Mk Portfolio 2010 Online

8/8/2019 Mk Portfolio 2010 Online

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MALA KUMAR DESIGN 09-10


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SPACE IS THE SUBSTANCE

THIS IS YOUR DESTINATION

BEVOS BACKYARD

HOW TO DISAPPEAR 14

4

8

BREADCRUMBS TO PEBBLES 24

DESIGN LECTURE SERIES 34

ROB ROY KELLY WOOD TYPE COLLECTION 30

THE NEW PINCH 44

MARINE SCIENCE INSTITUTE 40


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Beginning with the seemingly simple task o making marks using a randomly chosen set o objects, the

project swerved o course and beca me a meditative piece that attempted to answer the question o whatan object takes rom its env ironment, and what it leaves behind. The end result took the orm o a book that

documented two concomitant series that both investigated the process o space becoming the substance,

brought together thematically by the Japanese word Ma a concept that can be roughly translated as

meaning the space between two structural parts.

SPACE IS THE SUBSTANCE

Mark Making and Object Abstraction / David Shields, Fall 2009

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The object: a doorstep, or alternatively: an object with three xed

unique protrusions, t wo holes, and one detachable component that

can be twisted, rotated, or reinser ted into the other hole. Above: the

nal book documenting the two series

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The rst series examined and documented the objects liespan in the orm o its gradual impact

upon an anonymous environment. A piece o paper printed with a dot matrix was crumpled around the

object then attened out, scanned, removed o any grey tones, printed, and then wrapped around the

object once more, repeating the process until there is it is possible to see the object taking orm within

the matrix, and then subsequently degenerate into an amorphous blob. The object becomes a part o its

surroundings while concurrently dierentiating itsel rom it.

PART ONE

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The second series attempts to determine the boundar ies and the scope o the objects inuence upon its given environment.

The object is used once to create the initial mold, which is casted and the result o which is used to create the next mold.

Each subsequent cast is once more removed rom the original object. The orm remains identiable with the original object,

but the constantly escalating weight o the successive intervals generates new variations upon the original orm.

Initial impression o the object

PART TWO

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This Is Your Destination is a comprehensive investigation into the artistic and sociological implications oa randomly assigned street corner in Austin, Texas. Extensive research and exploration o the area culmi-

nated in a site-speci c imposition upon the space that specically commented on the street s lack o a unique

identity and history, leaving little incentive or visitors to linger. A series o seventeen t-shirts (or sixteen

students and one teacher) was created in response to this, each one commemorating a dierent object or

idiosyncrasy ound on the street.

THIS IS YOUR DESTINATION

Studying W. 18th and Guadalupe / David Shields, Fall 2009

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Above: using my height as a marker to ar rive at a rough approximation

o the height o the buildings at each o the intervals

A diagram o the negative space bounded by the

buildings on W. 18th St. as seen rom a birds eye

view was created, with the yellow lines indicating

the intervals at which building heights a nd sidewalk

lengths were taken in order to construct geometric

planes that had been ormed by the boundar ies oneither side o the street.

(a)(b)

(c)

(d) (e) ()(g)

(h)

STREET STUDIES

(a)(b)

(c)

(d) (e)(f)

(g)(h)

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The resulting diagram o the negative spacespoke o the streets lack o an identity and

o its status as a halway street a place

where people requently pass in and out

o, but rarely take the chance to explore.

Geometric planes as

seen in context at various

spaces on the street

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(a)

(b)

(c)

(d)

(e)

(f)

(g)

(h)

Geometric planes were measured and devised

based on the distances between the buildings

on either side o the street at various intervals,

isolated rom their original context, then used

to create a cursory impression o the orm con-

gured rom the negative space o the site

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By isolating and stylizing what appear to be commonplace or unremarkable items (e.g. a broken window, parking signs,

tags, etc.) and placing them on t-shirts as designated landmarks , they become signicant and worthy o seeking out. With

the address o the street included on the back o each shirt, the simple act o wearing it generates interest and speculationand hopeully encourages viewers to pay W. 18th and Guadalupe a visit.

FINAL IMPOSITION

Various artiacts ound on W. 18th and Guadalupe that were

singled out to be commemorated on t-shirts

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The back o the t-shirt displays a simplied version o the nal

map, with black dots indicating the location o the seventeen

points o interest. Opposite page: the t-shirts in action on the

day o the critique, with each person posing next to the landmark

depicted on his or her t-shirt

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A SITE TO BEHOLD

q

q q

q

q qq

q

qq

q

qqq

W. 18TH

AND

GUADALUPEqqqq


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This project consisted o two related but ultimately divergent parts that both explore the notion o losingyoursel. It begins with a set o eight steps that describe a process o systematically purging various aspects

o your identity and removing your presence rom your environment in preparation or starting a new lie. It

simplies and codies t he long and complex process o removing all traces o ones existence, and is meant

as a guide or people who are looking or a way to escape their current way o lie while also serving as a

distinct reminder o the various and almost innumerable ways in which we leave our mark on this world.

HOW TO DISAPPEAR

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A Handy Guide to Losing Yoursel / Dan Olsen, Spring 2010

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The rational part o t he project took the orm o a book that presented the text o the eight steps o the process o erasing

the traces o your present existence w ithin the medium t hat relates to the specic content o the text. The real world and

amiliar media o the everyday (Google maps, Facebook, classied ads) are used as the context in which this system is

presented as being a part o, and uti lized to communicate the specic requirements o the steps.

Artiacts rom our day-to-day lie, reappropriated to communicate

the steps and collected in the nal book

PART ONE

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The eight artiacts were collected in a palm-sized book meant to be

urtively passed down rom one person to another

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The idiosyncratic solution is a proposal or a perormative experience that or the moment exists only in photographic

documentation. The scheme takes the orm o a hypothetical game with origins in the Art building that would slyly draw in

some unwitting user and take them on a kind o scavenger hunt to nd all the components. The book is a entirely photograph-

based narrative, the only text being that o the steps and signage in the art building visual narrative that documents one users

interactation with the game and their journey through the art building to collect all the cards.

PART TWO

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The subject stumbles across a strange card that echoes

the posters just witnessed. Written on the card is How

to Disappear and on the back is a room number.

Inside the room indicated on the card, the subject nds

a card with the rst set o instructions, along with a CD.

INSIDE THE BOOK

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Upon insertion o the CD into a computer, a Word

document with the next step pops up, accompanied by a

photograph o the ourth oor patio.

At the location in the photograph, the subject nds

another card, along with a locker number and combina-

tion code.

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The Campus Environmental Center (CEC) has recently negotiated a small plot o land on the U T campus

to develop into a volunteer-run vegetable garden that wi ll ostensibly supply UT dining halls and local ood

banks wit h resh, organic produce. Working with Robbie Polk, we created a comprehensive proposal or

this still-edgling enterprise that i llustrated a plan o action or the initiative that could bring recognition

to UT and pave the way or the expansion o this rst garden into a successul campus-wide system, whi le

also raising the prole o the vegetable garden and generating publicity within t he student body and the

greater Austin community. The proposal consisted o a series o phases that would start with utilizing only

a small section o the land in the beginning and gradually building up the garden until the entire space

has been developed. For each phase, we have suggested promotional products that might be producedater each harvest. These agship products would not only bring in revenue or the garden but would also

help raise its public prole.

BEVOS BACKYARD

Proposing a Plan or the CEC Community Vegetable Garden / Kate Catterall, Spring 2010

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Phase 1: Herbs We elt that starting with herbs would be a practicable strategy to ensure a successul rst-year harvest

due to herbs thriving especially well in the Texan climate. The herbs would supply both UT dining ha lls and could also be

packaged and marketed to the general public.

Phase 2: VEGETABLES for SALSA The next step detailed the expansion into a select group o vegetables, including on-

ions, garlic, tomatoes, and jalapeno peppers that could both supply UT kitchens and be combined into a salsa product.

Let: Label concepts or dried basil packaging exploring a

variety o diferent graphic styles. Above: Prototypes o the

agship product packaging or dried basil and salsa.

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Phase 3: Various Vegetables The third phase is more exible, with the CEC determining which crops to grow based on

their own specic preerences. We have suggested growing broccoli, carrots, potatoes, and spinach in the remai ning plots,

which could also be designated as donation plots or soup kitchens or compost heaps.

Let: A guide or CEC members o the ideal times to plant and

harvest the herbs and vegetables mentioned in the proposal. Right:

Based on the land available to the CEC we determined a easible

layout that allocated plots based on the projected output or each o

the proposed crops.

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FRESH INGREDIENTSFrom the UT Community Garden

THE CEC COMMUNITY

GARDENING INITIATIVE

Graphic Identity We also developed a simple identity system or the CEC vegetable garden, with a logo that represented the CEC

Community Gardening Initiative, and a second related one that is meant to indicate that a ood product utilized ingredients rom

the garden (or example, i a salad served at one o the UT dining halls had spinach rom the garden, then the label would display the

logo to communicate that act to diners.)


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UT ADMINISTRATION BUILDING

INFORMATION SCHOOL: FLOOR 1

LOUNGE

COMPUTER LAB

CLASSROOMS

BOOK & PAPER LAB

GUADALUPE PARKING GARAGE

GUADALUPE STREET

1.204 | 1.208 | 1.212 1.502 | 1.504

CLASSROOMS

CENTER FOR TRANSPORTATION RESEARCH

CAMPUS REAL ESTATE OFFICE

OFFICE OF INTERNAL AUDITS

UNIVERSITY COMPLIANCE SERVICES

HISTORICALLY UNDERUTILIZED BUSINESS & FEDERAL SMALL BUSINESS OFFICE

CENTER FOR INFORMATION ASSURANCE & SECURITY

2

3

4

OFFICE OF CAMPUS PLANNING

SCHOOL OF PUBLIC HEALTH6

OFFICE OF FACILITIES PLANNING & CONSTRUCTION

HISTORICALLY UNDERUTILIZED BUSINESS DEVELOPMENT OFFICE

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OFFICE OF ACCOUNTING, REPORTING, COST & RISK

CHARLES A. DANA CENTER

INFORMATION QUEST

ACADEMY OF MEDICINE, ENGINEERING & SCIENCE OF TEXAS

ADMINISTRATION

PHD STUDENTS

5.552

5.303

5.333

5.460

5.401

FACULTY

IT SUITE

DEAN

ASSOC. DEAN

5.454

5.567

LOUNGE

LOUNGE

COMPUTER LAB

CLASSROOMS

BOOK & PAPER LAB


GUADALUPE STREET

1.204 | 1.208 | 1.212 1.502 | 1.504

CLASSROOMS

RESEARCH LABS

From let: Directory or the entire building; color-coded map o rst

oor, with emphasis on Inormation School areas

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CENTER FOR TRANSPORTATIONRESEARCH

CAMPUS REALESTATE OFFICE

OFFICE OFINTERNALAUDITS

UNIVERSITYCOMPLIANCE SERVICES

HISTORICALLYUNDERUTILIZED BUSINESS & FEDERALSMALLBUSINESS OFFICE

CENTER FOR INFORMATIONASSURANCE & SECURITY

2

3

4

OFFICE OFCAMPUS PLANNING

SCHOOLOF PUBLICHEALTH6

OFFICE OFFACILITIES PLANNING& CONSTRUCTION

HISTORICALLYUNDERUTILIZED BUSINESS DEVELOPMENTOFFICE7

OFFICE OFACCOUNTING,REPORTING,COST& RISK

CHARLES A.DANACENTER

INFORMATIONQUEST

ACADEMYOF MEDICINE,ENGINEERING& SCIENCE OFTEXAS

UT ADMINISTRATION BUILDING INFORMATION SCHOOL: FLOOR 5

DIRECTORY

ADMINISTRATION

PHD STUDENTS

5.552

5.303

5.333

5.460

5.401

FACULTY

IT SUITE

DEAN

ASSOC. DEAN

5.454

5.567

LOUNGE

ADMINISTRATION

PHD STUDENTS

5.552

5.303

5.333

5.460

5.401

FACULTY

IT SUITE

DEAN

ASSOC. DEAN

5.454 LOUNGE

LOUNGE

COMPUTER LAB

CLASSROOMS

BOOK & PAPER LAB


GUADALUPE STREET

1.204| 1.208| 1.212 1.502| 1.504

CLASSROOMS

FACULTY

William Anderson

William Aspray

Diane Bailey

Lecia Barker

Randolph Bias

Claudia Chidester

Veronica Covington

Phillip Doty

Melanie Feinberg

Luis Francisco-Revilla

Caroline Frick

Patricia Galloway

Gary Geisler

David B. Gracy II

E. Glynn Harmon

Barbara Immroth

Unmil Karadkar

Matthew Lease

Bill Lukenbill

Shirley Lukenbill

Chela Metzger

Sue Murphy

Karen Pavelka

Loriene Roy

Ciaran Trace

Lynn Westbrook

Amanda Williams

Megan Winget

Yan Zhang

5.456

5.432

5.438

5.451

5.424

5.414

5.460

5.448

5.446

5.536

5.404

5.436

5.538

5.534

5.408

5.412

5.426

5.450

5.442

5.460

5.440

5.456

5.422

5.444

5.452

5.410

5.460

5.4160

5.434

Kathleen Adrian

Cassie Alvarado

Craig Blaha

Carol Carreon

Carla Criner

Andrew Dillon

Luke Dunlap

Janelle Dupont

Terry Giles

Rebeccah Hill

Tara Iagulli

Barbara Immroth

Dona Kurtz

Bill Lukenbill

Kamar Nassor

Mary Lynn Rice -Lively

Pat Reichenbach

Ann Seago

Administrative Associate

Development Specialist

Manager of Special Projects

Graduate Program Coordinator II

Assistant Dean for Student Affairs

Dean

Associate Director for Development

Managing Editor: Libraries & theCultural Record

Academic Awards Coordinator &Development Assistant

Course Scheduler

Director, Career Services

Assistant Graduate Advisor

Executive Assistant

Graduate Advisor

Finance Manager

Associate Dean

Administrative/Web Assistant

Kilgarlin Center Administrator

PHD STUDENTSADMINISTRATION RESEARCH LABS

Paul Aumer -Ryan

Snowden Becker

Carol Brock

Jeffery Crow

Lorraine Dong

Jeanine Finn

Lance Hayden

Sarah Kim

Virginia Luehrsen

Owen McNally

Ji Hyun Park

Kathryn Pierce

Tanya Rabourn

Erin Whitworth

Brandon Wiley

5.316

5.314

5.344

5.304

5.308

5.334

5.312

5.532

5.318

5.326

5.336

5.412

5.324

5.442

5.320

5.328

5.338

5.348

5.544

5.546

5.558

5.540

5.546

5.540

5.414

5.550

5.554

5.556

5.545

5.558

5.552

5.540

5.540

Samuel Burns

Kai Mantsch

Carlos Ovalle

Quinn Stewart

Shane Williams

Systems Administrator

Web Manager

Computer Systems Development

Instructional Technology

Coordinator of Info. TechnologySystems Administrator

IT SUITE

5.454B

5.454G

5.454A

5.454C

5.454D

Digital Archaeology

IX Labs

General Research

5.508

5.510 & 5.516

5.518 & 5.520

RESEARCH LABS

5.567RESEARCH LABS

Map o th oor; aculty and staf directory

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GUADALUPE STREE T

GUADALUPE PARKING GARAGE 1ST FLOOR

UTA 1ST FLOOR | INFORMATION SCHOOL

17TH

STREET

Diagram directing visitors to entrance o building rom inside

the parking garage

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BOOK & PAPER LAB

CLASSROOMS1.502| 1.504

LOUNGE

STAIRS

COMPUTER LAB

CLASSROOMS

1.212| 1.208| 1.204

RESTROOMS

ELEVATORS ADMINISTRATION

DEAN/ASST. DEAN

RESEARCH LABS

PHD STUDENTS

STAIRS

FACULTY

RESTROOMS

ELEVATORS

LOUNGE

IT SUITE

Guide to strategic placement o signage that was

colored-coded based on the oor maps.

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Screenshots o simulated walkthrough o signage

and waynding system as seen within a Google

SketchUp model o the Inormation School

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Realizing the need or a consistent and clean inormative labeling system or the Rob Roy Kelly Wood

Type Collection at UT, redesigned and implemented new specimen labels or each o the 166 aces , with

emphasis on readability and conciseness. With Lauren Dickens and David Shields.

ROB ROY KELLY WOOD TYPE COLLECTION

Redesigning Labels or the Wood Type Collection / Summer 2010

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|

077ANTIQUE, CLARENDON | Uppercase & fgures

Belgian6 line

|Finished labels with new color system based on type classication

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Above: No. 129

beore the re-haul.

Right: current label


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Conceptualized, designed, and distr ibuted posters or the all semesters lecture series. Each o the

posters paid homage in some way to Indias rich culture o graphic arts, with inspiration taken directly

rom Indian vernacu lar typography and motis. All our poster identities were extended to include an

accompanying thank-you card to each o the visiting lecturers.

DESIGN LECTURE SERIES

Print Campaign or Fall Design Lecture Series / Fall 2010

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THANK YOU

FROM EVERYONE HERE AT UT AUSTIN

(EXCEPT THE SHOOTER.)

Clockwise rom let: nished poster; thank you note; unused ideas

or type treatments based of o Indian vernacular typography

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The

has invited of

to present his lecture titled

at from

on

" "

More details on Facebook: UT

Design Division

From everyone here in the Design Division at the University of Texas College of Fine Arts.

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an yo Karri!From everyone here at the UT Design Department

C BA Ovr

A

With Karrie Jacobs, Design Critic and Itinerant Urbanist

How the US is Learning to Love its Cities

Wednesday, October 13 at ART 1.102, 6:30 to 8p

Presented by the UT Design Lecture Series

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^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

M,a,t,h,e,m,a,t,h,i,c,a,l,

T,y,p,o,g,r,a,p,h,y,

Is Both A Language and Its

Own Interpreter. What Does

That Mean?

A Lecture with David Reinfurt of Dexter Sinister/O-R-G on

Wednesday, November 17 at ART 1.102, 6:30 to 8PM

Presented by the UT Design Lecture Series on Design, Beauty, and

Human Behavior

David Reinfurt is an independent graphic designer, writer and editor in New York City. On

the rst business day of 2000, David formed O-R-G inc., a exible graphic design prac-

tice composed of a constantly shifting network of collaborators. Together with graphic

designer Stuart Bailey, David established Dexter Sinister in 2006, a workshop in the

basement at 38 Ludlow Street on the Lower East Side in New York City. The workshop

is intended to model a Just-In-Time economy of print production, running counter to the

contemporary assembly-line realities of large-scale publishing. This involves avoiding

waste by working on-demand, utilizing local cheap machinery, considering alternate

distribution strategies, and collapsing distinctions of editing, design, production and

distribution into one efcient activity.

David currently teaches at Princeton University and Columbia University Graduate

School of Architecture, Planning and Preservation.

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,

From everyone

at the UT Design

Department

^^^^^^^^^^^^^^^

^

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

^

++++++++++++++++++

++++++++++++++++++++++++++++++++++++++++++

,,,,,,,,,,,,,,,

,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,

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Developed a new logo and identity system or the Marine Science Institute. Our concept highlighted the

logos uniquely modular capabilities and the accommodation o multiple applications in both 2D and 3D

realms, which allowed or both print and sculptural applications without loss o integrity. With Lauren

Dickens, Corey Leamon, and Javier Viramontes.

MARINE SCIENCE INSTITUTE

Logo and Branding Project or Research Center / Gloria Lee, Fall 2010

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Final logo, in color and in black & white

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Print applications; clockwise rom let: business cards

and letterhead, older template

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3-D applications; clockwise rom let: concept or logo

as a sculptural orm, boat application, outdoor signage


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PART ONE: LONGING/NOSTALGIA


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PART ONE: LONGING/NOSTALGIAThe appropriation and subversion o a ubiquitous brand.

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PART TWO: MISCOMMUNICATION/MISUSE


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PART TWO: MISCOMMUNICATION/MISUSE

Transporting a common Hinglish phrase (painted on trucks in India in order to signal other drivers to sound their ho rn i they need to overtake the

truck) in the orm o bumper stickers and are intended to cause momentary conusion in other drivers while sparking recognition rom native Indians.

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Let: Mock-up o the stickers in action; below: screenshot o a

blog currently in development that will serve as an inormation

hub and a place to document the stickers in use

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PART THREE: COMMODIFICATION/COMMERCIALIZATION


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/

A guide to tying a turban based on the style o IKEA instructional manual, and packaged like an IKEA product.

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DASTAAR

Top: cover o the booklet; above: rst page

ART

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Mk Portfolio 2010 Online