dylan price portfolio 2014

Dylan PriceDesign Portfolio

2014

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CONTENTS

ARCHITECTURE (large)

Come out and PlayI am not MovingPilgrimageRiver Valley Housing

ARCHITECTURE (small)

PERSONAL PROJECTSPervasive Game ProposalBand DesignVisual Art

Rhyl Enterprise CentreReparation

Personal StatementCurriculum Vitae

INTRODUCTION0405

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SECTION • TITLE • 2014

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DYLAN PRICE • PORTFOLIO • 2014

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PERSONAL STATEMENT

In 2012, in collaboration with two friends, I embarked on a project to build a Pervasive Game - a simple, humorous, interactive sticker art project inspired by nostalgia for the 90’s franchise Pokémon. Researching precedents online, I discovered a wide variety of designers using technology to create new and compelling experiences, sparking my interest in this field.

I’m fascinated by the relationship between people and technology, and its profound effect on media, education, industrial production and the urban experience. From a personal perspective, online technologies have provided vital tools for discovery, independent learning and self publishing - it is a remarkably powerful and democratic resource.

During my studies, I developed an interest in collective experiences, and how technology has enabled new ways for them to take form. An interesting example would be the impact of social media on the perceived potential of public spaces for political or spontaneous and playful ends.

My architectural education has prepared me with the ability to learn new software quickly and independently. I particularly enjoyed the programming based module ‘Digital Practices’ in which I earned my highest grade. A high level of verbal and graphic communication was also required for the critical review format of examination. As an architecture graduate, I am also well equipped to think at once about problems on a concept and detail level, work at different scales and consider the social impacts of my decisions.

As an Architectural designer, much of my satisfaction was found designing viable interventions to realistic, and rigorously defined user needs. One example would be my large scale project in Rhyl, North Wales, where I proposed

an Enterprise Centre focused on flexibility and a long term strategy, driven (and inspired by) local entrepreneurs/changemakers. This was, perhaps, in reaction to a more expensive (and risky) proposal by the council to build a large music venue to aid regeneration, against the wishes of local residents, who provided much of the feedback that informed my project.

Modules such as Requirements Engineering and Inclusive Design appeal to me in particular as they will help develop and formalise my own process for user-centred design. I also wish to develop methods of analysis and evaluation for existing interactive systems, which is covered in the Practices and Theories in Interaction Design module. As I am heading towards a career in User Experience Design, it is clear that the focus and depth of the modules are highly relevant to my ambitions.

Some of the most appealing aspects of the Human-Centred Systems MSc at City University London are the small classes, high quality of teaching and the pragmatic, in depth nature of the course. I’m also looking forward to a combination of intellectually stimulating research and hands on, project based learning. The opportunity to work with practicing professionals is also something I consider extremely valuable.

In my spare time I like to write and perform in a band. In just over a year, we have independently recorded and produced two EP’s, organised four UK tours, designed our own album art and merchandise, and had our music featured in web, print and commercial and independent radio. I also co-produced and presented a weekly music show on university radio, and DJ’d in local clubs and parties. This D.I.Y. ethic has influenced my approach to creative endeavors, recognising the value of a hands on approach and the joy of making.


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CURRICULUM VITAE

Graphics

Programming

Audio Production

Google: Sketchup Pro, LayoutRendering: V-ray for SketchupAutodesk: AutoCAD, Revit Architecture, 3DS Max, Ecotect AnalysisAdobe CS6: Photoshop, Illustrator, Indesign

MAX Script, MATLAB

Ableton Pro 8, Cubase, Protools

WORK EXPERIENCE

ACADEMIC

Architectural Intern, JY Huang Architects, Singapore

BSc Architectural Studies 2.2, Cardiff University

Cambridge CELTA (Certificate in Teaching English to Speakers of Other Languages)

A level Art & Design - Grade AA level Mathematics - Grade AA level Physics - Grade A

AS level Chemistry - Grade C

GCSE Art and Design - Grade A*GCSE Mathematics - Grade AGCSE Physics - Grade AGCSE Science Double Award - Grade AGCSE English - Grade AGCSE French - Grade AGCSE English Literature - Grade BGCSE Economics - Grade CGCSE Geography - Grade A

JULY 2013

SEPTEMBER 2012

JUNE 2009

JANUARY 2009

JUNE 2007

SKILLS

JULY-AUGUST 2011

CONTACT

EmailMobileHome

[email protected]


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ARCHITECTURE(small)


Come out and PlayI am not MovingPilgrimageRiver Valley Housing

08-1516-2526-2728-29


COME OUTAND PLAYAN INTERVENTION FOR AN UNDER-USED STREET CORNER

ARCHITECTURE (SMALL) • COME OUT AND PLAY

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NATURALSURVEILLANCENatural surveillance is a powerful can be a poweful tool in mainting a safe that is safe 24 hours a day and encourages more participation.

The play space has been designed to provide an opportunity for rough and tumble play and social interaction. The playspace should provide an alternative (not a replacement) to the more generic playgrounds nearby. Though primarily for residents living nearby, an environment that is frequently populated also has a chance to influence a wider area around it.

SIGNS ON SITE SUGGEST AND IMPOSE AN ANTI-SOCIAL ATMOSPHERE


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Ticklish grasses. Fen and mire. Peppermints, scented geraniums etc.

Crawl spaces. Spaces only for children provide a sense of ownership.

Spaces with less natural surveillance contain seating for adults.

vegetation continues onto frame. Potential to grow further.

Semi-enclosed space ideal for ball games.

Polyurathene flooring. Springy ground great for running.

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MAPPING SURVEILANCE SIMPLIFYING TO HEAT MAP RESPONSE TO NEW CONSTRAINTS


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CHALLENGEAND SHARED GOALS

One goal for the design of this play space was to provide some form of challenge curve, with climbing frames increasing in difficulty as distance from the entry point increases, giving the play an element of mastery. A real world example would be skateboarding, where older generations will share their knowledge and space with the younger generation - play is a social leveler.


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STREET PRESENCEIF THEY CAN SEE YOU,THEY WILL JOIN YOU

Maximising street presence increases natural surveillance and therefore safety on the street. A safer street encourages more outdoor play and interaction. There is also a greater likelihood that an individual child can see his friends playing outside and join in - a type of positive feedback loop.


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I AM NOT MOVING.AN INVESTIGATION INTO PROTEST AND THE ARCHITECTURE OF POWER.The occupy movement has provided insight into new (per haps renewed) uses for public spaces made possible by new media.

The protests also provided interesting new examples of powerful collective experiences through mass organisation and reclaiming of public space.

The goal in this studio was to begin with a free investigation of the 'architecture of power', outputting a small intervention in the spirit of the investigation.

ARCHITECTURE (SMALL) • I AM NOT MOVING

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MAPPING SURVEILLANCEMAPPING SURVEILLANCECAMERASCAMERAS


In order to map CCTV coverage, my teammate and I located all visible cameras in plan over a free walk, guided by a number of set 'must plot', high footfall zones. We also recorded the focal point of each camera. We estimated camera height using photographs and a fixed, known reference. We used a 'field of view' specification of a typical commercial CCTV camera, found on a manufacturer's website. This information enabled us to create a reliable graphic.


MAPPING SOCIAL SURVEILANCEThe decision was made during the CCTV investigation to zoom in on one area of high coverage and footfall and map out another form of surveillance.Cultural/social roles in public spaces can begin to police acceptable behaviour not too unlike surveillance cameras.

We used the idea of shoes as one indicator of social role. In hindsight, mapping this simplified concept in plan may not have revealed any correlations. The process of mapping did highlight the pervasive nature of this type of surveillance, identifying it as something worth challenging in an intervention.


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HARD-WEARING

CASUAL

SMART


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PICTIONARY

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A PLAYFULINTERVENTIONI wanted to design an intervention that would serve to generate conversation about the types of surveillance investigated. I decided to use a playful and familiar board game to tackle a more serious issue.

The game is ready and set up in a high footfall zone under in obvious field of view of a CCTV camera, craving the attention of passersby.

Those who choose to play may begin to question who, if anyone is watching behind the camera.

Choosing to play in a high footfall zone also takes a degree of courage to overcome judgement from the general public.

Even if somebody who wishes to play chooses not to, I believe that is also a meaningful response to this intervention.


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PILGRIMAGEAN INVESTIGATION OF THE VALUE OF POST-INDUSTRIAL LANDSCAPE

This collaborative studio between first and second year students involved a tutor led investigation through the post-industrial landscapes of mid-west wales. The investigation involved vistiting the scarred mountainside of Cwmystwyth, speaking to ex-mining communities and investigating current approaches to handling these types of landscape. Our output was expressed in short films and presented to the council.

My film focused, though a fictional narrative, the power and implications of nostalgia. The aim was to create an awareness of some of the sensitivities required when handling the homes of ex-communities.

The story of the film follows an elderly man's return to his abandoned mining village home, reflecting on the inhuman way he was relocated decades ago. Reaching his old church, he finds many of his friends returned to be buried in their home town. The village, in a sense, is still alive and growing.

ARCHITECTURE (SMALL) • PILGRIMAGE

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RIVER VALLEYHOUSING

ARCHITECTURE (SMALL) • RIVER VALLEY HOUSING

STINT AT JY HUANG3D MODELLING AND VISUALISATION

A month long stint at JY Huang Architects allowed me to develop my skills as a 3d Modeller (in Sketchup Pro) and visualiser (rendering in V-ray for sketchup). Learning this software was mostly an independant process using online resources.


ARCHITECTURE(large)


Rhyl Enterprise CentreReparation

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RHYL ENTERPRISE CENTREFOSTERING INDEPENDANCE THROUGH DESIGN AND INNOVATION

Rhyl's natural environment, especially the beaches and its location on the main Chester-Holy-head Railway line enabled it to grow as a seasidetown during the late victorian era. After half a century of success, changing tourism preferences have seen Rhyl experience a gradual but inexorable decline over the past 30 years.

Like so many places whose economic base has become unable to adequately support them in a new era, Rhyl has become increasingly dependant on public expenditure programmes for its economic health. Shortfalls in public expenditures make a tangible difference and it is clear that there has been no sign of any real increase in capital spending over the past 5 years - a feature easy to confirm on the ground.

In the context of revenue expenditure the widespread view is that it is barely able to keep pace with current demand and forces players to confront "robbing Peter to pay Paul" in a situation where the general level of unmet need is high.

The outcome of this is an over-dependancy on external grant aid that results in a bias toward short-termism, a tendency to fragmentation of activity, and a deflection of objectives away from any coherent strategy for the town and toward external targets set by project funders.

ARCHITECTURE (LARGE) • RHYL ENTERPRISE CENTRE

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NON SPACE

U N I N H A B I T E D B U I L D I N G S

B E A C H F R O N T A N D W A L K W A Y

F O R G O T T E N S P A C E

U R B A N C O R R I D O R S

CHILDRE

THE BEACH

My starting point with this investigation begun with the concept of 'non-space'. After a free exploration of the area, four types of non-space were identified and mapped. Interviewingthe locals along the way proved to be a very rich sourceof infomation.


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SITE

EN'S VILLAGE


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UNOFFICIAL PROGRAM (SITE)Interestingly, in an abandoned space, not far from a site, a rich set of uses has been created. This space has been used in the day time for childrens play (football) and also as a temporary soup kitchen for the

homeless. This is largely due to it's relative privacy and shelter from the wind.

THE BEACH"The old huts were knocked down - now its this fake landscape...modernisation for the worse. After 9, ASBOs stop me coming here...It took me five days after moving here to realise I was by the sea"


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THE "CHILDREN'S" VILLAGEDesigned as an entertainment zone for tourists and locals in the summer months, the Children's village is now a combination of empty buildings and re-purposed offices. The village is an inward facing (towards a water feature) barrier to the sea, where a Matta Clark intervention would be welcome.

BOARDED DWELLINGSBoarded Dwellings prove a serious problem for the street's of Rhyl, and a single boarded building can seriously impact the quality of the entire street.


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TRUSTIn the wake of some some

questionable and shortsighted decisions, the public have become wary of any of the

councils attempts to regenerate the town.

A new low risk proposal driven by locals will allow a more

collaborative effort that requires communication.

EDUCATION Poor performance in schools

poses great concern for the town's future.

Providing alternative forms of education such as vocational

courses will raise employability and independance for the

younger generation in Rhyl.

CLOSING BUSINESSBusiness ventures are high risk,

high reward.

Providing cheap, flexible short term spaces for start up

businesses may reduce the risk of these ventures and provide

support to increases chances of success.

SEASONAL INCOMEProviding a hub for

changemakers and innovators to meet and exchange ideas

may yield long term solutions for new business and cultural

ventures, that are designed by locals to help locals.


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HONEYCLUBTO BE TURNED INTO HOTEL, DRAWING SUMMER CROWDS

McWALTER’SCAFE

BIG BEEFYBURGERBUSINESSES COULD OPEN BACKS TO SITE

VACANT

BURNT OUT BUILDINGCOULD BE LEFT VOID TO DRAW PEOPLE INTO SITE

EXISTING ALLEYWAY

REFURBISHED VICTORIAN HOUSESCOULD HOUSE BUSINESSES

VACANT

VACANT

LAST ORDERS PUBIDEAL FOR INFORMAL MEETINGS

GENEROUS PUBLIC SPACELARGE ENOUGH FOR PUBLIC EVENTS AND SUMMER RETAIL PAVILLIONS

LANDSCAPE OF EXTENSIONSINTERESTING SPACES THAT COULD BECOME SMALL BUSINESSES

RHYLGOINGFORWARDDespite areas of concern, the town displayed a strong sense of community and a shared drive to push the town forward. Many of the locals we spoke to were taking proactive measures to increase Rhyl's independance and train its workforce. This is perhaps Rhyl's greatest asset, and represents huge potential.

Opportunity also presented itself around the proposal site, with successful businesses being able to expand, a useful shortcut through a demolishion site, and vacant buildings providing a possibility for integration with my own proposal.


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AN APPROPRIATEPROPOSALLessons learned from site analysis and previous regeneration projects in the area suggest a direction away from early suggestions in the initial brief for a theatre or music venue.

I believe a hub that supports changemakers and entrepeneneurs (something Rhyl is not short of) is lower risk, longer term and will serve as part of a larger solution.

The goal is to focus on on the town's strengths, whilst tackling areas such as education and amall businesses, giving the people of Rhyl the power to change their own future.


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CONCEPT SKETCHES

Concept drawings take into account growth and flexibility by providing a central permanent spine for building services, which can be replaced over the years.

The building's central corridoor serves as its social hub and service space. Kitchen, bathroom and play facilities are all placed in a solid core. The corridoor leads to more private work spaces that grow from the core.


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THE ENTERPRISE CENTREA CATALYST FOR GROWTH

HOTEL DRAWS SUMMER CROWDS

McWALTERSCAFE

BIG BEEFYBURGER PROVIDES OUTDOOR SEATING FOR SUMMER USE

RETAIL

CASUAL MEETINGS

OFFICESCAN USE KITCHEN AND SOCIAL SPACES

PUBLIC EVENTS AND SUMMER RETAIL PAVILLIONS

SMALL BUSINESSES BEGIN TO REFUR-BISH AND REOCCUPY EXTENSIONS

SOCIAL HEART

RETAIL

The enterprise centre has been designed with future growth in mind. It's form in plan creates a smaller, more usable public space in the centre of the site, and provides privacy for the victorian terraced houses directly adjascent to the west.

The form itself is a reflection of the landscape of extensions in the buildings that surround the site, and future growth of the enterprise centre could be seen as a metaphor for growth in Rhyl as a whole.

foundations in the public square visibly mark potential for future work spaces.

The concrete core houses social spaces such as the kitchen/common room in the centre, with a large shared meeting space/viewing platform at the street entrance. Also housed in the core are meeting rooms, a workshop and a media lab.


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A GRID SITS ON THE SITE, DEFINING THE LIMITS OF THE ENTERPRISE CENTRE'S EXPANSION.

THE GRID ALLOWS FOR A VARIETY OF UNIT TYPES, DEPENDING ON THE REQUIREMENTS OF A START UP BUSINESS.


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STREET PRESENCEA BEACON OF GROWTH AND ENTERPRISE

Effort has been made to maintain a modest scale at street level, and establish a friendly presence as a welcoming hub for growth and business.


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INTERIORSIMPLE, BRIGHT AND AFFORDABLE

The main goal was to provide spacious and bright rooms for small businesses to set up. Cheap but hardwearing materials such as ply and plasterboard are arranged in clean forms with plenty of openings for light.


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1 LIFT (ACCES2 MEETING RO3 CAREERS AD4 RETAIL5 COFFEE SHO6 WORKSHOP7 KITCHEN/C8 OUTDOOR E9 SPACE FOR 10 RECEPTION11 ADMIN12 PLANT13 WC14 OFFICE15 COMPUTER16 PARKING

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GROUND FLOOR

PLANSWITH PROJECTION OF FUTURE GROWTH


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SS TO VIEWING TOWER)OOMDVICE DROP IN CENTRE

OPP SUPPLY STORE

CANTEENEATINGTEMPORARY RETAIL PAVILLIONS

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REPARATIONEXAMINING ARCHITECTURE'S ROLE IN REPAIRING A RICH BUT SCARRED URBAN LANDSCAPE

This project explores the duality of 'Reparation' and the role of architecutre in explicating complex cultural, emotional and humanitarian issues by creating within the Docks a 'Container' - a building part monument, part museum to provide a location for the recognition, assessment and interpretation of Bristol's role in the '... morally monstrous destruction of human possibility' that was the Transatlantic Slave Trade.

The project is split into two sections: a Masterplan, which aims to regenerate the whole site and it's wider context, and the 'Container' - a museum type structure and beacon to address Bristol's troubled history.

'THERE SHOULD BE AN APOLOGY BUT IT SHOULDN'T STOP THERE. REPARATIONS SHOULD BE MADE FOR THE CITY TO AMEND FOR THAT SIDE OF BRISTOL'S HISTORY. BRISTOL IS A RICH CITY AND THOSE RICHES CAME FROM SLAVERY' - PAUL STEPHENSON, A VETERAN CIVIL RIGHTS ACTIVIST IN BRISTOL

ARCHITECTURE (LARGE) • REPARATION

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CURRENT SITE CONDITIONS

A RESULT OF OF WWII BOMB DAMAGE, ZONING AND MAJOR TRANSPORT ROUTES HAS GENERATED SEVERE FRAGMENTATION OF THE SITE, WHICH SERVES AS AN IMPORTANT ENTRANCE FROM BRISTOL'S MAIN TRAIN STATION.

MAP OF HISTORIC FRAGMENTS WITH NEW ROADS REVEALS DEGREE OF FRAGMENTATION

MAP OF CURRENT SITE BOUNDARIES (WALLS AND BUILDINGS) WITH PEDESTRIAN FRIENDLY PAVING REVEALS LOW RESPECT TO HUMAN SCALE AND WALKING ROUTES


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SITE (1900) - THE STREET SHOWS MULTIPLE SOFT OPENINGS AND SIGNS OF LIFE

SITE (2013) - SOME DENSITY LOST, MORE BARRIERS FOR PEDESTRIANS


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CHARITIES

COMMERCIAL

RESIDENTIAL/COMMERCIAL

OFFICE/COMMERCIAL

RESIDENTIAL

CULTURAL/EDUCATION

CARS/PEDESTRAIN

PEDESTRIAN

BUS ROUTE

CIRCULATION ROUTESProviding a more coherent experience walking through the site was extremely important. Two clear axis of shared vehicle/pedestrian circulation provide a spine for main traffic routes. Smaller, secondary routes re-introduce a denser grain into the site.

BUILDING USESThe goal was to increase footfall and inject life back into the site using a mixed use program. A mixture of commercial, residential, cultural, leisure and educational promotes a wide demographic over a broader timescale than any one program occupying the site. The aim is to create a richer and safer place in the city.

MASTERPLANARCHITECTURE (LARGE) • REPARATION

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Poet’s house now a small hub for Ministry of Stories - a creative writing based charity for children.

Integrated into site with generous pocket park.

St. Mary Redcliffe Church retains public green space at the back but is now integrated into a public space where its charity based cafe can benefit. Interaction on the north side has been returned to a more human scale.

Quakers burial ground integrated into larger green walk.

Old Warehouse struc-tures reclaimed and in-tegrated into an arts education centre.

PUBLIC SPACEPublic space within the masterplan is comprised of a wide main street and generous, medium sized spaces punctuating the denser route. Care has been taken so that these spaces cater to areas of activity. Through site investigations of other public spaces in Bristol, there has been a tendency to produced oversized spaces in low activity areas.

HISTORIC FRAGMENT INTEGRATION/RE-USERe-use and integration of historic fragment allows people to inhabit and use these historic spaces. If done sensitively, re-use can create interesting and poetic experiences that can tie a city's past with the present. There is also value to pure preservation, though this was not the approach taken here.


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1. ANTI SLAVERY INT.

2. INTEGRATE BRISTOL

3. REFUGEE RIGHTS

4. CREATIVE WRITING CHARITY

5. CAFE (EXISTING)

6. PUB (EXISTING)

7. ART EDUCATION CENTRE

8. RESIDENTIAL/COMMERCIAL

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10. RESIDENTIAL/COMMERCIAL

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12. CONTAINER

13. SMALL SCALE COMMERCIAL



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CONTAINERGENERATING A DIALOGUE

BETWEEN PAST AND PRESENT

A structure of pure monument might simplify the topic of reparation into acknowledgement or apology, when perhaps a more appropriate response would be to generate an evolving dialogue where progress can be made.

The legacy of slavery on the arts is also one that is constantly changing and is an ideal vessel to generate such discussions.


Creating a structure to house a fixed historic exhibition and an evolving contemporary art exhibition, as well as an artist in resident, provides an ideal platform to generate a dialogue between the past and present that becomes richer with interaction.


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JOURNEY THROUGH GALLERYThe diagram on the right presents the journey of a visitor as they travel from the ground floor, through the main art exhibit and travel up the floors via a permanent historic timeline exhibit, providing context to the work on the ground level. This journey is punctuated by inward facing framed views of the exhibit and outward views of historic fragments on the site, establishing a literal connection with bristols history and legacy.

The top floor houses a studio for the artist in resident. The visitors pass through to return to the ground level exhibit and are encouraged to interact with the artist and see the work in progress, before returning back down to the arg gallery on the first floor.


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ART GALLERY (NON -PERMANENT)HISTORY

(PERMANENT)HISTORY

(PERMANENT)

The container is split into two sections - a constantly changing art gallery in the centre and a more permanent linear history display. The open plan nature of the gallery lends itself to flexibility, temporary dividers and large installations, whereas the linear route of the history section lends itself to a more scripted experience.

GROUND FLOOR - SHADOW OF ROUNDABOUT FORMS ENTRANCE FIRST FLOOR - BEGINNING OF HISTORY EXHIBITION

SECOND - LOWER RIGHT CORNER VIEW TO CHURCH TOP FLOOR - ARTIST'S STUDIO ROUTE BACK TO GROUND FLOOR


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PERSONAL PROJECTS


Pervasive Game ProposalBand DesignVisual Art

62-6566-6768-69


PERVASIVE GAME PROPOSALThis project began as a personal illustration project, revisiting a game from my childhood and re-imagining it with the naive illustration style that I was at the time working on. It eventually grew into an interactive public art treasure hunt proposal that narrowly missed funding from a university run enterprise group.

'Highly Original Monster Catching Game' is an interactive art installation based around the concept of recognising the importance of play, exploration and imagination in a demographic that extends beyond children and young adolescents.

Too often are we so absorbed by the pace of the daily grind that we forget to take a step outside of 'ordinary life' and enter a non-serious space where we can free our imaginations, explore the environment or simply become absorbed within a new rule set to no particular end.

There exist social stigmas around both art and video games which limit the demographic for those who can enjoy either. The traditional format of both mediums requires time to be set apart to enjoy and focus solely on these activities, causing them to lose priority over more 'important' tasks. Installations in galleries are a minority of the general public as it can be an intimidating and somewhat alienating experience.

Although art in the urban context does exist, it is enjoyed for a short moment and does not invite participation on the viewers’ part. Our aim is to create a form of play that invades our everyday lives – an antidote to the serious. Our installation of small interactive illustrations of creatures will infect a designated Ward in Cardiff. A QR-code allows these images to be collected in a form of treasure hunt - the end goal being to find the entire collection. Your collection is represented on your profile on the 'Highly Original Monster Catching Game' website along with statistics about your previous discoveries. These illustrations are frequent enough to be noticed by the more perceptive or lucky, and small enough to encourage individuals to investigate their environment more on a daily basis.

PERSONAL PROJECTS • PERVASIVE GAME PROPOSAL

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BOLYSHMIRL

WEIGHING OVER 100,000 POUNDS AND MEASURING 15 FURLONGS IN LENGTH, BOLYSHMRL IS A FORCE TO BE FEARED. IT MOSTLY ACHIEVES VICTORY IN THE BOKEMON LEAGUE BY CRUSHING YOUR OPPONENT AND EVERYTHING AROUND IT WITH ITS MASSIVE GIRTH, INCLUDING THE STADIUM AND SURROUNDING TOWNS AND VILLAGES.

FROM ‘THE ULTIMATE GUIDE TO BOKEMON (AND LOVEMAKING)’ BY PROFFESSOR BOKE


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LP

‘WOW! WHAT LUXURIOUS CARD-LUXURIOUS CARD-

Scanning...

-huh... is that a QR -huh... is that a QR code?’

EVERYONE I KNOW.’

Happy hunting...

supreme card quality for extra fanciness.

It even has a water-mark....

‘What’s this?.....’‘What’s this?.....’ ‘I’m going to tell....

HIGHLY ORIGINAL MONSTER CATCHING GAME IN ACTION...PERSONAL PROJECTS • PERVASIVE GAME PROPOSAL

L P

‘WOW! WHAT LUXURIOUS CARD-

-huh... is that a QR code?’

EVERYONE I KNOW.’EVERYONE I KNOW.’

Happy hunting...Happy hunting...

‘What’s this?.....’ ‘I’m going to tell....‘I’m going to tell....


DESIGN FOR BANDCOVER ART AND MUSIC VIDEOS

Collaboration with other designers and illustrators was a rewarding experience allowing me to take on a curator role, managing an overall aesthetic (in the spirit of 90s DIY) as well as producing some visual work.

Video footage sources ranged from mobile phone recordings, liscence free movies on Youtube and home video tapes. EP artwork also relied heavily on found imagery.

PRESS ILLUSTRATION BY GEZZLE DINE

PERSONAL PROJECTS • DESIGN FOR BAND

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WHIG CROOKS AND BEER SWINDLERS EP COVER (JAN 2013) WICCANS AND BEATLEMANCERS EP COVER ( DEC 2013)

MUSIC VIDEO FOR 'ARABESQUE BEDOUIN' (JAN 2013) MUSIC VIDEO FOR 'FIX THE ROADS' ( DEC 2013)


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VISUAL ARTPORTRAIT OF TOM, COLOURED

THREAD & PERSPEX

During my A-levels, I was fascinated between the relationship between science and art. I was inspired by the work of Chuck Close and the way he abstracted faces into large landscapes of colour. I found the act of breaking down a detailed image into individual hand crafted pixels very satisfying. The process also gave me a unique understanding of the image I worked with. I discovered years later that Close used it as a form of therapy to overcome his face blindness.

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220 MILLIMETERS

PERSONAL PROJECTS • VISUAL ART

THANK YOU

dylan price portfolio 2014

Documents

usercentred design

user experience design

large scale project

interaction design module

inclusive design appeal

architectural education

new ways

new software