Interactive
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Urbanology, BMW Guggenheim Lab
Local Projects, 2011. Design Intern. Collaborated in conceptual development, interaction design, screen design, web design, artwork, and asset management. Project Manager: Keeli Shaw. Project Directors: Daniel Liss. Principal: Jake Barton. Art Director: Katie Lee. Designer: Greg Mihalko. Intern: Bruno Zalum. Programmers: Patrick Hebron, Tims. Game pieces: Zones Urbaines Sensibiles. Architecture: Atelier Bow-Wow.
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Pawtucket, RI, Sept to Dec 2010. Dylan Greif, Laura Alesci, and Derek Ostrenko.
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Commercial Pop Digital Creative Agency, 2010. Redesign of homepage, SERP, calendar, and sales page. Art Direction by Rus Yusupov.
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Providence, RI 2010.
Design and concept by Dylan Greif and Jeffrey Waldman. Source code by Gokce Kinayoglu.–
Audiomented Space is a collection of ten-minute, pop music mash-up tracks composed inadvertently by participants as they wandered aimlessly through downtown Providence. Using Max/MSP and GPS, we customized a program that mapped a pop song to each block of downtown Providence. The program ran in a 'carry case', which each participant wore on her walk through the city. Based on her path, she composed a unique mash-up track, which she simultaneously listened to on her headphones. The mash-ups blend songs across overlapping 'sound-regions', sometimes falling off the map, sometimes skipping and repeating when strides are abrupt. We made a CD and map for each mashup (below), so others can re-enact participants' audiomented experiences.
Hannah's Mashup
Adam's Mashup
Beth's Mashup
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RISD, 2010.
– A video installation projecting two movies side by side. The first is a slideshow relating my discovering and sketching a landscape. The second is a film depicting my attempt to recreate the original experience. When installed, proximity sensors were set up in the room, so that choosing to stand in front of one movie triggered the other one to pause. Media/software involved: Digital and super 8 cameras, infrared proximity sensors, Arduino microcontroller, MaxMSP.
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RISD, Form and Communication class project, 2009
– In the year 2013, currency flow will be absorbed into the expanding ambit of mobile technologies. Yet, the need for physical exchange will still not be abandoned. The digital bank note will bridge the gap, allowing users to pay with bills to which they assign their own value (via gestural inscription). The bill automatically scans fingerprints to access funds from the user’s bank accounts. Once the bill is locked, the user’s photo identification displays onscreen. It is unlocked prior to transaction. Version one will also come with a calculator.
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Cornell University, 2006
A Nova Vista project. Directors: Dylan Greif and Inna Kleyman. Art Production Team: Joe Boccuzzi, PD Karikas, and Shana Greif. Documentary maker: PD Karikas– The Red Box Apartment traveled throughout the week from a crowded, grassy, university quad, to the courtyard of a residential building, and to the indoor atrium of an engineering school complex. There was a white door on the red box with a sign that read: “Please knock.” One after another, curious passersby approached the box to be greeted by a stranger—a photographer—who welcomed them to their personal portrait session taken with a Polaroid camera. The inside of the box was a quaint, closet-apartment (see farther down). An old tape-radio played foreign music, gold wallpaper and postcards covered the walls, and tattered clothes hung loosely on a nail. After the pictures were taken, the the subjects were asked to write down a memory on a piece of tape. The Red Box Apartment captured the portraits of over 200 individuals. It was produced as a public art installation, a public gallery space for the photographs, a book, and a "behind the scenes" documentary film.
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School of Visual Arts, 2007
– Rules of the Game: 1. Religion-Themed Bocce Ball can be played on almost any surface; the grass, dirt, sand, etc. 2. The game comes with eight large balls called “religions” and one small ball called “fulfillment”. Each religion represents one of the following faiths: Islam, Paganism, Judaism, Hinduism, Christianity, Chinese Folk, Atheism, and Buddhism. 3. One point is awarded to each religion that is closer to fulfillment than the closest ball of the opposing team. 4. Players can use their religions to knock their opponents’ religions away from fulfillment at any time during the frame.
– Design Process: The challenge I set for myself was to adapt a flat graphic to a spherical surface without distortion. I designed a method of cutting the printed graphic into a spine of strips and wrapping it around an actual bocce ball. My first "strip design" was utilized in the ball shown bottom left (Hinduism). It is comprised of three pieces: A large, rectangular sheet of strips and two circular sheets of strips. My second strip design was utilized in the ball shown bottom right (Islam), and an illustration of the strip layout can be seen farther down. While more complicated, it adapts the graphic more accuracy. The shorter the strips are, the less image is cut out between each one. The process was meticulous and taxing. But I also found it ritualistic, which struck me as meaningful and relevant in the work of designing religions. -
Cornell University, 2005
A Nova Vista project. Directors: Dylan Greif and Inna Kleyman. Art Production Team: Joe Boccuzzi, PD Karikas, and Risley College– Material: PVC pipe, paint, cloth, wire, and string
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Cornell University, 2005.
A Nova Vista project. Directors: Dylan Greif and Inna Kleyman. Art Production: Joe Boccuzzi.– Passersby were directed to view the piece from the seventh floor of the adjacent Olin Library. Material: 2,600 sheets of letter-size paper, tape, and a whole lot of paper cuts.
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New York City, 2005.
A Public Journal project. Coordinator: Dylan Greif. Creative Team: Jonah Green, Erin Geld, Shana Greif, and Inna Kleyman.– A dining room table was installed in NYC's Central Park, Bryant Park, Union Square, and Washington Square. At each place setting was an open journal. Passers-by were invited to write about their personal thoughts and experiences and read the entries of others.
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Alan Burack Interviews Alan Lightman about his novel Einstein’s Dreams
RISD, Typography Studio, 2010
– Book. Recently, I’ve returned to this idea of the designer slash writer as one who creates reading experiences. I think that in today’s media landscape, the book is one of an increasing variety of reading experiences. As more emerge, I think readers and viewers will be more conscious of the distinct formal and structural features. In 'Alan Burack Interviews Alan Lightman about his novel Einstein’s Dreams', I extract brief fragments from the original interview and set them in a book. The image in every spread of the book is a spread of a book. The reader’s hands folder over the image of another reader’s hands. Sometimes, there is a one-to-one correspondence between the two. Sometimes, the images of hands are in disarray. Sometimes, the page numbers are consistent, and sometimes they are in reverse. [scroll down]
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Re-imagining the Educational Lantern Slide
RISD, Grad Studio, 2010
– 23"x40" posters. (View larger below)
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Fall, 2010
– Types of Color is an experiment in non-linear reading. The book threads together three prominent designers’ essays about typography. Inspired by web browsing, I generated links by coloring words according to various themes, like participation, fragmentation, and expressiveness. The cascade of pages allows every link to be visible no matter where in the book the reader is. Here, text doesn’t construct its own narrative. The design plays an equal part. Next, I’d like to write a new text with this or a similar form in mind.
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RISD, 2011
– I developed a narrative out of this photograph by Stephen Shore. By reading the signs, analyzing clothes, determining the direction of the sun and even the angle of the shadows, I uncovered an abundance of information and generated a story out of it. The more interesting story, however, was the one about the very process of my reading. Which clues I started with and where they led me. I mapped the story of my reading experience onto the photo itself. I made an index of all the words, then rearranged them to construct yet another narrative. [scroll down]
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Investigating Calvino's 'Quickness'
RISD, Typography Studio, 2010
– 10”x10” posters, an investigation on legibility, simultaneity, infinity and Italo Calvino's concept of 'Quickness' from his 'Six Memos for the Next Millennium'. The first in the series is inspired by MIT researcher Aude Oliva's Einstein/Monroe image illusion, which explores how high spacial frequences (sharp lines) and low spacial frequences (blurry lines) become legible as a function of distance and time. Below, the essential letters in the word 'Quickness' can be read sequentially as one approaches the poster from a distance.
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Adrian Frutiger's Love Letters
RISD, Typography Studio, 2010
– Postcards (scroll down) revealing the fictional narrative of typographer Adrian Frutiger's unrequited love.
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RISD, Typography Studio process book, 2009
– 8"x8" book. Excerpt from front-matter ‘Preamble’: My goal in this book was to establish a system that could cleanly arrange and clearly communicate many distinct layers of information based on the semester’s coursework. The harder I tried, the more holes I found. Is it the alignments? Is it the imperfect classification of content? Is it my wooly, ungrounded writing? I found it impossible to complete this book. It is still incomplete. Every system edges on collapse. There is that irresistible urge to see the material break
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RISD, Form and Communication class project, 2009
– 36"x48" poster. In the year 2013, currency flow will be absorbed into the expanding ambit of mobile technologies. Yet, the need for physical exchange will still not be abandoned. The digital bank note will bridge the gap, allowing users to pay with bills to which they assign their own value via gestural inscription. (View poster below)
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Re-imagining Gutenberg’s Bible
RISD, Typography Studio research paper and spread design, 2009
– 10”x15” pages, bound in anthology on graphic design history.
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Barclays Capital, 2009
– Ticket jacket and information packet for company employees
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The New York Quarterly, Issue 65
The New York Quarterly, 2009
– 6¼”x9” cover. Illustration by Dave McCutcheon
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New Voices Magazine, volume 17, issues 1–2
New Voices Magazine, 2008.
– Covers and Welcome Mat spreads. Responsible for art direction and design.
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Macmillan, 2006–2007
– Designed for Picador, Thomas Dunne Books, St. Martin’s Press, and Tor/Forge divisions.
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Towers in Windows and Lampposts
2006, Cornell.
– A written/photographic narrative depicting an individual's altered perceptions of the mundane following the attacks of 9/11. The book adopts the form of a letter and photographs sent from the individual to his friend.
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2006, Cornell.
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An illustrated narrative depicting an individual's altered perceptions of the mundane - in this case, a dense listing - following the attacks of 9/11.
The plane screamed low down lower Fifth Avenue,
lifted at the Arch, someone said, shaking the dog walkers
in Washington Square Park, drove for the north tower,
struck with a heavy thud, released a huge bright gush
of blackened fire, and vanished, leaving a hole
the size and shape a cartoon plane might make
if it had passed harmlessly through and were flying away now,
on the far side, back into the realm of the imaginary.
(Excerpt from "When the Towers Fell" by Galway Kinnell)