Create wireframes and annotations for responsive web sites and web apps using Axure, Illustrator, and InDesign. Work within and around client brand guidelines to deliver a clean, simple experience that speaks to the value of the brand. Collaborate closely with copywriters and art directors to turn concepts into experiences, then work with creative technologists to turn briefs into stepping stones to greater things.
Begin sentences abruptly, work a lot, and learn tons, with projects ranging from content suggestion dashboards for sales representatives, to product configuration tools and interactive guides. My responsibilities as an Associate User Experience designer are diverse, but often involve leading UX on anywhere from 3 to 7 projects on my account, presenting UI concepts and workflows to the client, and working with development teams both in-house and out.
To the right are sample workflows from the Salesforce product test drive, Platinum Nights Scavenger Hunt, and Stella Artois' The Gift experiences. Platinum Nights was a 13 week digital scavenger hunt that led users across a plethora of platforms, from YouTube to Songza, with flows working agnostically across mobile, desktop, and native apps. Stella Artois' The Gift used a Facebook app to pull user's age, location, profile picture, and friend's list to allow them to pass a gift from friend to friend. These gifts would travel around the country with mileage and any attached messages adjusting accordingly.
RunDC is an interactive system developed for taking over Washington, DC. It allows the users to create their own map of Washington, DC by running paths of their choice, all while interacting with users of the system. The system identifies where the user has run, how long it took, their speed and the amount of times that particular area has been run before. All of these statistics form a matrix of information which allows the system to create a map of DC which is ever evolving. The system employs an interactive installation within a storefront, the use of a web application and the current Nike+ platform.
Using the Processing programming environment I sought to define a new topography of the city where the streets and grid were wiped clean to offer a blank canvas that is defined by running pace and deviation from standard routes. Myself and a partner wrote a program that pulled in GPS data from Nike+ and converted user’s routes into a gray scale height map. A multiplier based on deviation from your standard running pattern encouraged users to do something creative with their running while also determining the pixel value at each GPS point, and thus how much to extrude that part of the topography. The proposed storefront installation would show the ever changing topography of the city as defined by our users and a dedicated website would allow users to view their own topographies.
The failure of this project is the readability of the map. I think for it be truly successful we would need to find a compromise between the original maps I produced and our final form while still fitting within the Nike brand. There is a crispness missing from the final map. We wanted to show the map in perspective view to capture the topography of the city but without any distinction in the peaks I wonder whether ultimately it would have been better to produce a standard, aerial view topographic map with a transparent overlay of the original city grid.
In my role as User Experience Designer for SAP I was tasked with harmonizing all aspects of SAP’s Business Intelligence suite, a set 13 software clients merging into 5 within the next two years. As a worldwide, enterprise software company, SAP had acquired and built the suite up to 13 software clients with development teams around the world, and multiple technologies used for each. I worked with the Product Owners of the various software, determining technological constraints (such as which workflows were built using which programming languages or frameworks) in hopes of achieving an optimal balance between new features and improved UX.
The convergence of products and UX led to many interesting discussions with other teams in the company, whether that be reducing toolbar complexity across all clients with the visual design team in Paris, or establishing a syntax for new chart types with the data visualization team in Shanghai.
Though all design work is still NDA, here's a quick look at some of my responsibilities:
Survey workflows across SAP’s products to determine which opportunities existed for harmonization of workflows or the adoption of new workflows (like guided activities for complex tasks).
Produce detailed specification documents for development to ensure that visual design and workflows were consistent across the suite.
Produce mockups of new designs using Photoshop and Fireworks.
Create interactive prototypes of designs for testing using Axure.
Conduct user studies on new designs then produce reports and presentations based on findings. These were in turn used as vision documents to help guide the direction of the suite.
Establish a common place for terminology, icons, images, and interaction patterns that can be used in conjunction with the current technological infrastructure and code libraries to aid UX harmonization.
Design a social onboarding app for SuccessFactors (an SAP company) which helped users navigate their first week of work.
Over the course of the summer of 2012 I had the opportunity to work as an intern at Studio Claudy Jongstra, a textile design studio in Spannum, the Netherlands. The studio is known for its innovative felting techniques that allow it to produce sustainable, felted art pieces at an architectural scale.
I initially visited the studio during my DutchDesign field school the previous summer and was very impressed with the studio's unique process. Jongstra tends to her own flock of the rare Drenthe Heath sheep, Europe's oldest breed of sheep. Only 1200 of this sheep remain world-wide, of which Jongstra has roughly 200. I had the opportunity to witness the yearly shaving of the sheep, and armed with a camera I spent the afternoon running around the fields in the rain photographing them.
In addition to the Drenthe Heath, Jongstra maintains several fields of dye plants. These fields are an amplification of the two gardens kept at the studio where I lived and work, gardens which Jonsgtra views as 'living laboratories' for testing new dye plants and stimulating biodiversity by offering a habitat for bees, butterflies, and other insects.
My role at the studio was diverse, and ranged from photographing and documenting these plants and sheep to working directly with the raw material they provide. I lived and worked at the studio in a town of 200 and would often spend a day carding wool (a process that straightens the fibers and prepares them for felting and my nights kayaking around the canals of the northern province of Friesland.
Studio Claudy Jonsgtra tackled an incredible variety of projects during my time there, including:
-An exhibition for the Amsterdam public library, Ode Aan Claudy Jongstra.
-Preparation and planning for the Archi-Textiles exhibit at the Textile Museum in Tilburg.
-Claudy Jongstra was asked to participate in the Wunderkammer (wonder-room) exhibit at the Venice Architecture Biennale. This exhibit was curated by NY-based Todd Williams Billie Tsiens Architects and featured such notable architects as Shigeru Ban, Toyo Ito, Steven Holl, and Peter Zumthor.
-The studio designed an art piece for sustainable denim manufacturer Orta Anadolu to be displayed at the Bread & Butter Fair in Berlin. A short video of the pavilion with the tapestry can be seen here.
-The studio was approached by Rutgers WPS to design a maternity band as part of the Moedernachtcampaign.
Of the projects I have been involved in I have always cared the most about projects where I am mentoring, teaching, and supporting over those where I am solely producing. In high school this love of teaching began when I was the head tutor for the Soar to Success program, a tutoring program for students with learning disabilities. I went on to lead numerous focus groups across the lower mainland of British Columbia which were aimed at increasing student engagement in the classroom. After entering SFU and later completing the IAT 233 as a student I was thrilled to be asked by professor Russell Taylor to come back on numerous occasions to mentor younger students. The course takes students on a three day field school / design charette to Seattle, Washington, USA, where students design their own buildings for the first time. I have played a key role in mentoring students for the past five trips down to Seattle, acting as one of five group leads tasked to move the group of 90 students through the city and teach them about architecture and urbanism.
In the spring semester of 2012 I was the Teaching Assistant for the course and I was thrilled each week to work one-on-one with students who generally have very little design background. Instead of doing one project I got to be indirectly involved with 10 very different projects each week. Over the course of four months I helped teach students to understand graphic design grammar as an introduction to architecture. They then completed precedent studies on architects and their projects, making mass models using hot-wire foam cutters and finally finished digital models. This led to the design of a pavilion in Seattle that straddled the lines between architecture and landscape architecture.
Mitto, Latin for ‘trickle’, was an eight month long project that I recently completed as a final graduation project. It is meant to be the culmination of the various courses I have taken over the length of my degree. My team of five decided to challenge ourselves by producing a highly physical product with no digital aspect so that our focus would be entirely on the object itself. Mitto is a water catchment and filtration system that is meant to be used in remote areas. A collection system (either rain, snow, river, or fog based) brings water into the filter module, rendering it potable before storing it in the reservoir beneath. The system is highly portable and modular.
My role on the team was design and fabrication. I designed and constructed our first two prototypes using SolidWorks and a laser cutter, along with a variety of other pieces that were sewn or cast. I was given off-the-shelf plumbing components and had to model them so that I could then design the other pieces around them. This resulted in the initial design of 26 pieces and the redesign of those pieces based on user feedback to a current total of 48 interlocking parts. The final prototype was 3D printed using ABS plastic to more closely replicate a production version. Six pieces lock together in varying configurations to allow for the catchment and filtration of water in numerous contexts. We conducted extensive user studies that were alternated with rapid prototyping sessions to ensure that our design met the goals of numerous users and contexts.
Mitto was profiled on USA Today for Earth Day in an article on green technology. You can view the article here. Please visit mitto.ca for more information and for experience videos.
The SlugRobots were originally supposed to be a kinetic sculpture for my IAT 337 - Representation and Fabrication course. Using rapid prototyping techniques like 3D printing and laser cutting the brief was targeted towards the creation of a high-fidelity automaton toy with a theme of nature vs. technology. We wanted to analyze the creation of sound and movement so what started as a series of music boxes that connected together to make various noise turned into four slowly moving creatures that produced noise and would act in unison if they sensed another nearby.
Each SlugRobot has an Arduino microcontroller that runs two motors, one for a 3D printed cylinder with pins and bells (similar to a music box) and one to control the movement of the robot in a process similar to locomotion. An Atari Punk Console works with an electronic reed and the cylinder to create sound. An infrared emitter and sensor are placed on the tail and hang from the head to allow the SlugRobot to communicate with others and sync up the speed at which the cylinder turns (and thus the noise that's generated).
For more information on the project please visit our website.
ArchiDutch is a story of architecture and the creation of space in the Netherlands as seen through the eyes of some of the most prominent space-makers today. Petra Blaisse (Inside/Outside), Reinier de Graaf (OMA), Vincent de Rijk (Werkplaats Vincent de Rijk), and Jacob van Rijs (MVRDV) discuss what it is about the Netherlands that has led to such innovative architecture and urbanism.
This documentary was produced by Saba Nowroozi, Morgan Fraser, and myself. Initial filming of interviews and context footage took place during our Dutch Design field school in the summer of 2011. After returning to Vancouver and reviewing our footage, I returned to the Netherlands for three weeks in the fall of 2011 to continue filming. As a result, most context footage shown in both this film and Dutchness, the partner documentary on Dutch design, were filmed by me.
Dutch Design was an inaugural field school to Northern Europe conducted by professor Russell Taylor and the School of Interactive Arts and Technology at SFU. Myself and 13 other students travelled to Amsterdam, Rotterdam, Arnhem, Makkum, Malmo (Sweden), and Copenhagen (Denmark), interviewing designers and architects. I was selected by my professor to work as part of a team of four and develop questions for all interviews, ensuring that our interviews would cover similar themes. I focused on developing questions for the architects and urban designers of the field school, conducting interviews one-on-one with Jurgen Bey, Reinier de Graaf, and Jacob van Rijs.