Wednesday, 15 December 2010

Assignment 4, read and review

For this assignment, we were asked to take a book and a journal from the last assignment and write a summary of the author's ideas in relation to our topic, for me this is retail design and if there is a way designers can trigger a response to lead people straight to a specific section or just in general buy more in the store.

I decided to choose the book 'Retail Design' by Otto Riewoldt as I found it the most interesting read out of the six or so I chose. It is made up of a compilation of various companies, retail projects, including showrooms, boutiques, markets and department stores. Basically the author goes through each one and explains the design of the store layout and why they have done what they have and I have chosen 2 examples out of this book to compare. One is 'Zero Lustrum Pukeberg' and the other 'Hushush'. Then the article I chose is from the Design Week journal which is about the chemist Boots and their ideas to improve business.

The Zero Lustrum Pukeberg
The author has looked into a whole load of retail companies/business' and has looked into their designs and is informing us why they designed the way they did. In this shop in Stockholm, Sweden three established Swedish brands selling glass, lighting and furnishings, collaborated to create a sales and display outlet in Stockholm’s city centre. 

"The goal was to make the three companies really visible, to make the companies more available to the public. Their concept was to draw people inside by creating a progression, for the ‘soft’ home interior pieces up front to the ‘industrial’ bookshelves at the back." Rupert Gardner, interior designer.

The company designed two completely contrasting types of wall design ensure that the route consumers follow to reach the distant areas is constantly interesting. On the left hand side – striking illuminated glass products are set in front of a wall made of Nordic pine with horizontal relief pattern and on the opposite side is a long, back lit wall of light with metal boards which changes colour every fifteen minutes. This is a really exciting design idea, the horizontal lines on the wall deliberately lead the customer in through the shop, and involving lights that change colour, plus varying contrasting materials is a central part to the overall impression and the effective way visitors are led through the building. This design is a flexible one, with sliding walls and mobile glass partitions that can be easily moved and repositioned to allow the space to be utilized and arranged in different ways is an attractive and a very adaptable feature. Sandstone, mosaics, bare concrete and untreated wood were used, together with the sculpted ceiling with its many different light sources creates a perfect setting for the spectacle of beautiful objects being displayed.

This is quite different to the store design by Harry Allen & Associates of 'Hushush' who  developed a suitable retail setting for a new brand collection. Hushush is a range of 'basic' fashions, and they wanted to create a distinctive impact from the outset through its architectural presentation. 

"The challenge to provide a backdrop for a brand of basic clothing has never been met with a successful solution. No matter how hard designers have tried to be ‘basic’ they cannot help styling the concept. But ‘basic’ is not a style, it is a reality. And the consumers are ready to accept reality. Forget ergonomics and tasteful styling. Like a minimalistic sculpture, the concept will focus on materials and geometry." Harry Allen, interior designer.

The Hushush store layout is designed on a basic model of large scale wall sections forming a diagonal grid pattern on the floor. These wall sections fulfil all the necessary functions, such as storage, merchandise display areas, cash desks, changing rooms and signposting system in one. There are different surface materials appointed to different product groups to guide customers through the modules, of which there are eleven altogether, each around one metre deep and up to eighteen metres long. Varying in heights, gaps and open shelf or hanging systems allows the customers to see through from one area into another. This has been a very cleverly thought out design, and I like the way there is a bit of alteration in the aspects used to create a funky yet very sleek, stylish and architecturally sound design. The designers don't deny that they used the idea of the rigid lengthways division borrowed from the standard supermarket design. In their eyes this proves what they proclaim as their honesty in presenting basic branded fashions. What they have done is they have taken something ordinary and transform it into something out of the ordinary, something that is a normal situation but now unfolds having surprising spacial qualities – while at the same time remaining what retail design must primarily be, that is, a vehicle for displaying merchandise and not self-regarding an end itself.

The article, from the Design Week journal's main purpose is to inform customers of the proposed changes to packaging and store design in Boots the chemist to help make the store an easier layout for customers to follow and to ultimately improve the amount of business. The author's key question is, do the new proposed ideas help to guide customers through the store, does the new packaging design boost the sales of products, and does the clearer layout of the store make many customers less confused and more likely to shop in this store. Boot's advertising agency 'Mother' and design groups Saturday and Household both have contributed to the new store's look and feel. One visible development in particular is the prominent departmental signage, all rendered in a specific typeface, AG Bookman Rounded, which is easily recognisable and creates a feeling of familiarity which is attractive to customers. Jon Turner, a creative designer, is keen that the customers find it easy to locate where exactly in the store the checkout is for paying, as before apparently it had been a little confusing. Scott Billings, the author of this article, has a lot of evidence and has done his research on what it is exactly that Boots' are doing. I imagine that he has spoke to someone senior in the company to find out all the names of people or design groups that are involved in this whole operation. An example of this is Lippa Pearce, she has developed packs for a cough relief range, employing a generic style of medicine sector. This is then being adopted by Boot's internal team to produce a generic style for pain relief packs.

I personally think this is an excellent idea, especially if the whole purpose is to attract more customers. By creating a generic style it then becomes easily recognisable and will soon become associated with both Boots and it's purpose (pain relief) which customers identify with because this could lead to the early stages of brand recognition and brand loyalty.
Boots also strategically open new stores earlier in the year to maximise the spending peak on the run up to Christmas. This is another good marketing technique, which will also help with maximising sales. 

Retail design is not just about the visual layout of store and the pretty packaged products but also the marketing business side as well. Boots recognised they had been massively overpriced in the past, a premium of 25% to the market was put in place. The Chief Executive of Boots, Richard Baker managed to get it lower to 10% but that was still quite expensive. I would personally like to understand the business side of the company better. I would look into why Boots set prices so high, because its obvious they were suffering because of it, and due to the store being a confusing layout and more expensive (according to the property director Tony Vashista) this also didn't help sales. Boots' have gone through many changes to improve business. They have involved all the right specialists in certain areas to make the best job, one for example, is they involved x-ray photographer Nick Veasey to capture images of the product ingredients to ensure what they were selling was genuine.

These two retail designs are quite different, the Zero Lustrum one being very organic and sustainable using planks of timber along a wall, and soft lighting creating a warm atmosphere. Whereas the Hushush have used bare concrete and spotlights which is a completely different environment, and has a cold feel to it. Both are displaying merchandise, but one is selling glass accessories, furnishings and lighting which is all very homely items which is why an atmosphere of perhaps cosiness is created. Whereas the other is displaying a new line of 'basic' clothing, so the design is going to be quite sleek, contemporary and minimal. The layout and the way the designers have designed the route throughout the store is different yet has similar qualities, for example, changing the materials, lighting and texture of the the walls in the first store is an easy pathway which the eye naturally leads you through, whereas the second one is almost laid out like obstacles, yet cleverly positioned with specific gaps and heights so that the designer is leading the visitor through the store in the ideal route they want. This could be so that the visitor has a chance to look round the entire shop before coming to the checkout, or leading them straight by certain items on offer, or through a path that makes them want to buy everything as it is displayed in such way to make them feel they need it.
What is different between these two and the Boots though, is that their key focus was to boost sales, which in no doubt is key to these two as well, but their primary focus was to attract customers into the store and focused on how exactly the visitors were going to be led through the store and respond  positively to the design. Boot's did want to attract customers in by improving similar techniques, but were more concerned about the money and how much business they were doing and changing their packaging and signage which is a completely different thing. The first two very much have a set image that they are not changing, whereas Boot's want to change theirs slightly for improvement.

I think to understand fully what these designers are doing, is to do a couple of experiments to perhaps get the best results and see if what they propose is in fact true. For example, having Boots the way it was and getting statistics of on average how many customers come in each day, how they interact with the space, i.e what route they take through the store, and the number of sales/how much profit they’re making, and comparing what that was to what is it once they have improved the store layout, and changed the packaging to see if a significant change has been made. Was all this worth it? I personally think yes because it makes a whole lot of sense to me why they did everything they did, and if companies are running into the ground or stuck in a rut, they need to re-evaluate and perhaps it is time that they changed their image, but to fully know we would have to experiment that or get the results if it has already been done! With the likes of the two stores described in the book, I would say it is quite psychologically based, which is another factor I would research into more. I would be more interested to see if what the author was proposing on how the visitors react actually was true, and they did respond with the environment the way the designer intended. And if they didn’t, why not? And is it necessarily a bad thing?  These are all interesting points to raise and without evidence at hand we’ll not know.. But it is interesting to think, that is what designers are doing worth it? Or is it just an ‘in theory’ scenario it should work? I’m going to strongly suggest that it is definitely worth it, yes because I’m a designer, but also because they have done enough evidence into the psychology of people to know that this is how our brains work, and what we respond positively to! It is the way God made us, and it's what we like.


Billings, S. (2005). A profit-building prescription. Design Week; (Vol. 20 Issue 18), p11-11

Riewoldt, O. (2000). Retail Design, London: Laurence King.

          - Zero Lustrum Pukeberg, Rupert Gardner Design
          - Hushush, Harry Allen & Associates

The finished furniture...

Here is the video we played at the start of our presentation. To make you feel and aware the damage and abuse chairs and furniture get, to show you who we are, what we do and the processes we went through to make the furniture.

So today we presented our furniture project, what a relief! It has felt like this project has gone on forever.. there certainly has been times when this project did not go as planned, and working in a group is always testing but we did the best that we could and definitely learnt a lot throughout, here is a few images from our design.. I will post up the sheets when I can separate the indesign sheets and save them as singular pdf files! Throughout the project we have learned many things, we learnt plenty about joints and how they work. We used mostly dowel joints in our work, but also used a mitre and micanse joint in our last piece, the chair/bench. Our project was about finding what old unwanted furniture and trying to reuse it in a quirky humorous way, but also finding the kind of furniture we wanted proved harder than we first thought. Not only finding the kind of thing we wanted but the hardest thing was learning about the materials and realising what we could and couldn't do and many things being restricted because the wood wasn't suitable. The whole point of our project was not to produce beautiful perfect pieces of furniture, but to inspire others to want to create similar pieces out of the old scraps or broken furniture they don't want any more. Keeping that character and nostalgia of the old wood exposed has proved a success on the chair/bench. We were just told today that many just to encase the old characteristics of wood but always seem to mask it. Where we have it fully exposed, and we have sanded away certain parts where we have done the joints to add a nice wee stylish detail. It also shows the raw fresh clean pine underneath - what it used to be like, compared to now after years of use and damage. So hopefully you will be inspired at looking some of our items!

Here is the coffee table in use, i posted the image of this one on its own in previous post. (see below)

coffee table used in a living room

CAD drawings of coffee table

stool used in a kitchen situation
final outcome. chair/bench

here is it being used in a gallery space

Tuesday, 7 December 2010

_the final countdown

Ok so now we are about to enter into the final week of our furniture project. It's rounding up nicely so far... However the snow here has been a slight spanner in the works so last week we couldn't get into the workshop, but we carried on doing our presentation sheets, as well as playing in the snow (obviously - how couldn't you? This is possibly the heaviest snowfall I've ever seen in Scotland!!) The last time I remember snow like this was when I lived in Connecticut, USA in 1997! Anyway enough of snow talk...

So the project is coming to an end, the idea of our company 'Find It, Fix It' is that we want to find unwanted furniture and recycle, reuse it to create a more stylish, funky, humorous piece of furniture. So altogether we have had a lot of fun finding furniture, the most amazing thing I've found is actually getting into the character of it and actually genuinely feeling sorry for abandoned furniture. I mean just look at this..

So the idea I am crazy about and it would be cool to carry it on. The concept part of this whole idea is pretty simple, and messing about with your sketchbook at hand or using photoshop is one thing, but it's quite another actually working with the materials you have and dealing with the issues they create. There are many - trust me!! For example we're using an old tabletop found in a church and it has a slight bend in the wood which hasn’t made it easy to construct a joint. I think that’s what has been interesting about the project for me, is dealing with the issues that arise and solving the problem to make it work!

Anyways i’ll post some photos of us working in the workshop so you can see what we’re up to...

deliberate lookalike squint stool we made first - photoshop cutout
coffee table we made - photoshop cutout

sanding the parts to strengthen mitre joint
chiselling part of chair to set wood planks into
chiselling part of the wood back to original state
the result during sanding state

Monday, 29 November 2010

_the power of influence on youth

On Friday in the lecture I was taken back to the 90s when I was a kid and reminded of the youth in that day. (yes that includes me..) and looking back at the BBC panorama clip Jonathan showed us I realised how narrow minded many of us were. The reason it was like this was because the power of influence was so great, either from the media or friends/family. There was this constant pressure that kids felt they had to fit in from such an early age! And to fit in and not become a victim of the bullies, you had to dress in a certain manner. Many kids felt they had to wear the latest and coolest brands of clothing to fit in with their peers and to not stand out as wearing something 'uncool' which could lead to them possibly becoming threatening. Many of the parents were open to this being the scenario and complied with it, and kept buying their children what they wanted basically, and when they wanted it. Just to keep them happy..

Is this the right attitude? Should parents address every whim of their childs', or perhaps from the start have their say in their children's life, tell them this is how it is. Certainly I feel it's the better way to be brought up, not to get everything you want and become a spoilt brat. But start appreciating the value of things you have and receiving what you deserve and from what you earn. I think this helps to shape someone's character as well, being thankful and less expectant. As being this brand conscious then - does that mean they remain like this for the rest of their life, does it grow worse as they get older? or do they learn from this as they mature and then think this is not how to bring my children up...

It just shows you the power of advertising these days. I think in many ways this same pressure applies for a lot of people. The advertising in magazines and shops is just as powerful today to urge you to buy. Paco Underhill's book 'Why We Buy' is about the techniques used within the retail industry. The fact that in most (not all) shops the tills are on the left hand side of the store because as you enter a shop you tend to veer towards the left..and to avoid stumbling across the till so soon, it forces you to head anti clockwise round the shop and head right first. Bet you hadn't thought of that before? The store layout is designed to make you want to buy every piece of merchandise, whether it is how the product is displayed, what it's displayed next to, the colours it's beside, or under just the right amount of light to make it sparkle that extra bit more to tempt your hungry eyes. Whatever they do - it works. We can all admit to at least one time where you have been sucked in by their tempting offers.

Anyhow, back to my main point, is it right that just because you child wants to 'fit in' you should splash out on  Gucci handbags, Bench hoodies, Miss Sixty Jeans at the age of 8-12 when they are going to grow out of it in a few months anyway...or of course the fashion changes.. or will making them happy by splashing out money be the best option...? Or from the beginning drill it into them that the inside character is much more important than the outer layer of labels and if your 'friends' can't see that then are they really your friends?

Monday, 22 November 2010

Assignment 3

For this assignment we were able to explore the facility of ‘cross search’ the library facility and deepen our research skills by accessing not only books, but also journals and articles both on and offline. The topic I chose to look into was retail design and how interior designers can design shops in such a way to boost profits. How can the layout of a shop get the customers to follow a certain route through the store to a particular item, which perhaps conveniently passes certain items on offer etc to persuade customers to ultimately buy more. Here is a Harvard style reference of the books/journals/articles I found on the topic which I found interesting.


Bearne, S. (2010). Bolland holds fire on M&S brands. Drapers; (Nov 12), p1-3
Bollard’s masterplan is to reinforce M&S as a name in its own right, backed by clothing and footwear ranges that are more inspiring and make better use of fabric innovations. The retailer will also bring in much-needed brand specialists with the know-how to create clearer in-store signposting and help customers to make sense of confusing sub-brands. A feature that seems to occur in a few of these articles/books is that the design of the shop layout needs to be clearer.

Billings, S. (2005). A profit-building prescription. Design Week; (Vol. 20 Issue 18), p11-11
This article is about Boots and how they have designed a thorough treatment to improve business,
Scott Billings looks at the elements from packaging to stores. One example is the development of the prominent department signage so customers found it easy to locate where to pay, as before it was found to be confusing.


Fareast Design Editors Inc. (2008). Spa-de Special Retail Environment Design 1, Tokyo: Gunshiro Matsumoto.
This book focuses on the interior designs of commercial spaces from around the world. Spa-de reports on cafes, restaurants, beauty salons, and larger retail stores such as shopping malls and department stores. The design reaches beyond architecture and interior, but includes product development, store fixture, environmental graphics, signage, packaging and advertising. This book looks at a number of design firms who have produced commercially successful projects and interesting designs.

Green, W. R. (1986). The Retail Store Design and Construction, New York: Van Nostrand Reinhold Company Inc.
Designing and constructing a retail store involves a number of people, the developer, leasing agent, the designer, merchant tenant, bankers, builders, tradesmen, store personnel and shoppers. The success of a store depends on the combined efforts of all participants to achieve an appropriate blend of product pricing, quality and variety. Different chapters go into the likes of store image and spacial organisation, product display, the storefront, materials, systems and lighting.

Riewoldt, O. (2000). Retail Design, London: Laurence King.
This book gives a thorough international overview of outstanding retail projects and what they have done in terms of layout to entice customers into their stores. One example is ‘Zero Lustrum Pukeberg’ in Stockholm, Sweden. Their concept was to draw people inside by creating progression from the ‘soft’ home-interior pieces up front to the ‘industrial’ bookshelves at the back. Also using different types of wall design ensures that the route the customers follow to reach the distant areas is constantly interesting.

Tucker, J. (2003). Design, Display and Visual Merchandising, Mies: RotoVision SA.
Visual merchandising is at the heart of retail design – the fine art of persuasion.
Window dressing is now only a small part of display and visual merchandising, which
encompasses the in-store 3D environment, graphics, audiovisual media and point of
purchase material – all the way to the store as total embodiment of the brand.

A list of the top websites I like to keep up with, within Interior and Environmental Design:

websites I keep up with in general:

Tuesday, 9 November 2010

Continuation of 2C..

The aspect from the brainstorming that interested me most is basically how Airwalk got the recognition it did. So more specifically I have looked into brand recognition and how companys produce goods and services of such a quality so as not to get a customer disappointed. Infact the opposite, the companys aim is to gain their loyalty, so no matter the price, the quality is always good and they know what they're going to get and continue to buy from them. Then by word of mouth, this loyalty is passed on to all their friends and family, everyone gets involved creating an epidemic and producing the stickiness factor, so their produce will remain high in demand amongst the market and stay there, and finally the company gain the status they were seeking for. So that wherever you go, their brand/produce/service will be the talking point, everyone has heard of it  or has one. 
This poster I produced is basically to show what branding suggests; price, social class, exclusivity, repetition, style, colour scheme, glamour, celebrity etc. But this is what people want, and to gain this status or name for themselves to be seen in such clothes they will spend the money. 
The catwalk model wearing a money dress represents the money involved. She is wearing a hat/holding a cane to show her social class. She is deliberately brighter than the background to gain focus on her, to show her exclusivity compared to the maddening crowd in the background, all reaching for what she has. I have included celebrity as well, as many company's use a technique called celebrity endorsement, so in advertising their product or service they use a celebrity's face, as many people would like to be like this person and therefore this encourages sales.


Celebrity endorsement examples...

Cheryl Cole - L'Oreal
David Beckham 
George Clooney
Eva Longoria

Friday, 5 November 2010

Make Things Make Sense...

Observing, Imaginating, Visualising... As designers there are three aspects and skills we have and encounter in everyday life. Observation is an exciting part of life, taking everything in, in the world around you, noticing what is going on, recognising people's needs. Then stirring up the need to want to do something about it. The recent few lectures we have had have been on focusing on design and the way we think about it has been a huge part. And I have to admit I had been really encouraged about it all. I'm not saying I had a really narrow view on design necessarily, but I just didn't realise the scope of it was as big as it is and the possibilities out there. The options are limitless. Design is powerful, it can change how people behave. Imagine a world where technology was out there exceeding what was thought as humanly possible. In today's lecture technology used in jewellery was a totally new concept for me. Hazel White was telling us she was linking jewellery, and putting it through technology so it was causing movement on screen. So the jewellery had a totally new life, a different side to it's personality. But it did get me excited, thinking how could technology be used in other disciplines? I'm going to leave this open for thought...
Hazel White's jewellery

Assignment 2A-C


So we got some time together today to complete the brainstorming session for Assignment 2A. We enjoyed doing this as a team and felt we learned different things about the book from each other.

We then we went on for assignment 2B-C to complete the the discussion and thinking aspect. I definitely found the last few lectures have helped with regards to thinking about design more openly, and so when discussing we found it interesting that varies design disciplines were brought up for example, graphic design, interior design, service design and linking that to 'The Tipping Point' topics.

Thursday, 4 November 2010

Cheeky brainstorming action!

Ok so the brainstorming action has begun! I have teamed up with fellow course mates Fawn, Shona and Ross :) And we have decided to take the approach of doing a brainstorming session together and doing the 3 topic areas between us on the one page, and then doing a poster/mindmap on our own topic more in depth. Shona and I are tackling Airwalk the company and how its tactics relates to design. Ross is looking at the rule of 150, and Fawn is looking at crime, so all together as a whole we are helping each other out to produce the final thing! Here are few photos of the goings on!

-  we plan to finish this by the end of the week! Watch this space :)

Wednesday, 3 November 2010

I+ED; Bomb Project

This week us Interior students for the first time in a long time worked together as a whole course in mixed year groups. Which I enjoyed from the aspect of being forced to get to know and work with the students in others years which I wouldn't normally get the opportunity to. So the brief was to design a conceptual portrait of a building typology - and our buzz word was SHOP. So we had a wee brainstorming sesh to begin with to see what words came to mind, to realise that shopping means different things to different people. So we decided to convey this in some way that we could. The idea was to create a shop window, as window dressing, is a huge part of shopping and advertising to get people in. So this is what we did first, created a timber cube frame about 2m x 2m, and what we did was cut up a man's shirt along the seams, so at the cuffs, arms, collar and back. We covered the pieces in either advertisements from magazines and newspapers, paper money we printed, and a huge collection of receipts we managed to get a hold of. We hung the individual pieces at different depths and heights so that the shirt looked disturbed and disrupted from different angles, but only form certain angles could you see the shirt as a whole. This is to represent how everyone sees shopping in different ways - either they see shopping as money, a necessity, or perhaps they are bribed easily and persuaded by advertisements around them. We later added the trousers and shoes to help fill the space. Here are a few photos:
Here is a few photos of our design. the bottom 2 are focused in photos of certain aspects, 1) the receipts used for the legs and arms. and 2) moneys used on cuffs and collar.

Friday, 29 October 2010

What you see is NOT always what you get...

A point was raised in todays lecture about what we see in this world being not just an image, but (especially as a designer) how we interpret that image shapes our world. This really interested me, as in this world I have always wondered is what I see what everyone else is seeing? The example we used to talk about when we were younger was, is what I see as the colour red what you see as the colour red? How can we know for sure that what I see as red is what you see as green but in your mind is labelled as red?
When we look at designs, are we all seeing the same thing? The answer is no. Which is what I think makes design so interesting, and why feedback is important to hear different people's thoughts on it. As we know everyone is quite opinionated and appreciates different aspects of design, that's what distinguishes us, that is how we are all unique in our own way. The world would be a boring place to live in if we were all the same and liked all the same things. It all depends on how our minds work, what grabs us first, what we pick out most. Do we look at colour first, and form an opinion based on whether or not the colours work well together? Are we more concerned with function and consider perhaps that it hasn't been designed well? Or perhaps people are just ignorant and just because it's modern, minimalist, black and white, they just down right hate it. Or maybe people love that?

Ladderback Chair - Charles Rennie Macintosh.
So for example, since I'm looking at furniture design, a chair. It may be designed well and functions as a chair but aesthetically it doesn't appeal. For some people that would be a huge issue, but for others they are quite happy with that chair being comfortable doesn't matter if the colours clash with the room. Some designs though are purposefully for purely aesthetic value, more of a decorate piece of art rather than a useable chair. an example fo this would be those of Charles Rennie Macintosh. This is a very distinctive design style and some will love, some will hate. So what we are all seeing, this chair, is not always what you expect. We all see the same chair, but not just as an image, it's how we interpret it that forms our views and shapes our world.

Tuesday, 26 October 2010

Recent Research_

A large part of my research just now is for our new project which is to design furniture or object reflecting contemporary culture in domestic living. A large part of this is about reusing materials, recycling and upcycling. The side that my group and I are most interesting in is upcycling and the idea of taking old materials and scraps that are worthless and combining them to create something beautiful. Giving those unwanted materials a second life, bringing them back to life in a new way. We like the idea of designing something quirky and humorous. Tomorrow we plan to visit a number of recycling plants to see what we can salvage. Here are a few designs that I have found that interested me:
retro tv reused into a funky seat
upcycled furniture
multi functional unit. designer: jin young lee. 
chair made of recycled plastic bottles
love the way the pieces all come together to create one unit
armchair made of paper shreds!
shadow chair

The stools below are made of scraps of wood found and up cycled into these beautiful pieces of furniture. This link:
shows the designer Rodrigo Calixto how it is done.

Below is how we ended our day today, after our seminar on brainstorming we felt it right to do a wee cheeky brainstorming exercise ourselves to get the creative juices flowing, and letting all our initial thoughts explode together down onto the one page.

Monday, 25 October 2010

Assignment 1B-D

The area that interested me most out of the book was the chapter about Rumours, Sneakers and Translation. I was going to narrow it down and do my second mindmap on just maybe one of these aspects but I felt the whole chapter was relevant and very interlinked so I looked at most aspects of it. Here it talked about the company Airwalk and how they tipped with the advertising help of the advertising agency Lambesis. It talks about Innovators, those outcasts in society who don’t care what people think, they are confident and unique. Quite often it’s these types of people that are trendsetters, and companies like Lambesis spot them early on and try to get the advertising ready just as the trend has taken off and going mainstream into High Street stores.  I found all of this interesting so here is my mindmap of this section which includes some of the points raised and the people Gladwell researched to find his information:

Bibliography of the section I looked into in Harvard style referencing:

Page 196
Ryan, B., Gross, N. (1943). The Diffusion of Hybrid Seed Corn in Two Iowa Communities. Rural Sociology. 8, p15-24.

Example used to explain how Lambesis did what they did by comparing it to previous famous diffusion studies by Ryan and Gross.

Page 197
Moore, G. (1991). Crossing  the Chasm. P9-14.

Moore explains the difference between those who originate ideas and trends and those who are in the majority who eventually take up the idea and trends.

Page 201
Allport, G., Postman, L. (1947). The Psychology of Rumor. P135-138.

Gladwell refers to this book as it provides examples of how rumours are contagious and spread, and confirms his previous point.

Page 204
Valente, T., Foreman, R.K., Junge, B. Satellite Exchange in the Baltimore Needle Exchange Program. Press.

Translation has just been talked about and the role connectors have. Here Junge is saying that the super exchangers are the connectors of the drug world in Baltimore.