while developing the identity of Minsk in 2012. I aim to investigate what design methods are most appropriate for performing this task, with the emphasis on Ethnographic Research and its tactics. The main questions that I will seek answers for are:
• What are the unique features of today’s Minsk and its citizens? How to distinguish and to systematize them and what to focus on?
• What methods of research are the most appropriate for collecting, recording and representing observations of the city?
• How can visual summary or results of the questionnaires be transformed into the product of design in order to communicate their outcomes (outstanding characteristics of Minsk)? Which design techniques would be effective?
• What design methods will help to present the outcomes clearly to both, the audience within/outside the explored area?
Aims and Obiectives/Audience:
In this project I hope to improve my skills as a graphic designer: to test different methods of research while exploring the subject I am really interested in. I intend to improve the ability to communicate my discoveries clearly, basing on the evidence obtained during the research. Through this project I aim to distinguish the most suitable research methods, to combine and to develop them in the context of the chosen area (to discover what the perception of Minsk in 2012 might be). The final objective is to communicate about the essence of my observations, using graphic design tools and invented methods. To sum up, I would like to develop and test design research methods, while exploring Minsk Identity, with the deep interest in both tasks.
The project may be beneficial for two groups.
1 Project execution with its strengths and weaknesses may serve graphic designers as a practical example of applying Ethnographic Research tactics and other design methods.
2 The results of the project may be interesting as fixed an alternative overview of the features of the selected area at a particular time. Because of specific political situation, all media in Belarus are under strict state control and results of state statistics are far from being as encouraging as they presented to the public, thus they lose their value. The project main messages may be useful as a fixed summary of observations from the sources which do not concentrate on distorting the information, but on the information itself.
Context:
Inspired by Andrew Monk’s Branding / Identity Workshop and Siaron Spencer’s project dedicated to the graphic language of Englishness, I have chosen developing the Identity of Minsk in 2012 as the main topic of my Major Project. While doing preliminary research I found many interesting examples of the identity of cities, social groups, holidays and international picture language. Having analyzed them I came to a conclusion, that the points of the projects have been similar: to distinguish the characteristic features of the subject of research and to communicate them to the audience using graphic design tools. At the same time their outcomes are really different, as authors of the project used various design methods. In some cases designers appeal to semiotics, like for example in ‘Full English’ project by Siaron Spencer. In this case, after analytical researches of the structure and meaning of the area of study and its components, authors communicate the message through graphic symbols or icons.
Other projects are based on visual references, such as photography (or photo ethnography). For instance, the eight books, representing identity of the Welsh by Siaron Hughes and the project by Karen Nakamura, the Associate of Professor of Anthropology at Yale University, which focus on sociocultural anthropology (namely on ‘sign language, identity, civil society and minority social movements in modern Japan’). Designers may also refer to typologies, maps, diagrams, charts and other methods, providing effective operation. The common characteristic is a consistent and deliberate approach, providing a systematic development and based on the analyses and experiments. While doing a preliminary set of research I also found a good number of manuals, explaining methods of the research which correlate well with the main point of my study. For example, such research strategy as ethnographic research, described in ‘Designers research manual’ by Jenn and Ken Visocky O’Grady.
Minsk by Frederic Chaubin.
Methodology:
I am interested in developing a solution that would help to communicate effectively and a method furthering clear identification of my discoveries about the city, ‘to develop systematic ways of working that lead progressively to a more successful outcome, based on experiments and visual testing, materials investigation and audience feedback, and the goal is to produce a piece of graphic design which is effective, useful or engaging.’ (Noble, I & Bestley, R. 2011. P63)
The secondary research begins with the analysis of existing methods of design research and Identities of cities, social groups, in order to develop methodology relevant for the project, to determine a range of potential solutions. I will definitely refer to such tactics as Photo Ethnography, Visual Anthropology, Observation Research and surveys. As secondary sources I will continue working with the items representing Minsk identity, for example, magnets, postcards, stamps; to learn more about how local people interpret and identify the city and themselves, as well as to find stereotypical objects within this field. The results of the secondary research will help to find the appropriate design methods to communicate with both, local people and audience outside Minsk. This also would be a starting point for identifying characteristic features of the subject under analysis which have not been noticed yet. My primary research will be based on the results of Photo Ethnography (focusing on how people identify the city and themselves), Observation research (focusing on observation of human behavior without interacting with them and on the landscape images of the city) and Visual Anthropology (focusing on human behavior interacting with them). Applying those methodologies I aim to distinguish the target audience behaviour, to sum up specific features of the city and locals and to obtain the outcomes which I would use at the subsequent stages. During the photo ethnography research participants will hold the camera in their hands. After analyzing, the summary of results of photo
ethnography research, depending on the outcome, may be tested at the next stage, which will be based on surveys.
Besides the research tactics based on visual media and focusing on citizens’ behavior and visual landscape of Minsk, I plan to use the outcomes of surveys. This quantitative research would help me to measure subjective opinions of local groups, for example, their vision of the iconic components of the culture and lifestyle, national self-identity, and to test my key ideas about the unique features.
After the quantitative analysis of the information, I will sum up the main points from different stages and transform the results into generalized qualitative characteristics ready for the final development. As an outcome, I would like to create both iconic and indexical signs (their combinations), supported by photo materials and results of the surveys. After communicating about the key ideas, using developed graphic method, I would like to evaluate the method critically and to suggest some improvements.
‘Research should cover at least two stands at any given time. One stand provides a scenario and potentially a surface on which two work, the other provides a visual language to employ.’ (Visocky O’Grady, 2009)
‘…the design of the design method and the design of the research method are tasks of a higher order than the design of the communications.’ (Frascara, 1996)
Schedule of work
• Two days within Week 14: Photo observations of Minsk ‘through the ‘prism’ of the task in order to create a ‘mood board’ of the city and assume what design methods may be suitable for representing the outcomes.
• Week 16 - 21: Focus on existing design methods and graphic solutions, studying analogical projects and applied visual methods. Generating and determining stereotypes within the area of study through the analysis of secondary sources and materials from the initial primary photo observations. Testing and developing the chosen design method of representing the outcomes.
• Week 22 - 25: Generating the main and the unique features of the city. Further analysis of the primary photo observations and outcomes from the secondary research in order to determine the main focuses for the second trip to Minsk (as an opportunity for the main photo observations within the primary research).• Week 26- 29: Writing questionnaires and tasks for participants in the photo ethnography research, conducting on-line surveys, using developed questionnaires. Analyzing their results, together with the key ideas of the secondary research and marking the main focuses for the main photo observations in Minsk during the summer break. Writing questionnaires about the effectiveness of the outcome.
• Week 30 - 34: Collecting and analyzing the main photo observations in Minsk, according to the developed plan, with the focus on chosen features, through ‘the lens’ of developed graphic design method of representation. Final critical evaluation of the outcomes of the primary and secondary research. Gathering feedback on key ideas about the city and generating first examples of their interpretations, using the developed design method. Analyzing the applied method and its final development.
• Week 35 - 39: Further development of the outcome. Preparing the results of the surveys and photo observations for the final demonstration.
• Week 40 - 44: Finalizing the project. Analyzing of the effectiveness of the outcome and applied design method.
The desirable Output:
By the end of this project, I hope to gain a better understanding of both fields: the effective design methodology (including the effective visual language) and the specific features of Minsk in 2012. I am looking forward to going through all the stages of the chosen methods, testing them and analyzing strengths and weaknesses of the tactics which I will find or develop by myself.
Desirable final piece outcome:
Effective design method of representing the information.
A set of books which present the ideas about the identity of Minsk clearly and effectively and involve different aspects of the city life, based on various sources.
Image by Evgeni Bobric.
During the two days within week 14 I had an opportunity to construct some kind of ‘mood board’ of the city, using ‘visual journalism’ in Minsk. Within those days I focused on existing symbols of identity of the city and urban landscape in order to distinguish archaic symbolic signs and clichés in the outcome. Numerous photos of the city collected during this stage will be considered to be the initial research of my field of study, i.e. the analytical observation in order to make hypothesis of what may become ‘sub-focuses’ for the further researches and to find appropriate graphic solutions to represent them.
While analyzing secondary sources, representing the identity of Minsk, I found out that a lot of them display well-known iconic buildings and national ancient ornaments. When analyzing the photo materials I differentiated two categories of buildings: old rare churches and houses, which survived the Second World War as opposed to the background of brutal geometry of numerous examples of the USSR architecture.
Minsk was almost completely destroyed during the war, and urban-planers and architects of the Soviet Union were able to rebuild the city without taking into account the existing buildings. As a result, the best achievements of Soviet architecture with its interpretation of the ‘form follows function’ approach, complex building and architectural ensembles prevailed while building the city. Up to the present day a lot of iconic buildings related to that period and some modern architectural objects have been built in this style. So, the main features of the urban landscape are straight lines, right and acute angles and the beauty of pure geometric shapes.
The same characteristics are peculiar to iconic Belarusian ornaments, communicating significant aspects of life, such as family, work, nature, health, love etc through the different geometric
combinations. While looking for the appropriate design method, I decided to convert different features of Minsk into the geometric language, to communicate through the language of pure familiar geometric shapes and their combinations, to create geometric signs, landscapes and compositions, communicating my essential discoveries. I think, that ‘geometric‘ graphic language is familiar to the audience within and outside the city, and such method will help me to communicate clearly and effectively. I suppose, it will be easy for the audience to remember, assess and to compare the outcome with other cities.
After analyzing the initial photo observations, during the next stage I decided to focus on photo research - the Observation research (scheduled for August) - on two main areas: the urban landscape and people. I also found some unique features disregarded while developing existing identity of Minsk, such as using numerous ornaments and decorations on the facades of the typical blocks of flats (mainly geometric). This approach was used to make typical ‘boxes’ in different districts of the city which made them recognizable. The concept of the chosen design method also corresponds to this feature.
National Library in Minsk, built in 2006 is still under discussions and critics. It was built at the initiative of the President as a symbol of ‘prosperous’ Belarus and ‘diamond of knowledge’. This project met a great number of protests from citizens and local architects, because of its cost and controversial shape. During the four years numerous taxes had been paid by the people in order to finish this building: mobile operators had been charged money from the subscribers, private developers were forced to participate in the building process without any compensations etc.
However, the silhouette of the library is an integral part of existing identity. As a part of my Major Project I would like to conduct a surveys about existing Identity and to express the results through geometric symbols and combinations. The results of questionnaires may help me to reach two goals: to identify cliches and obsolete symbols and to find new ones.
Bibliography:
Barnbrook, J. (2007) ‘Barnbrook bible, the graphic design of Jonathan Barnbrook’. UK: Booth-Clibbron editions.
Burdett, R. & Sudjic, D. (2011) ‘Living in the endless city: the Urban Age Project by the London School of Economics and Deutsche Bank’s Alfred Herrhausen Society’, Alfred Herrhausen Gesellschaft für Internationalen Dialog. London School of Economics and Political Science.
Crow, D. (2010) ‘Visible Signs: An Introduction to Semiotics in the Visual Arts’. 2nd ed. Lausanne: AVA Academia; (2006) ‘Left To Right: The Cultural Shift from Words To Pictures’. Lausanne: AVA Academia.
Frascara, J. (1996) ‘User-Centred Graphic Design’. London: Taylor & Francis.
Holland, D. K. (2006) ‘Branding for Nonprofits’. U.S.: Allworth Press.
Holt, D. B. (2004) ‘How brands Become Icons: The Principles of Cultural Branding’. Harvard business school press.
Hughes, Siaron ‘Welsh Identity’ [Internet]. Available from: < http://www.su-ma.com/ > [Accessed 29 March, 2012].
Klanten, R. & Bourquin, N. (2006) ‘Tres logos’. Berlin: Gestalten Verlag.
Kress, G. R. (2006) ‘Reading images: the grammar of visual design, Gunther Kress and Theo van Leeuwen’. London: Routledge.
Lupton, E. (2006) ‘D. U. Y., design it yourself’. New York: Princeton architectural press.
Lupton, E. & Miller, A. (2006) ‘Design writing research, writing on graphic design’. New York: Phaidon.
Mijksenaar, P. (1997) ‘Visual Function : An Introduction to Information Design’. 010 Publishers.
Miller, D. C. (2002) ‘Handbook of research design and social measurement’. 6th ed. / Delbert C.
Miller, Neil J. Salkind; Thousand Oaks; London: Sage.
Mono (2004) ‘Branding, from brief to finished solution’. Switzerland: Roto vision.
Nakamura, K. ‘Photoethnography and Street Photography’ [Internet], Photoethnography by Karen Nakamura. Available from <http://www.photoethnography.com/> [Accessed 5 April, 2012].
Noble, I. & Bestley, R. (2011) ‘Visual research : an introduction to research methodologies in graphic design’. 2nd ed. Lausanne; Worthing: AVA Academia.
Olins, W. (2008) ‘The brand handbook’. London: Thames & Hudson.
Rose, G. (2012) ‘Visual Methodologies: An Introduction To The Interpretation Of Visual
Material’, 3rd edition. London: SAGE Publications.
Tufte, E. R. (1990) ‘Envisioning information’. Graphics Press.
Visocky O’Grady, J. & K. (2009) ‘A Designer’s research manual’. Beverly, Mass.: Rockpor.
Vossoughian, N. (2008) ‘Otto Neurath : the language of the global polis’. Rotterdam: NAI.
Reading list:
1000 works selected by Blackcoffee (2006) ‘1000 icons, symbols + pictograms : visual communications for every language’. Gloucester, Mass.: Rockport.
Klanten, R. (2010) ‘Data Flow: Visualizing Information In Graphic Design’. Berlin: Gestalten.
Neurath, O. (2010) ‘From hieroglyphics to Isotype: a visual autobiography’; edited by Matthew Eve and Christopher Burke. London: Hyphen Press;
(1980) International picture language: a facsimile reprint of the (1936) English edition; Internationale Bildersprache ; ein Faksimile-Neudruck der englischen Ausgabe (1936), with a German translation by Marie Neurath. Department of Typography & Graphic Communication, University of Reading.
Pevsner, N. (1946) ‘Visual Pleasures From
Everyday Things: An Attempt to Establish Criteria By Which The Aesthetic Qualities Of Design Can Be Judged, foreword by Herbert Read’. London: Batsford for the Council for Visual Education.
Sennett, R. (1992) ‘Conscience of the eye: the design and social life of cities’. New York: W.W. Norton.
Tresidder, J. (1997) ‘Dictionary of symbols: an illustrated guide to traditional images, icons and emblems’. London: Duncan Baird.
Uleshka (2006) ‘Johnathan Barnbrook about responsibilities in design’ [Internet], Pingmag Japan, posted in 23 June 2006.
Available from: < http://pingmag.jp/2006/06/23/jonathan-barnbrook-about-responsibilities-in-design/> [Accessed 6 April 2012].
Wallpaper Magazine (2007) ‘Johathan Barnbrook’ [Internet], posted 21 June 2007. Available from: < http://www.wallpaper.com//gallery/art/jonathan-barnbrook/17050023#17811>
[Accessed 7 April 2012].
