Cover | Indice Anotado, 13 years of Mid-Career research investigations from architecture students of the Polytechnic University of Puerto Rico.

Jorge Rigau, FAIA, founding dean of the School of Architecture of the Polytechnic University of Puerto Rico; Miguel Rodríguez, current dean; and funds from the Historic Preservation Office of Puerto Rico have made it possible to publish the Índice Anotado (Anotated Index). This publication documents the Mid-Career research investigations completed by students at the School of Architecture of the Polytechnic University of Puerto Rico.

These texts were completed between 1996 and 2009 and executed by students at the end of the 3rd year of study. Their topical range is extensive, and most are complemented by photographs, drawings and inventories that will be useful to others following similar lines of research. While the collection is mainly about Puerto Rico, some projects look at Cuba, Dominican Republic and Panamá.

The index is organized by themes, and while some overlap, researchers will have to asses the focus areas of each of their topics to find relevant investigations. The documents are written in Spanish, but the the index provides a blurb about each of them in English to expand the ideas to a larger audience.

Copies of the full writings will be available for public consult at the library of the Polytechnic University of Puerto Rico and at the library of the Historic Preservation Office. The Índice Anotado has been designed by Alberto Rigau and published by Editorial Revés.

This past thursday 3M Company of Puerto Rico held a fashion show to promote some of their Post-it products. For the event, I was commissioned by my friend Lorna Ramos to execute the event’s decoration… all of it made out of Post-its.

This video documents, in under 2 mins, the 15 hours spent playing with squares of colored paper. For photos of the setup, see here.

I want to point out that frame after frame you will consistently notice the collaboration of Miguel Ortiz, a young architect with whom I am currently working on a series of projects. I also want to thank Lorna, Juan Carlos Rubayo, Denisse Rodríguez and Sofía Acevedo who came out to help.

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To make the video more interesting, I used the music track Again and Again by The Bird and the Bee. As of October 11, 2009, the official website of the band is offline and the Internet Archive’s Wayback Machine was not useful in accessing its contact information. I will keep trying so that I can ask for a formal permit to keep the song in the video. If it is not granted, the song will be removed immediately.

Last week, due to the birth of my nephew Gonzalo, I got to spend some time in the maternity wing of the Auxilio Mutuo Hospital. It was indeed a short time, yet most of it was spent waiting for the baby to make its appearance. I had time to look around. A few things came to my attention, but this particular emergency door stood out the most out of anything else that caught my eye.

An Emergency Door in the Maternity Wing of the Auxilio Mutuo Hospital in San Juan, Puerto Rico.

The subject in question is located on a hallway directly across from the nursery of newborns. As you can imagine, a lot of people congregate in this area. Upon further investigation, four things were of interest to me:

1) The standard, internationally used emergency exit sign;
2) An ink-jet printed sign which informs that this door does not provide access to the ground floor;
3) The familiar red sign that indicates to use this exit in case of an emergency; and
4) A photocopy which explains, in paragraphs, what to do in case of a problem.

Can you imagine what would happen, God forbid, if there was an emergency in this space?

As humans, we rely on the construction, understanding and employment of schemas for the day-to-day operation of our motor behaviors. These are particularly important when it comes to emergency situations, for it is through these schemas that we instantly know, without thinking, to go to the nearest emergency exit. Clearly not thinking about this, the hospital exit is a disaster waiting to happen. If a moment came when there was a true reason for the people inside to evacuate, I can bet you anything that you will get a high concentration of them showing up in this door. Just the standard, official-looking red exit sign will do the trick.

If this were an emergency, I can imagine a few possible interactions that could take place: in a state of panic, people would not read the two home-made signs and spiral down into a dead-end; someone could reach the door and try to read the signs, but the avalanche coming from behind would just push him or her in, again on a path to no exit; or maybe people might stand to read the signs, but others behind them, with no visible access to the text, might get impatient and run to find another way out, thus creating chaos on the space.

An easy fix? Remove the top sign labeling this door as an emergency exit. I think the cost of the electrician that needs to do that job is worth not having a major disaster in a hospital. Or so I would think. If by law this door has to remain labeled (it happens), recognize that there is not easy way for potential users of your signs to manage this overload of badly placed and hierarchically misleading information. Add a graphic or map to illustrate where people have to go. Again, not that much of an investment. If it comes to spending a bit of money, label the floor with a red line that people can follow from this space directly into the right exit.

In the end, more things could be suggested, but it is important to understand how a failure in logical thinking can affect human behavior in ways that can lead to unwanted outcomes.

During the time, I have become aware of the many identities others bestow on me: artist, graphic artist, digital artist, the creative, the person who makes logos, sign-maker, event planner, the guy who did that exhibit on the train, the kid who makes things pretty, web-site maker, and I have even been introduced as an architect. Not once in three weeks has anyone (other than in the office space from which I now work) used the term graphic designer, or even the idea of design to refer to me or to what I do.

In the Puerto Rican corporate and academic spheres that I have been exposed to, the practice of design (even if called by other names) is still seen as, talked about, and referred to as an icing on a cake which provides decoration (and an extra boost of sugar) to an already functional product. Designers are not at the decision table, and I have yet encountered one example of design included in a larger strategic process. The techniques, strategies and tools of design thinking are nowhere to be found. The idea of graphic designers having a process and knowledge of specific strategies that might foster innovation is scarce. Inspiration, creativity and talent are still at the core of the generally accepted understanding of how designers work and come up with ideas.

Amidst this myriad landscape of randomly assigned labels, an interesting constant has come to my attention: no matter how or what I am called, when talking about a potential project, I am always asked for the same thing, to do something different. To create something that has not been seen before. The funny part, at least in my head, is that most of the times I am asked to do this something different but I am shown examples of what I am being asked to do. Isn’t this a contradiction in terms?

This problem is not new, and by no means specific to Puerto Rico. It affects all sorts of structures and communication channels. As a response, the Graduate Design Program at NC State University explored a series of thinking strategies and cognitive frameworks that are part of a designer’s way of working: schemas, situatedness, concept mapping, sketching, prototyping, lateral thinking, morphological thinking, and at least ten others were identified as essential tools for an effective design process.

Almost a year later after the project, I have come to value the work that was done in it. As designers who employ, believe and practice design thinking, I now see the importance of sharing with others some of the intricacies of how we work. It is through this way of working that something different can be made; something different in the sense that it can reach an intended group, communicate a message effectively, and produce change all in a sustainable manner.

More knowledge of design thinking should be made public. Only then will we be able to share how our decisions are strategic and grounded, not at the gut level and arbitrary.

Sounds interesting right? Well, in reality, it is. Yet, being on a constant search for problems to solve brings about a series of problems of its own. The best way I can describe it is that sometimes I find myself in an alternate reality; others talking about the color red and me asking why red?

As a more concrete example, a few nights ago I went to dinner with a few friends to a restaurant that specializes in making sushi with a Caribbean touch (the place adds plantain, alcapurrias, bacalaítos, local fruit sauces, etc). Once the menus arrived, it did not take more than a minute to realize that my friends and I were having a very hard time deciding what to order. Consensus was not happening. The group’s first reaction was to blame me; I had never been, so obviously I was not familiar with the offerings. A debate opened up over the ideal suggestions that I was to be given, and while all of that is going on, I am in my head re-designing the poorly structured piece of information design that has been handed to me by the waitress. Honestly, if the menu’s spacing had been better, I would have understood the offerings much quicker.

In another instance, I recently had the unhappy task of visiting, in person (oh online transactions of the US I miss you so much) one of the offices of the Puerto Rico Electric Company. That place, with not better description, was hell. This was a small room with about 40 people waiting to talk to someone to see if they can be helped. There was bad lighting, no informational signage, 4 service desks but (as can be expected here) only 1 of them offering service, uncomfortable chairs, dirty floors, and a corporate next-turn numbering system that is traditionally used to manage large amounts of people, but here used in a 20 feet by 20 feet area. Some people are yelling, others are yelling on their cell phones, kids are running around, a baby is crying, and in the midst of all of this I am wondering if this company has ever heard the terms experience and service design. That day, I spent 4 hours there, and I came out with my power still not connected, yet, during the first 20 minutes I had come up with about 10 ways to better the service of the location and improve the experience I was having. (and trust me, none of my ideas would cost additional money. It’s all in re-thinking many of the things that were already there.)

In general, I find myself disconnecting from experiences that fail to engage me and such distancing produces an alternate present for me, a space where I try to solve the circumstance in front of me, even if for a second, just so that my head can comfortably rest.

Is this crazy? Hope not. Ok, gotta go to the water company now, can’t wait to re-design that waiting room…

The interface for my final project is slowly changing… incredible the difference that a small change can produce…

As I have written before before, this past week was the Fourth Annual NC State University Graduate Student Research Symposium. Marty Maxwell Lane, Deb Littlejohn and I were asked to present our current research at the event. In retrospect, it was just like presenting for judges back in one of my high school science fairs… Presentations were made with the aid of posters. We participated in the Humanities and Design category, where I am happy to report that I was recognized with a first prize for the current research I am carrying out with my final project. :)


Duane Larick, Dean of the Graduate School and Associate Vice Chancellor for Research and Graduate Studies, myself, JB Clark, Vice President, UGSA, and Terri Lomax, Vice Chancellor for Research and Graduate Studies. Photograph by Rebecca Kirkland.

Symposium Winners. Photograph by Rebecca Kirkland.

Symposium Winners, by Category…

Agricultural Sciences
1st Place > Cary Rivard, Plant Pathology
2nd Place > Ramon Molina-Bravo, Horticultural Science

Education
1st Place > Matthew Campbell, Mathematics Education
2nd Place > Maura Murphy, Adult and Higher Education

Engineering
1st Place > Sumit Gangwal, Chemical & Biomolecular Engineering
2nd Place > Gheorghe Bunget, Mechanical and Aerospace Engineering

Humanities and Design
1st Place > Alberto Rigau, Graphic Design
2nd Place > Jennifer Salazar, Landscape Architecture

Life Sciences
1st Place > Elizabeth Rueschhoff, Plant Biology
2nd Place > Monica Iglecia, Zoology

Mathematical and Physical Sciences
1st Place > Brian Williams, Physics
2nd Place > Justin Kennemur, Chemistry

Social Sciences and Management
1st Place > Erin Banks, Psychology
2nd Place > Roxana Toma, Public Administration

All photos by Gus Pantell.

The early part of the XXth century witnessed the construction of an extensive web of irrigation channels to distribute water to homes and farmlands in Puerto Rico along more than 35 kms. Still in operation to this day, throughout time different individuals and groups have acknowledged the scenic value of these channels; however, to most they remain unknown.

Conceived by the architectural firm, Jorge Rigau FAIA, Architects, the pilot project was designed to garner support from government officials, institutions, and the general public for the development of Isabela’s irrigation channels as a key ecotourism attraction in Puerto Rico. The “canales” travel across plains, mountains, and forests of varying microclimate, flora, fauna, and views. Maintenance paths that run continuously next to them could today be refashioned as nature trails accessible to the general public, children, senior citizens, and handicapped people alike. This pilot project set out to prove the feasibility of this initiative.

After public access to these facilities had been denied for eighty years, one kilometer of channels was opened up for two days, attracting an audience of over 3,000 registered people, including key decision-makers like the Island’s Interim Governor. Environmental leaders and university professors joined the long lines of visitors from all over the Island.Advocacy is often linked to demonstrations, more than often committed to stop something from happening. In our case, we chose to demonstrate otherwise: How something can, in fact, happen. Letters of support have started to come and decision makers – already engaged – have invited us to sit and dialogue. This is what we planned for.

Participants were instructed about the history and design of the irrigation system, how it works, its cultural impact, and the changes endured by the neighboring rural landscape. Oversize words in environmentally-sensitive foam were “sprinkled” along the route to underline key questions concerning both the system and the proposed project: WHAT? WHERE? HOW? WHY? WHEN?

Elements that required a “footnote” from the interpreters were highlighted with an asterisk.

Insertion of texts within the landscape owes much to the reinterpretation of precedents: Robert Smithson’s site-specific works; Jenny Holzer’s linkage of words to movement; Robert Indiana’s supersized treatment of typeface; as well as Dieter Kienast’s joint validation of typographic strokes and counters, using the latter as windows unto the landscape.

Professionals, academics, architecture and landscape architecture students – as well as volunteers – guided tours along the canal to make visitors aware of the potential of these trails from which the Island’s natural landscape and its early-20th century industrial heritage can be enjoyed.

The local Architects and Landscape Architects Foundation funded the pilot project, which included a day dedicated to K-12 schools within the canal region. Participants were requested to fill an assessment form, freely formatted to accommodate ideas, concerns, and recommendations. Upon completing the forms, each person received an informative brochure, specially designed to urge everyone to action.

All photography by Gus Pantell.

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PROJECT CREDITS

Executed with the support of the Foundation for the Association of Architecture and Landscape Architecture of Puerto Rico and the collaboration of the county of Isabela, the Energy Authority (AEE) and the School of Landscape Architecture at the Polytechnic University of Puerto Rico.

Concept and Project Design Jorge Rigau FAIA, Architects Project Coordination Miguel Ortíz Graphic Design Alberto Rigau, Estudio Interlínea Archaeological Consultant Gus Pantell Construction and Renovation Consultant Beatriz del Cueto Landscape Consultant Maria Isabel Rodríguez

Recently, while watching some of these shows, I noted a change in the commercial advertising landscape: the automotive industry is trying to harness the power of typography and verbal communications to make its pitch to us.

Take this particular advertisement for Ford’s new F-150. The advertisement, clearly influenced by recent kinetic typography explorations found in almost every video portal site, uses scale, contrast, motion, rhythm, and verbal language to communicate its message to the screen-engaged viewers.

My issue? While I am very happy to see typography take a lead-actor role in contemporary motion-based advertising, I don’t want to see it become just another plastic jewel of a bedazzled composition. Seeing typography play a superficial role illustrates a weak command of the medium. In this previous example, I question the effectiveness of the strategy when the subject matter of the commercial is rendered almost invisible. What was this commercial about again?

The kinetic typography technique, in my opinion, works best when the visual cues offered by the images allow viewers to immerse in the story being told. Examples of it cover the whole spectrum of genres, from comedy…

Content cited is from the movie Wedding Crashers.

…to serious dramatic compositions… (sorry for the Spanish)

For Random House Mondadori.

…but no matter the thematic purpose of these two previous examples, the visual cues assert the typographic narrativs being told.

In the case of some of these recent vehicle commercials, there is a split between the visual and typographic stories, rendering the ads, in my opinion, ineffective. I don’t mean to insinuate that this is happening because of the technique being used. In 2006, The Brand New School produced The Car That Reads the Road campaign for Toyota in Australia.

These ads, while beautiful and rendered to the highest of technological standards, also fall into this fuzzy realm where I think typography and content are not quite peacefully having a conversation, and I think this happens again because no substantial story is being told. This lack of narrative provokes a superficial role for the typography and to its possibilities.

The sad thing is that the automotive industry has experienced the success of real storytelling (By storytelling I don’t mean those ads where cars are the main actors of unbelievable feats, but stories with a plot, actors, and process). The 2002 release of John Frankenheimer’s Ambush on the BMW Films website serves as a clear case study.

Ambush, by John Frankenheimer.

With the series, BMW delved into storytelling and was rewarded when it saw their 2002 sales numbers go up 12% from the previous year. The movies were viewed over 11 million times in four months. ¹ The films proved to be so popular, that BMW produced a few more seasons and showcased many more of its vehicles in action that it would have ever done with a standard advertising campaign.

Clearly the automotive industry is in the midst of an identity crisis, questioning the ways it does things. I just think it has been doing this for a while now… not finding a clear position for itself… and not understanding how to talk to its audience. There is no need for this move to superficial strategies. All is has to do is connect with the audience… provide stories… (and then bring in typography) and not only will it see itself rewarded, but also provide a more meaningful experience for those who have to see these spots repeated for weeks at a time, armed only with the weapons of changing a channel or muting the speakers.