Design Report

This page is dedicated to sharing my research in the field of design along with my key learnings, reflections, and personal experience with the design process as it pertains to my previous work along with the analysis of existing models. Because design analysis, models, tools, and processes have been sparsely represented throughout my previous OPs, this section of my report is sort of an "extra credit" page which ensures my engagement with design and fulfills the requirements which I must meet in order to successfully graduate from Gaia U. 

In its most basic form, the word design is a verb for 'the process of creation' or 'an act of creativity and innovation'. In this sense the meaning of design is fairly ambiguous as nearly every action can be seen as a process of creation when taking into account all of the facets involved with virtually any action at all. It is also applied differently in various contexts. This can be related to the most mundane activities such as washing the dishes or large scale projects like the development of city electrical systems. When it comes to describing the field of design as a whole it can be defined as the development of strategic forms of approach to accomplish a given goal. An efficient design model, tool, or process defines and specifies all parameters involved with achieving the objective at hand, often considering the aesthetic, functional, economic, and sociopolitical dimensions of both the design object and design process. Below is a quote by the 20th century British writer, John Heskett, on the subject of design.

"Design, stripped to its essence, can be described as the human nature to shape and make our environment in ways without precedent on nature, to serve our needs and give meaning to our lives." I like that this quote simultaneously encapsulates a union of depth and practicality which is a core facet that makes design such a vast and all-encompassing field. 

Gaia University has been my personal window into the world of design, its tools and practices and nearly infinite applications. With Design analysis at its core, Gaia University is essentially a platform to aid one in the understanding and application of design principles in ones own life and projects in order to yield more powerful results and track progress while providing tools for further self-reflection and analysis. 

Design Methodologies

In the process of implementing a given design, the use of design methodologies can be applied in order to aid one in more efficiently and effectively managing time, energy, and materials so that the execution and unfoldment of the project itself can manifest in the most optimal way. Design methods can help bring greater understanding to one's process by illuminating the interconnections, patterns, micro-macro perspectives, and overall scope of one's project by demonstrating a coherent model of organized information and pathway concepts by which to structure the designer's engagement and workflow within the project itself. Some methodologies are analytical and assessment based (left brain) while others are more intuitive or imaginative (right brain). How a method is chosen should be determined by the individuals' natural inclination and orientation toward what will most effectively aid them in comprehending the design at hand. Some examples of design methodologies are:

Log-Frame

As a design methodology, Log-Frame is short for 'Logical Framework' and is a design approach which acts as a tool to optimize planning, implementation, management, monitoring and evaluation of projects. The log-frame helps us to structure the core elements of a project while illuminating the interconnections between them.    

Iterative Design

The Iterative process design is one in which various iterations of a certain project or process are generated either to map out many to all possible outcomes for the design at hand or with the intention of reaching a specific goal. Each repetition of the given process is known as an 'iteration'. 

OBREDIMET

The OBREDIMET design process is a series of steps which help the designer to organize and oversee all elements at hand for a given project and is often used for the implementation of permaculture projects. The acronym is broken down as follows:  

Observation - Data collection and general project mapping

Boundaries - The physical, legal, and skill-level boundaries of the project and it's designer

Resources - The physical/financial resources at hand

Evaluation - Balancing action with knowledge of systems within the field which one is working and possibly adding to 

Decisions/Design - Deciding what is the best course of design action to take 

Implementation - Execution of the plans and design decisions

Maintenance - Maintaining integrity of project performance by ensuring its initial functionality 

Evaluation - Evaluating overall performance of system 

Tweaking - Taking care of any necessary details and adjustments

OBREDIMET can be used both as a log frame or Iterative design method as well which I will illustrate with these two examples below.

Using the example of booking a month long tour for my band with OBREDIMET as a log frame design, the process would unfold in a series of mini projects. Out of the multiple facets which go into the process of booking and preparing for a tour, one mini project within the overall framework would be confirming 'support acts' (bands we will play shows with). This consists of researching the bands in given areas, organizing them by preference, capability, and fan base, and then deciding who to contact and invite onto the bill. Another mini project would be finding the venues where the shows will be played as well as the best route to travel between locations, which again is another mini project within the overall process which OBREDIMET can be used as a log frame for.

In the case of OBREDIMET when used as an iterative design process it can also applied to music production. This would imply that the project will take place in phases wherein the entire design process itself is contained. When a new phase begins, based on what was learned and refined from the previous phase, a new iteration of the entire cycle is attempted. For example when recording a song, the first week could be spent working out all the parts to the composition as a full band, the second week (phase 2 or 2nd iteration) could be recording the song as a full band live performance, the third phase would take the best elements from the live performance and then record the song in a multitrack session where every instrument is isolated and can be showcased individually. The next iteration would be blending the sounds from the individual stacks to once again achieve a live, full band sound that best reflects the inherent energy of the song.

Gaia as Guide

I began Gaia U at age 21 in 2012, its now 2017 and Im 26. Though my core values of integrity, self-growth, creative expression, acceptance, and compassion remain, my outward engagement with the world and growth of experience and awareness have greatly expanded. In this way, I am not the same person I was in my initial beginnings as a Gaia associate. Although I have been impacted by life-happenings outside of Gaia U which have helped me to grow and adapt in various ways, the Gaia education platform has helped me evolve as a designer of projects and life in general while aiding me in becoming a more practical, flexible, dynamic, and efficient individual. The process of OP creation itself is a self-reflective practice and for the past 5 years I have been documenting all major transformational projects and experiences through this medium. This has helped me better understand my own creative energy and processes from a more objective standpoint which has helped me better realize my patterns, gifts, and growth edges. 

Personal & Professional Life

I feel the most obvious evolution in my life in regards to design has taken place in my professional and social sectors of life. For example, during my first capstone phase, my OP1 followed the creation of my first album where I worked with an engineer/producer to help record as well as aid in organizing and efficiently structuring the design process of the entire project. In my 2nd capstone phase in the summer of 2015 (after self-study and guidance from allies and mentors - documented in OP3), with confidence in my abilities and a clearer understanding of my own materials and creative capacity, I began self-engineering and producing my 2nd full length album on my own. Another example of my professional growth as a designer is shown by my leadership abilities in relation to my band, Ecstatic Union. During my pre-capstone phase, after the wave of accolades and opportunities from sharing my first album, circumstances aligned for me to bring a band together to perform as Ecstatic Union and showcase songs from the album, SunDog. After a quick coming together with lots of joy, inspiration, and good times, it was only a matter of two months before we fizzled out, largely due to my own lack of commitment and clarity along with a naive understanding around the real work and diligence it takes to effectively lead and manage a band. Now 4 years later, after wholeheartedly committing to making music my sole profession, many valuable learning experiences, over 30 live shows, and making the move to Los Angeles, I have officially released (through Lolipop Records) Ecstatic Union's 2nd full length album, now have a solid band of committed professionals, as well as booked and performed our first three week tour through June & July up and down the west coast of the US. The past five years has been a whirlwind of lessons and growing experiences all of which have helped me to evolve and develope as a more conscious designer of my projects and life in general. 

Below I list commonly used design models, their descriptions and processes, along with my personal engagement with them related to my work as a musician from song writing, to recording, and band leadership. 

GaSADIE

What: GaSADIE is an acronym which stands for goals articulation, survey, analysis, design, implementation, and evaluation. This design tool is frequently mentioned and suggested in the Gaia U community. A synopsis of each element and how they are applied are as follows.

Goals Articulation - Identify goals, articulating intention and vision for project outcome.

Survey - Evaluation of resources, direction, and structural possibilities which can be included.

Analysis - Identifying the constraints of the project and how they factor into the overall process - time, energy, understanding, and scope.  

Design - Where intentions, possibilities, and constraints merge into a framework expressed as a design for what is to be implemented.

Implementation - Design is manifested into a tangible form.

Evaluation - Reflecting on implementation, evaluation what went well, what didn't, and what to change for the future.

Engagement - Song Writing: Here I will lay out the same steps which unfold through the GaSADIE framework but will apply my process of songwriting as my design focus.  

Goals Articulation - I want to write a song which brings me to a deeper feeling of connection with life which I will share with others through recorded media and live performance. 

Survey - I use my guitar as primary medium enlisting the knowledge I have of how to play it along with my practiced experience of poetic writing and visionary thought to craft lyrics which transport me to a heightened state of presence and vitality. I use a pen and paper to record the lyrics and structure. 

Analysis - Observe my surroundings making sure that the space is conducive for songwriting considering my volume of guitar and voice. Checking on how worn my strings are. Account what time it is and how long I will play for in relation to other tasks I have to do during or around the given timeframe. Making sure that my content is fresh by weeding out habitually used rhyme patterns, song structures, or melodies.

Design - I craft the song structure by playing sections and ultimately fusing them into a cohesive thread of rhythm and melody, allowing lyrics to form spontaneously as well as meditate on them in conjunction with a given melody and rhyme pattern to create harmonic structures and multidimensional landscapes of sound, imagery, and poetry.

Implementation - I write the song out piece by piece (lyrically) in accordance with the structure established during analysis. I play repeatedly until all the kinks are worked out, or just because Im having a lot of fun playing it.

Evaluation - Generally evaluation will come after Iv'e preformed the song live to an audience or in playback after a recording session. I integrate how it makes myself and others' feel and evaluate where it fits in to the overall spectrum of my life and work as an artist, choosing (or not) to record it and ultimately perform it with my band.

Permaculture Zones

What: 'Permaculture Zones' refers to the element of permaculture design as it relates to practices of organization (usually plotted within a nested circular model) to ensure efficient energy use in regards to planning the placement of elements for a given design. In my case I will relate how I utilize permaculture zones as they apply to my personal design process of recording a self-engineered song in my home studio. The Zones themselves reflect components of the overall recording process as they relate to one another and how I structure a session in order to maximize efficiency and flow from one element (instrument/piece of equipment) to the next. 

Engagement - Recording Process:

Zone 1: Song Vision & Structure - This is the launching pad for the entire recording process. It is the zone where the song is initially conceived through a cohesive vision which is held together through the integrity of the song structure and its inherent elements. It is what is referred back to throughout the process in review as a point of reference to maintain cohesion, integrity, and originality of the given composition.

Zone 2: Playing Instruments & Gluing it Together - Zone 2 is where the primary manual operations are performed ie. the foundational instrumentation of the composition which basically always include guitars, drums, bass, keyboards, and vocals. This is where the composition becomes 'glued' together and begins to find its individuality as its own sonic entity. 

Zone 3: Listening & Perfecting Details - In this zone the song is viewed/heard from the standpoint of an unbiased listener, ideally freed from pre-conceived notions of what the song 'should' sound like. This leaves room for the song to evolve and take on new directions if necessary.  

Zone 4: Adding final Touches - Any re-recording, double tracking (same instrument/part recorded twice on two separate tracks), or additional layers of instrumentation are added here. These may include percussion, solos, vocals harmonies, and creative sound texturing such as guitar pedal/synthesizer effects or pre-recorded sample material. 

Zone 5: Mixing & Mastering - This is the zone where objective listening and editing takes place. The song is viewed and picked apart among the various elements of its composition and then edited (mixed - using logic X) in a way which appropriately showcases its individual parts while crafting a mix which best expresses the song as a whole. The most crucial part of this process is given to the actions of compression and equalization which are usually the most essential initial tasks of creating a good mix (See OP3). This mixing process covers the linear necessities of editing such as timing, arrangement, cut/copy/paste, comping, as well as usually includes adding effects such as reverb, delay, phasing and overdrive to name a few. Finally, the mastering component of Zone 5 is the overall mix or "master" after all individual elements are mixed/edited. 

Dragon Dreaming

What: Dragon Dreaming is a design method which structures itself around a consecutive 4 step process of dreaming, planning, doing, and celebrating. These four steps put simply, describe the actions which take place within each of them. The dreaming is the overall vision of the project and its manifestation, the planning phase is where the dream is analyzed and structured to prepare for the next step of doing, where the project is manifested into action and physical form. The final step of celebrating represents the culmination of the design and implementation process in which the project has become an actualized entity. Below I will describe my engagement with the dragon dreaming design process through detailing the process of booking and performing my first tour of my band Ecstatic Union.

Engagement - Band Manifestation, Tour, & Leadership:

Dreaming - Book and perform the first Ecstatic Union tour through the pacific northwest in support of our newly released 2nd full length album - This project has been a very long time coming. Iv'e been dreaming of going on tour since I was 16 years old and after recording another album and honing the vision, practice, and stability of my band (Ecstatic Union), all the proper pieces were in place to begin the process of booking. I envisioned traveling in a van with my friends/bandmates playing venues between California, Oregon, & Washington while making friends and professional connections, selling merchandise, sharing our music, seeing beautiful places, and having a ton of fun. Once all members had confirmed that they would be available to participate, then next phase of planning began.  

Planning - Effectively book the tour, managing the schedule, and make sure all elements (logistical, financial, practical, social etc.) are considered and accounted for as efficiently as possible - This portion of the process was given primarily to the process of booking shows, creating a schedule, networking, budget planning, accommodations, and acquiring and accounting for essentials such as the van and band equipment such as instruments, cables, stands etc. My friend Tom (guitarist & lead singer of Minneapolis based band, The Coax) helped us immensely in planning our route while putting us in touch with bands and venues that would be of value to our mission. 

Doing - Consolidate schedule, organize and present promotional material, drive, & play shows - After all the shows we're effectively booked we gathered our materials, rented the van, and set forth. aside from the act of driving, loading into the venue, playing our set, and loading out back into the van, I also took care of the promotional portion of our tour through social media with which I would use to share info about our shows along with photos and videos to share moments of our adventure and upcoming show flyers which I designed using an Iphone app called 'Phonto'. We were on the road for three weeks and played a total of 14 shows.

Celebrating - Playing shows, making friends, sharing our music, and having an amazing time - In a sense the doing and celebrating portions of this design process were pretty intermixed. We basically started celebrating as soon as we played our first show of the tour, which also happened to be the album release party. Being on tour is in my opinion the definition of 'playful work'. Everyone must be on task and present to fulfill their role within the group/team while remaining on schedule and doing their best to work at their fullest potential. Though this can at times feel like an arduous task largely due to late set times, long drives, and consecutive shows, we're all doing something we enjoy very deeply (making music) and the work ultimately becomes play. Personally, the emotional and professional rewards of touring continue to bless my life. From our energetic output during a three week tour, we have all grown tremendously as individuals and as a band are being reciprocated through being offered more shows to play and promote our music, expanding our community, fanbase, opportunities and influence. 

In this section I will detail a comparative assessment to analyze similarities and differences between my own design process with others'.

Tour Design - Gavin Leaper's Data Leverage Resource for Touring Bands

After a spring tour my friend Gavin Leaper (band - Paper Void) designed a "data leveraging resource" in order to share his personal experience and help other independent bands book better tours. Its essentially a network resource tool which one can utilize to get a better understanding of who one's audience is and where they're located ideally allowing the booker to more easily plan their tour route, supporting bands and venue choices. He created data maps showing the relationships of bands and their connection strengths according to their genre and style. He shared his process of data scouting 'bandcamp' (a music streaming & band information website) to gather statistics on bands' fanbases offering insight on how to help them make clearer choices on who the best acts for them to book with in a given city are, so as to create the best draw of crowd. 

Though I did not go so in depth in my process of designing my tour and most likely wont in the future, I am inspired by Gavin's ability to gather information in a such a detailed and meticulous way as it has provided a useful resource for better understanding the data logistics involved with such a venture. The similarities between our designs are most obviously that we both booked our first tours, learned as we went, and were ultimately successful and happy with the outcomes. In terms of process and analysis, I believe our designs were quite different. I took more of a foraging route, where I would search social media, primarily facebook pages, for bands and venues in the cities we wished to play. After listening to the music available by the bands I found, I would select all the groups who's music I enjoyed and messaged them individually asking if they'd like to join a bill and/or ask if they had connections to help set up a show. Though my personal process worked very well for me, it could be possible that I find myself using elements I find beneficial from Gavin's models in my future booking endeavors.