I found the link to this website on the 'Top Graphic Design Blogs' list (which by the way is a fantastic idea!) Anyway maxb has a good point. I think it may just work in reverse too, as designers we appreciate words well arranged, in a structure which is also clear and meaningful. This reminded me (as we're at the stage of researching) about how words and visuals can interlink. One can inform and inspire the other, perhaps I need to look into some more words, sentences that explain what Massey's Creative school is about. If I can do it in words I may just have a starting point for doing it through imagery.
Consumption data is ever more significant in indicating identity, as the increasingly amorphous and disjointed modern society supports ways of presenting a self-view by means of compact, easily recognizable signs (Fetherstone, 1991, as cited in Starr, 2004).
Thompson (1995, p.210) portrays the self as a "symbolic project, in which the individual must actively construct meaning out of the available symbolic materials, materials which the individual weaves into a coherent account of who he or she is, a narrative of self-identity". An individual may freely create a multiplicity of possible selves however the quantity of possible selves stems from the categories made relevant by the individuals distinct socio-historical context, media provided images and symbols, as well as the individuals recent social experiences (Elliot & Wattanasuwan, 1998). Individuals use goods and the utilization process as the resources with which to build and sustain an identity, grow relationships and structure emotional events (Lunt & Livingstone, 1992, as cited in Wlliott, 1997)
Fournier (1998) found that the brands can function as practical relationship partners. Consumers develop an emotional bond with the brand as their chosen variant for fulfilling their wants and needs (Broyles & Schumann 2003). Consumers create meaning and try to delineate or fortify their identity though the brands that they prefer and consume (Czellar & Palazzo, 2003). They "reach beyond the purely rational and purely economic level to spark feelings of closeness, affection and trust (Belk, 1988, p. 146) and are perceived as resources for individual identity projects (Czellar & Palazzo, 2003).
Brands may be attributed to social meanings. Terms such as 'Lovemarks' (Roberts, 2004) and 'emotional branding' (Gobe, 2001; Zaltman, 2003; Thomlinson, 2004) are now associated with the concept that simply being functional is not enough to ensure success in the market, they must arouse an emotional attachment (Fournier, 1998). Emotional branding tries to create bonds between consumers and brands, ultimately ensuring that these brands become a part of the self-view of the consumers. Brands can impart stability in an ever evolving world, this assurance is a crucial factor i their added value (Feldwick, 1991, as cited in Elliot & Wattanasuwan, 1998).
Brands are used by the consumer as building blocks is symbolic self-construction. The symbolic consumption of brands helps establish and communicate some fundamental socio-cultural categories such as social status, gender, age and cultural values such as family, tradition and authenticity (McCraken, 1993, as lited by Elliot & Wattanasuwan, 1998). Thus rather than meaning being delivered in the communication process, it is constructed within it (Elliot & Wattanasuwanm 1998).
Elliot (1997) suggests that the utilization of symbolic connotations, particularly through the manipulation of advertising as a cultural commodity, offers consumers the chance to create, preserve, and express identity an social meaning. The western world is rich in symbols and the meaning derived from any situation or object is determined by the symbolic interpretations of the consumer (Elliot & Wattanasuwan, 1998).
Essentially people chose what they consume to reflect who they are and how they feel they fit into the world, or how they would like to be seen. Eg. The brands/labels of clothing you wear, or the fact that you buy all your clothes at op-shops - both give strong suggestions as to the sort of person you might be or where your values/interests may lie. Of course everyone has different interests but what people buy, or don't buy, can show who they are.
The building is to be used by Design students of all areas of design and needs to reflect many areas of design. The university itself could be seen as something students consume, it says they want to learn, they want to be good at what they do, and it's a place for them to grow into the sort of designer they would like to be; and sometimes even discover what sort of design they would like to do. The university is a symbol of their invested interests and passions. The building should feel like it fits the expectations of a design school. I think it should be a building which is inspiring, full of creativity in itself which shows endless options and ideas which are discovered through the design process. Maybe it needs to be a bit odd we all know there are some strange people in Wellington, there is an 'anything goes' sort of attitude and people feel the freedom to be themselves or make a statement with what they wear.
So question time: How do we define graphic design when it comes to designing for the inside and outside of this building? Becasue I feel like lines could very easily blur with that of spatial design, spatial typography, interior design, general arrangment of furniture, product design or even start to interfere with the architechure to create a particular look. I'm guessing we're not exactly limited with the materials we choose to use to create a certain look, but a few examples may help a little, I shall research some soon, see what I can find.
