PreDesign Portfolio

Emily KhouryPreDesign 2015 Portfolio

4

Cubes

This demonstrates an ability to recognize the differences and applications of perspective techniques. Drawing cubes and rectangular prisms in perspective exhibits a practical application and understanding of perspective.

Two-Point Perspective One-Point Perspective

5

These chair renderings demonstrate an ability to depict objects in perspective. The chairs are drawn from observation in two-point perspective. The three chairs demonstrate an understanding for a construction drawing, proper use of line weight, and fi nally a overall understanding of form and structure.

Chairs

6

Interior Drawings

This assignment requires the ability to depict a small interior space and a larger interior space in proper perspective. This assignment also demonstrates an ability to prepare fi nal drawing board presentations with close attention to composition.

Below are some early preliminary drawings of stairs. This selection was painted with Photoshop.

7

These are the fi nal interior drawings. Two of the drawings are in Thompson Libary, the other two are in a confi ned hallway space.

8

Exterior Drawings

This is an example architectural two-point perspective which demonstrates an ability to recognize perspective in live drawing by identifying vanishing points and applying the practical use of observational drawing.

Above shows a more detailed view of the columns on Sullivant Hall.

9

Sullivant Hall

10

Gesture Drawings

This assignment demonstrates an ability to rapidly render objects with only a few lines, to loosely defi ne an object, an understanding of line weights in the application of volume and depth. Each gesture drawing took one minute to complete.

Clip Watch

Pencil Sharpener

11

HTC Phone

Headphones

Bike Light

12

Cross Contours, Value, and Shading

These cross contour drawings demonstrates an understanding of the effects of light and shadow on an object and the ability to use various techniques to add value and shading to an object. The value and shading portion of this demonstrates an ability to draw organic objects and convey the surface contours of the shapes. The fi nal composition is carefully considered in terms of scale and object placement.

1313

On the right is a cross contour drawing of an apple and a pear. I repeated the drawing but instead of depicting form with cross contour lines, I showed it with value and shading. I used three different mark-ers ranging from 30% gray to 70% gray.

14

H o w t o M a k e

The Best Cup of Coffee

Visual Narrative

This demonstrates the ability to describe ideas through sketching, diagramming, and organization of page layout.

In order to visually represent this narrative I choose to draw it across to Bristol boards in a relatively simplistic style. I think that by simplifying the forms of the objects and using a consistent solid color throughout the entire work allows the reader/viewer to fol-low the story exactly and understand each component of the pro-cess. I incorporated some text into the image, for each signifi cant step I made the word appear slightly bolder to stand out more.

Above are examples of my Adobe Illustrator drawings of the visual narrative assignment.

To the left is a detail pulled from the fi nalvisual narrative piece.

15

Above is the visual narrative for “How To Make the Best Cup of Coffee” and more specifi cally than that it depicts how to make a pour-over cup of coffee.

16

œ

Letterforms

The main goal of the following exercises is for students to develop a sensitivity to the form-relationships that exist between letters, and to explore how they can be combined to make unique compositions. Students will work with elements such as scale, proportion, weight, and positive and negative shape to create two-letter compositions.

The ligature exercise shown to the left helped in the overall understanding of the way that two letters could function as a whole.

17

GeQiXo

18

Animal Deconstruction

Using Adobe Illustrator create a simplifi ed illustration of an animal comprised completely of vector shapes. Find a reference of an animal of your choosing. Import it into Illustrator. Create a template layer. Use 10 or more shapes. Shapes can either take the form of a solid Fill or Stroke. Use at most 4 colors(background included). Use swatches and name color. Make shapes or strokes unique by adjusting the anchor points.

The early line drawing of an owl for the deconstruction of the animal.

Above is an earlier version of the animal deconstruction which included black outlines on the wings. I decided to omit the outlines and instead put the owl on a dark background, as though it was fl ying through the night.

20

User Persona

Begin to experiment, and hypothesize about how some aspect of your topic has, does or will affect and/or interact with users. Go beyond “use” and consider how your topic might affect behavior, culture, society, people in general, either as users or observers, passive or active. Use a persona to defi ne your user. Use sketches fi rst. Then use Adobe Illustrator and create diagrams/icons/or other representations of your hypothesis. You may also import photo representations of your persona. Using past/present/or future positioning, create a day-in-the life scenario of your topic and a user.

Emily Khoury Design 2110 Denison Assignment 4a September 30, 2014

Community Gardens

The start of community gardening can be traced back to the early 1800s and was a rural

concept, mostly derived for the purpose of feeding the local populations. Throughout the

nineteenth century, the number of community gardens began to grow, but it wasn’t until the early

twentieth century that marks the biggest growth of community gardening, due in part largely to

an increased urban population and the effects of World War I. As more people began moving

into new, developing urban areas a demand to network and socialize increased as well. Many

people found this networking opportunity in their local community gardens and the various

social gatherings, such as potluck dinners and community festivals, held in support of these small

community gardens. As a post wartime movement, especially overseas in England, there was a

huge spike to take back the land that had been neglected or destroyed during the war. With the

help of local authorities some land was set-aside for this purpose and would remain untouched

by the urban development happening in most parts of the cities. The provisions, such as

vegetables and fruits that could be provided to the families of the unemployed at this time are

considered “the most successful schemes to help the unemployed” (Acton 2011, 50). In the

middle of the twentieth century there was a need for several decades, during times of overall

economic hardship, for community gardens to play a part in feeding the many hungry families,

this lead to an even greater spike in the number of community gardens available in the public and

to the number of people participating in the cultivation of this land space. The 1970s however

saw the greatest drop in community gardens, especially in European nations, which urged

Works Cited

Acton, Lesley. "Allotment Gardens: A Reflection of History, Heritage, Community and Self." Papers from the Institute of Archaeology [Online], 21 (2011): 46-58.

Chazovachii, Bernard, Cephas Mutami, and John Bowora,. "COMMUNITY GARDENS AND FOOD SECURITY IN RURAL LIVELIHOOD DEVELOPMENT: THE CASE OF ENTREPRENEURIAL AND MARKET GARDENS IN MBERENGWA, ZIMBABWE." Russian Journal of Agricultural and Socio-Economic Sciences 1.13 (2012): 8-17. Web. Duchemin, E., F. Wegmuller, and A.-M. Legault. "Urban Agriculture: Multi-dimensional Tools for Social Development in Poor Neighbourghoods." Field Actions Science Report (2009): 43-52. Creative Commons Attribution, 2009. Web.

Eyssartier, Cecilia, Ana H. Ladio, and Mariana Lozada. "Cultural Transmission of Traditional Knowledge in Two Populations of North-western Patagonia." Journal of Ethnobiology and Ethnomedicine. N.p., 15 Dec. 2008.

Harris, Neil, Fiona Rowe Minniss, and Shawn Somerset. "Refugees Connecting with a New Country through Community Food Gardening." The International Journal of Environmental Research and Public Health 11 (2014): 9203-216. Kelkit, Abdulla, and A. Esra Ozel. "A Research on the Physical Planning of School Gardens in Canakkale City." Pakistan Journal of Applied Science 3.4 (2003): 240-46. Asian Network for Scientific Information, 2003. Web. Krasny, Marianne E., and Keith G. Tidball. "Community Gardens as Contexts for Science,

Stewardship, and Civic Action Learning." Cities and the Environment 8th ser. 2.1 (2009): 1-18. Digital Commons at Loyola Marymount University and Loyola Law School, 2009. Web.

Rabinowitz, Dan. "Residual residential space as commons." International Journal of the Commons [Online], 6.2 (2012): 302-318.

Research collected from previous assignments A04a and A04b where vital to the content and understanding of building a user persona.

21

Emily Khoury

Assignment 07

Design 2110, AU14

Denison

A community garden is a single piece of land gardened collectively by a group of people. It’s

purpose is to foster a community among a vastly diverse group of people, while prompting

healthier habits, education, and a sustainable future.

Community Gardens

v

Emily Khoury

Assignment 07

Design 2110, AU14

Denison

Meeting the Goals

Community Saving MoneyEducation Better FoodActive Outdoors

Emily Khoury

Assignment 07

Design 2110, AU14

Denison

Name: Michael Smith

Gender: Male

Age: 35

Education: College Graduate

Household Income: $50,000

Region: Midwest

Martial Status: Married

Household Size: 3

The User Emily Khoury

Assignment 07

Design 2110, AU14

Denison

• 40+ hours at a boring desk job

• Not enough outdoor activity

• Spends too much money on groceries

• Has bad eating habits

• Lack of community involvement

• Does not teach his son aboutfood, good eating hab-

its, and a responsibilty to volunteer with the com-

munity.

• Lives an unsustainable lifestlye

Concerns

Emily Khoury

Assignment 07

Design 2110, AU14

Denison

• To eat better quality food

• To be active outdoors

• To educate the youth

• To save money on food bills

• To participate in a shared community event

Goals Emily Khoury

Assignment 07

Design 2110, AU14

Denison

Micheal takes

his son to the

community

garden on the

weekends to

spend time

together and

teach his son the

basics about

gardening.

Education

v

Emily Khoury

Assignment 07

Design 2110, AU14

Denison

Working together in the garden

along side a array of diverse people

teaches commardarship and fosters

a sense of community.

Sense of Community

Emily Khoury

Assignment 07

Design 2110, AU14

Denison

Spending time on the weekends

working in the garden allows Mi-

chael to spend time being active

outdoors and leave behind his old

couch-potato habits.

Digging in the Dirt

v

Emily Khoury

Assignment 07

Design 2110, AU14

Denison

Homegrown produce is better quality food because each piece of food was grown with love.

Made with Love

v

Emily Khoury

Assignment 07

Design 2110, AU14

Denison

Healthy Lifestyle

For family meals, Michael and his

son swap junk food options for

healthy foods they grew in the gar-

den. This saves money and creates

good eating habits.

22

Typography Poster Series

This is an exploration of composing with type in the context of poster design. The reader must fi rst be attracted to the visual presentation, and then easily access the information provided. All three poster compositions must also work as a series or family, so that all can be recognized as coming from the same source and representing the same events, in this case a lecture series.

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C O M M U N I T Y + CA

RI N

G


RI N

G

CO M M U N I T Y GA RD EN SThrough the Ages

Defining a Community Garden:A community garden is a shared green space which is planned, designed, built and maintained by some

community members for the use and enjoyment of the entire community. Community gardens may be solely

used to raise food for gardeners and/or the surrounding community, a decorative formal garden, an educational

or rehabilitative facility.

12 3

Community gardens can be traced back to the early 1800s and predominately existed as

rural land parcels for the purpose of feeding the small local populations. The Children’s

School Garden Movement was picking up pace in urban areas as it was heavily pushed

by the U.S. Bureau of Education.

The number of community gardens began to grow, due in part to the demand for food

during the Great Depression and largely in part to an increased urban population after

World War I. Community gardens were a key method for combatting unemployment

and hunger in the U.S.

As a post wartime movement, there was a huge spike to take back the land that had been

neglected and destroyed during the war. With the help of local authorities land was set

aside for this purpose . The provisions, such as vegetables and fruits would be provided to

families of the poor and unemployed.

With national governments withdrawing funding for community gardens, a new

emphasis was placed on gardens as a recreational and leisurely activity for people of all

classes, not just for those of the working class, in an attempt to rebrand the community

garden image. However, community garden involvement continued to decline.

There was a rejuvenated involvement in community gardens due in part to heightened

urban activism with a new approach to engagement in environmental sustainability.

With an increased awareness and need for food security and food self-sufficiency in the

growing urban populations, community gardens continued to gain momentum. The

purpose of gardens today sprouts from an economic need and a passion for outdoor

leisure, which has given rise to the regular increased participation.

1880s-1900s

1920s-1930s

1940s-1950s

1960s-1970s

1980s-1990s

2000s-2014

Resources:

Acton, Lesley. “Allotment Gardens: A Reflection of History, Heritage, Community and

Self.” Papers from the Institute of Archaeology [Online], 21 (2011): 46-58.

Rabinowitz, Dan. “Residual residential space as commons.” International Journal of the

Commons [Online], 6.2 (2012): 302-318.

Duchemin, E., F. Wegmuller, and A.-M. Legault. “Urban Agriculture: Multi-dimensional Tools

for Social Development in Poor Neighbourghoods.” Field Actions Science Report (2009):

43-52. Creative Commons Attribution, 2009. Web.

Image Sources:1 http://ec2-54-235-79-104.compute-1.amazonaws.com/oak/

groups/opr/documents/image/oak031382.jpg2 http://api.ning.com/files/DdUx35FtKnt5DUKTNbCfCRl-

JBxpLQn0KuieBQydyguXlkti*WRsWYPCOYOrvrckuygDHl

6GEzQwXmH0ezljcb44SMnrrJDCN/hug2.jpg3 http://www.weekendnotes.com/im/005/02/community-gar-

dens-0171.JPG

Emily Khoury | Design 2120 | Scott Denison | Autumn 2014

Reasons for Community Garden InvolvementTo grow better tasting food 58%

To save money on food bills 54%

To grow better quality food 51%

To grow safer food 48%

To feel more productive 40%

To spend more time outdoors 35%

To teach kids about gardening 30%

To get back to basics 25%

To live more locally 22%

To have a family activity 21%

Other 9%

vvv

Community GardensThrough the Ages

1800s-1990s

1920a-1930s

1940s-1950s

1960s-1970s

1980s-1990s

2000s-Present

Defining a Community Garden:A community garden is a shared green space which is planned, designed, built and maintained by some community members for

the use and enjoyment of the entire community. Community gardens may be solely used to raise food for gardeners and/or the

surrounding community, a decorative formal garden, an educational or rehabilitative facility.

A Brief History:

Resources:


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Final Research Poster

Establish a visual identity for your team, possibly a color scheme, graphic standards, or rules so that the posters for the team look like they belong together. Teams will need to meet and agree on these standards and you should design your poster in compliance with them. Create a 34 x 34 color poster that tells the story of your topic from the past, present, or future. Posters should be in color and utilize aspects of everything you have learned this semester. Compositions may be built in InDesign or Illustrator.

This was the fi nal logo chosen by the Community & Caring team. It was to appear in the bottom right corner of each team memberʼs poster.

To grow better tasting food 58%










Other 9%

*In total, 31 percent of all U.S. households, or an estimated 36 million households, participated in community gardens, in 2008. This chart shows the reasons (by percentage) to participate in community gardens for those 36 million household who already participate in community gardens (Research gathered from The National Gardening Association).

Reasons for Community Garden Involvement

A graphic chart I created in Illustrator by compiling data I gathered from earlier research.

Two examples of working drafts:

25


RI N

G

CO M M U N I T Y GA RD EN SThrough the Ages

Defining a Community Garden:A community garden is a shared green space which is planned, designed, built and

maintained by some community members for the use and enjoyment of the entire

community. Community gardens may be solely used to raise food for gardeners

and/or the surrounding community, a decorative formal garden, an educational or

rehabilitative facility.

12 3

Community gardens can be traced back to the early 1800s and predominately existed as

rural land parcels for the purpose of feeding the small local populations. The Children’s

School Garden Movement was picking up pace in urban areas as it was heavily pushed

by the U.S. Bureau of Education.

The number of community gardens began to grow, due in part to the demand for food

during the Great Depression and largely in part to an increased urban population after

World War I. Community gardens were a key method for combatting unemployment

and hunger in the U.S.

As a post wartime movement, there was a huge spike to take back the land that had been

neglected and destroyed during the war. With the help of local authorities land was set

aside for this purpose . The provisions, such as vegetables and fruits would be provided to

families of the poor and unemployed.

With national governments withdrawing funding for community gardens, a new

emphasis was placed on gardens as a recreational and leisurely activity for people of all

classes, not just for those of the working class, in an attempt to rebrand the community

garden image. However, community garden involvement continued to decline.

There was a rejuvenated involvement in community gardens due in part to heightened

urban activism with a new approach to engagement in environmental sustainability.

With an increased awareness and need for food security and food self-sufficiency in the

growing urban populations, community gardens continued to gain momentum. The

purpose of gardens today sprouts from an economic need and a passion for outdoor

leisure, which has given rise to the regular increased participation.

1880s-1900s

1920s-1930s

1940s-1950s

1960s-1970s

1980s-1990s

2000s-2014

Resources:

Acton, Lesley. “Allotment Gardens: A Reflection of History, Heritage, Community and

Self.” Papers from the Institute of Archaeology [Online], 21 (2011): 46-58.

Rabinowitz, Dan. “Residual residential space as commons.” International Journal of the

Commons [Online], 6.2 (2012): 302-318.

Duchemin, E., F. Wegmuller, and A.-M. Legault. “Urban Agriculture: Multi-dimensional Tools

for Social Development in Poor Neighbourghoods.” Field Actions Science Report (2009):

43-52. Creative Commons Attribution, 2009. Web.

Image Sources:1 http://ec2-54-235-79-104.compute-1.amazonaws.com/oak/

groups/opr/documents/image/oak031382.jpg2 http://api.ning.com/files/DdUx35FtKnt5DUKTNbCfCRl-

JBxpLQn0KuieBQydyguXlkti*WRsWYPCOYOrvrckuygDHl

6GEzQwXmH0ezljcb44SMnrrJDCN/hug2.jpg3 http://www.weekendnotes.com/im/005/02/community-gar-

dens-0171.JPG

Emily Khoury | Design 2120 | Scott Denison | Autumn 2014

Reasons for Community Garden InvolvementTo grow better tasting food 58%










Other 9%

26

Orthographic Drawings and Elevations in 3D

This assignment displays an ability to understand and interpret 2D and 3D drawings. First with the ability to create correct orthographic drawings and thento correctly build the model for each corresponding drawing.

Ideation sketches for some possible forms to fi t into the required elevations.

28

Icons

This icon represents a house.The intended use for this wouldbe to push this button to quicklydetermine a route for theself-driving cars of 2030 to drivethe passengers home.

This icon represents navigation.The intended use for the icon is forthe passenger to enter a desiredlocation and a GPS will create a fastroute to said location.

This icon represents manual drive.The intended use for would be for thepassenger to click this icon in the situation that they want to override the auto-drive feature and drive the car manually.

This icon represents the auto-drivefeature that will exist on cars in thefuture. The intended use for thiswould be to communicate that thevehicle was in auto-drive mode orto switch the vehicle in to this mode.

This icon represents roadside,vehicle assistance. In the case ofemergency or needed repairs this iconwould alert the driver that there was aproblem with the vehicle that needed to be addressed.

This icon represents voice commands.The intended use is that the driver orpassenger of the car would just push this button to use voice commands to control the car.

30

HOUSE of CARDS

Kevin Spacey Robin Wright Michael Kelly

A NETFLIX ORIGINAL SERIES

2

Minimalism Poster Series

The Netfl ix series is set in a modern day Washington D.C. and follows the character Frank Underwood, a Southern Democrat and House Majority whip as he unfolds an elaborate plan for a seat in the oval offi ce. His wife, Claire helps him achieve a position of higher power, as they scheme, murder, and cheat their way to the top.

I chose to represent the show with a literal house of cards. One that looks unstable, like it will come crumbling down any second. The second poster is two people in suits (implied with the black sleeves) shaking hands, which is a symbol of an agreement, but on the hands has a card hidden up his sleeve, this represents the lying and cheating nature of many of the characters in the show, especially Frank Underwood. The third poster is the presidential seal, it supposed to make viewers think of perhaps an confi dential folder and it does appear to be ominous, as if to warn the viewer that something is not quite right.

31

HOUSE of CARDS

Kevin Spacey Robin Wright Michael Kelly NETFLIX

A

HOUSE of CARDS

Kevin Spacey Robin Wright Michael Kelly

A NETFLIX ORIGINAL SERIES

32

Pattern and Installations

The space selected to display this pattern is a unique space because it is a window along a long corridor with a ramp. There is a wall immediately across from the window, which allows for the evening sun to cast a shadow of the constructed pattern and project it onto the wall, creating a continuation of the patterned installation piece. The materials are vellum, which is key in capturing the purpose of illumination that the window offers, and a stripped string that runs the length of the constructed elements of this pattern tying everything together.

This pattern makes a transition from 2D to 3D as it progresses up the window. The lowest window pane contains the two-dimensional diamond shape that is connected directly to the window. The second window pane contains a two sided, two-dimensional diamond shape that emerges into three-dimensional space. The third window pane contains a three sided, three-dimensional pyramid which hangs in space and then fi nally the uppermost window pane contains a four sided, three-dimensional pyramid, this segment also hangs in space in front of the window.

The pattern is meant to signify spring growth, for instance a tree growing from the ground up. The pattern is attached to the space with twine and so is meant to move with the breeze, but when retain a solid form when not in motion.

The images to the right are an earlier working model. This version only fi lled one window pane and contained a horizontal transition.

33

The image below displays the gradual transition from the two-dimensional pattern to the three-dimensional pattern. TOP RIGHT: This image displays the pattern in the second window pane.BOTTOM RIGHT: This portion of the pattern displays the four sided, three-dimensional pyramid shape in the fourth, upper window pane.

34

“Face-Off” Mask Design: The Iron Fox

The Iron Age was a time of great human ingenuity, innovation, production and general cleverness for the human race. It was a time characterized by the use of iron and steel to create tools and weapons that allowed civilizations to make huge advancements in their means of production and even in design styles. These great innovators of the Iron Age share many of the same characteristics with a fox. The qualities of a fox are cunningness, sharpened physical and mental alertness, and intelligence. The use of iron was fundamental because it allowed for a variety of curvilinear decorative designs to emerge in the tools and weaponry created at that time. Iron exists in its strongest form as an alloy, or a blend of materials, so it is this particular attribute of iron that is present in the mask. The skeletal frame of the mask is created from steel (an alloy of iron) but the skin is created from a copper meshing, which emulates the color and appearance of the fox. It is this blending of materials that creates an overall strong and lasting structure for the iron fox mask. The construction of this mask is as follows: the steel frame is soldered together. It has a strong emphasis in line, particularly curving lines. The copper mesh is ad-hered by bending it over the wire frame, this is the material that creates the color of the fox. Its texture creates an industrial like appearance, which emulates the indus-trial mindset that begins to develop in the Iron Age.

The images on page 28 are preliminary sketches and early working models of the mask.The images on page 29 are fi nal examples of the mask and the fox tail.

36

Vehicles are m

anufactured at level 1

and 2 currently. 9

2015

Level 4 autonomous cars w

ill be w

idely

available as m

arket prod

ucts12.

2030

In 2025, level 4 autonomous cars w

ill be

available on lim

ited m

arkets11.

2025

By 2018-2020 level 3 cars w

ill be

available com

mercially. 10

2020

2030

2025

2020

2015

STOPSTOPSTOPSTOPFinal Speculative Design Sceenario Poster

These components made up the parts to make the poster three-dimensional for display purposes.

The tabs pull out and ex-plain a brief evolution and the car folds to create a small model car.

The goal of this assignment was to create a poster that could be both two dimensional and three-dimensional and dynamically display all of the needed information.

This is how the poster appears on display in its three-dimensional form.

37

Drive into the Future with Autonomous CarsThe Driving Experience in 2030

Four Steps Toward the Autonomous Car

Level 1 Level 4Level 3Level 2automation in vehicles.The key features of these vehicles are: cruise control, lane guidance, and automated parallel parking. At level 1, drivers are still in control of the overall function of the vehicle and will be required to keep their hands on the wheel, their feet on the pedals, and their eyes on the road1.

Level 2 is a series of combined automated functions.The key features of these vehicles are: adaptive cruise control, lane centering, automated steering, and acceleration. At level 2, drivers are expected to monitor the road and must be available for vehicle control at all times. Only

driver be able to disengage their hands and feet2.

Level 3 has limited self-driving capabilities. The key features of these vehicles are: critical safety functions controlled by the vehicle’s operating system, while monitoring road conditions. However, does require a transition back to driver control. At level 3, the driver is not expected to constantly monitor the road3.

Level 4 has full vehicle self-driving operations. The key features of these vehicles are: starting and ending trips with no human interaction necessary to operate vehicle. They will increase non-driver mobility, for instance people with disabilities, children, or the elderly will be able to commute easily across the city4.

The Driver Becomes the Passenger

Ownership MobilityCostSafetyJohn is a part of a younger generation living in the city. He does not place much importance on owning a car. It is a hassle

additional insurance and annual car repairs and expenses. John opts to become a member of a car share program that makes use of the autonomous vehicle.

Level 3 and 4 autonomous cars available by 2030 will reduce intoxicated driving for young people like John and help drivers determine the safest traveling speed based on real time road conditions. Vehicle-to-vehicle communications will offer 360° hazard detection to drivers 5.

By not owning a car, John saves money on various annual costs and general expenses that car owners encounter. It is more cost effective to become a member of the autonomous car share and pay per mile on rare occasions that John needs a car to travel within city limits.

John’s elderly parents live in the city. They are incapable of driving because their eyesight and health are deteriorating. John uses his membership to have a level 4 autonomous car pick up his parents for dinner plans. The car transports them and so offers this elderly couple a chance to socialize.

Autonomous Car Shares

Congestion ExpensesRoadwaysHaving public car shares decrease road congestion and parking congestion, making it quicker and easier to navigate through the city. The use of autonomous vehicles creates the option for platooning which further reduces congestion6.

With less congestion roads will be easier to maintain. This allows for an increase in necessary road repairs and improvements. The option for dedicated bicycle lanes on all major roads becomes a reality7.

With fewer people owning cars the rate of carbon emissions will decrease. Walkable city centers

patterns become more predictable and controlled. Allof this adds to the overall sustainability of the city8.

Not only will the driver have fewer personal expenses, but cities and states that maintain the roads and transit systems will experience less repair cost, which allows for the continued support for research and development for autonomous cars9.

1

2

3

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Emily Khoury | Design 2140 | Spring 2015

PreDesign Portfolio

Documents

Transcript of PreDesign Portfolio