Moving Through Hospitals: Designing Handwashing

Handwashing_closeup.JPGImages and Article by Rachel Lehrer

In October, 2008, Medicare—the United States’ government program that pays 40% of the nation’s hospital bills—decided to stop covering hospital failures. This meant that a litany of preventable mistakes, including treatments resulting from surgical errors, patient accidents and infections, were now the financial responsibility of the hospital. As a result, medical accidents went from being a source of hospital revenue to a massive financial drain. The good news is that medical institutions were finally forced into the business of disease prevention, at least once people were in their care.

What can be done to prevent costly medical mistakes? The hospital reform with the greatest potential is also the easiest to implement, at least in theory. According to the Committee to Reduce Infection Deaths statistics, hospital acquired infections kill more people in America than AIDS, breast cancer and auto accidents combined. Furthermore, the vast majority of the patients that acquire such infections in hospitals—and more than 5 percent of patients do—get them from the hands of health care providers. Thankfully, hospitals have become increasingly concerned with hand hygiene. The dirty hands of doctors and nurses aren’t just gross—they are an extremely expensive and potentially fatal act of carelessness. Hospital staffers, in order to follow protocol, need to wash their hands hundreds of times a day. Their failure to follow protocol perfectly is their personal responsibility but non-compliance on such a broad scale is also a failure of the medical system that creates the rules and environment that lead non-compliance.

The medical industry’s acknowledgment of hand hygiene as a systemic problem has led to the establishment and growing influence of Infection Control and Prevention Units. For Infection Control and Prevention, solving handwashing takes the form of cheeky posters of doctors reminding everyone to wash their hands, developing inane training videos demonstrating how to properly wash your hands and implementing incentive programs where health care workers reward each other with certificates when they observe a co-workers consistent compliance. In the hospital where I have focused my research, these certificates were returned unused.

One increasingly popular but misguided program has to been to implement paternalistic monitoring of nurses and other providers, who are forced to undergo increasing levels of surveillance. Whether it is video monitoring systems borrowed from meat manufacturing plants or sensor systems that read the alcohol content on hands, staff are cajoled into changing their behavior by receiving real time feedback combined with their fear that their personal compliance level is now public knowledge. There is no carrot—there is only a stick.

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Despite growing desperation, few designers have bothered to do much of anything that might make washing or sanitizing hands more appealing. A recent scientific study pointed to “perceived busyness” as one of the primary deterrents to compliance. But this only demonstrates the silliness of current reforms. After all, if followed literally, the prescribed protocol for hand cleaning would require so much of the health care workers time that they wouldn’t actually be able to perform the rest of their job. During a recent observation, nurses were consistently walking from supply closets to narcotic storage bins to patients rooms with their hands full. How, then, can they follow protocol and wash their hands correctly when they enter the room? Are monitoring systems supposed to solve these problems? Or are we merely putting increased strain on an already stressed population without offering any design solutions?

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Special feature: perforated metal facades

Special feature: cork

type tuesday: Bright

bright! Typography between Illustration and Art

There’s a call for entries for a new book from Slanted:

Typography for many artists is loaded with creative potential. How much power of expression is contained in a letter, a word, or a sentence, when these entities, which are very communicative in character to begin with, are put on stage as images and objects? How does typographical information respond to its environment, to graphic complements, deconstruction or visual reversal? 

Under the curatorship of Slanted, „bright!“ presents a collection of pictorial typo-art, focusing on moving ahead. The differentiated spectrum, ranging from culturally rooted to revolutionary and innovative positions, does not leave out any sphere of interest: handpainted signs, light installations, woodtype, letter objects, typographic sculptures, street art, tattoo art, generative performances, experimental type, and much more.

Tim Boelaars’ iconic prints

Earlier this year, Amsterdam-based graphic designer and illustrator Tim Boelaars posted on his site a series of mono-weight icons he’s drawn for everyday use. Now he’s produced a series of screenprints that each gather a set of the icons…

Each 18x24inch screenprint (Furniture, shown above) has been produced in a series of 75 on GF Smith paper complete with it’s own blind deboss that gives each poster a particular texture. €35 each from Boelaars’ online store at store.timboelaars.nl

Above and below: Buildings

Above: Tools. Below: Guns

OK, so the guns icon set probably shouldn’t be considered as being for “everyday use”. But they do make a nice set. Maybe they could be incorporated into in a hitman-themed game app, er, aimed at graphic designers?

See more of Boelaars icons at timboelaars.nl

 

CR in Print

Thanks for visiting the CR website, but if you are not also reading CR in print you’re missing out. Our March issue is an illustration special with features on Clifford Richards, Pick Me Up, the relationship between illustrators and writers, the making of the cover of the New York Times Magazine and a powerful essay by Lawrence Zeegen calling on illustrators to become more engaged with the wider world and accusing the profession of withdrawing “from the big debates of our society to focus on the chit-chat and tittle-tattle of inner-sanctum nothingness”.

The best way to make sure you receive CR in print every month is to subscribe – you will also save money and receive our award-winning Monograph booklet every month. You can do so here.

The Bank by Liz Muller for Starbucks

The Bank by Liz Muller for Starbucks

Following the popularity of our story about a Starbucks designed by Kengo Kuma, here are some images of a concept store that the coffee-shop giant has completed inside a historic bank vault in Amsterdam.

The Bank by Liz Muller for Starbucks

Design director Liz Muller assembled a team of local artists and craftsmen to create features that include repurposed oak furniture, antique Delft tiles and wall coverings fashioned from the recycled inner tubes of old bicycle tyres.

The Bank by Liz Muller for Starbucks

Over 1800 individually cut wooden blocks make up the undulating ceiling, while the vault’s original marble and concrete floor has been restored and exposed.

The Bank by Liz Muller for Starbucks

A bakery is positioned at the rear of the store, while raised platforms provide stages for live music or poetry performances.

The Bank by Liz Muller for Starbucks

You can check out the Starbucks by Kengo Kuma and Associates here.

Photography is by Rien Meulman.

Here’s some more text from Starbucks:


Starbucks Coffee Experience ‘Laboratory’ to open at New Concept Store in Amsterdam

In a few weeks, Starbucks will open a new concept store in Amsterdam, but with its ‘Slow’Coffee Theatre, hyper local design, floating community gathering spaces and  on-site baking, Starbucks – ‘The Bank’ is a glimpse into Starbuck’s vision to the future.

The Bank by Liz Muller for Starbucks

While over the last few years Starbucks has gone to great lengths to reinforce the superlative quality of its coffee and products, under the radar they’ve been re-defining the atmosphere in which we drink it. In Seattle, New York, London, Paris and now Amsterdam, Starbucks has been stealthily unveiling unique and highly individualized concept stores across America and Europe.

The Bank by Liz Muller for Starbucks

Starbucks – The Bank

Situated in a 430 square meter subterranean space in the vault of a historic bank on the popular Rembrandtplein, the new shop is the 9th Starbucks concept store to open in the last three years across the globe, but the first shop they are openly referring to as a ‘laboratory’. A large beautiful store inspired by Dutch culture and tradition, ‘The Bank’ will raise the bar on how Starbucks openly innovates.

The Bank by Liz Muller for Starbucks

The laboratory

Considering its well-earned progressive reputation, Amsterdam might be the perfect spot for trying out new things. Starbucks ‘The Bank’ will function as a testing centre for innovative coffee brewing methods in its ‘Slow’ Coffee Theatre and offer small batch reserve coffees available no where else on the continent. It will also premiere Starbucks first ever Clover® brewing system in Europe. The Clover® is one of the most significant innovations in coffee brewing since the introduction of the espresso machine. Starbucks – The Bank will also feature new food concepts including in-store baking. What works at ‘The Bank’ will make its way to the rest of Europe.

The Bank by Liz Muller for Starbucks

Repurposed hyper-local design

As with all Starbucks concept stores, the Amsterdam shop will be a radical aesthetic departure. Under the direction of Dutch-born Liz Muller, Starbucks Concept Design director, more than 35 artists and craftsmen have kitted the subterranean space with quirky local design touches and sustainable materials. Local design details include antique Delft tiles, walls clad in bicycle inner tubes, wooden gingerbread biscuit moulds and coffee bag burlap, and a ‘tattooed’ ‘Delftware’ mural highlighting the important role 17th century Dutch traders played in exporting coffee around the world.

The Bank by Liz Muller for Starbucks

And while all the design and constructions adheres to strict Leed® sustainable building guidelines to reduce the impact on the environment, the designers have gone out of their way to integrate repurposed design. In addition to reclaiming the vault’s exposed concrete and 1920s marble floor, the entire shop is kitted out in repurposed Dutch oak – the benches, the tables and the undulating ceiling relief made from 1,876 pieces of individually-cut blocks. Also a radical departure from Starbucks house style are the various types of chairs and stools, reclaimed from local schools and spruced up.

The Bank by Liz Muller for Starbucks

Neighbourhood hotspot

With window seat cushions, a centrally-situated oak table and multi-level spaces that cameo as stages for local bands, poetry readings and other cultural activities, ‘The Bank’ is positioning itself as a cultural gathering spot in the middle of Amsterdam. With literally thousands of people living within a minute’s walk, the shop will also playfully use social media to communicate relevant moments. For example, the bakery will send out a tweet announcing ‘warm cookies’ the minute a batch rolls out of the oven.

blacQube LLC is seeking a Senior User Interface Architect / Strategist in Atlanta, Georgia

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Senior User Interface Architect / Strategist
blacQube LLC

Atlanta, Georgia

blacQube, a young, client-centric agency, is seeking a Senior User Interface Architect / Strategist to conceive extraordinary user experience that forms a customer’s impression of our clients’ offerings, differentiates our clients from their competitors, and compels visitors to come back.

As an integral part of our project teams, the Senior UI Architect creates innovative, clever solutions for a variety of digital platforms (microsites, corporate websites, email, mobile sites, apps etc.). This includes creating sitemaps, wireframes and detailed documentation, indicating intended functionality, specifications and content and copy requirements.

» view

The best design jobs and portfolios hang out at Coroflot.

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Coca-Cola’s Facebook Riddles

Coca-Cola has over 40 million fans on Facebook, and has recently been playfully interacting with them on the site by posting a series of enigmatic riddles. Fans that solve the riddles are then directed to a set of charming Coke ‘sitelets’, that aim to “provoke small moments of happiness”…

The campaign is the brainchild of Wieden + Kennedy Amsterdam. The first riddle posted on Facebook was as follows:

It’s warm and sandy, right under your feet
By this crackling fire, good friends will meet.
Fun music is played, by women and men
You’ll think to yourself, “When can we do this again?”
There’s nothing more that I desire,
Than hanging out at A _ _ _ _ _ _ _ _ _ _ _ _ .com

The riddle was accompanied by an image of a bonfire, and fans quickly worked out that the link was abeachbonfire.com.

The sitelet for this riddle uses bold graphics to simulate a virtual beach bonfire, complete with a soundtrack featuring crackling flames, breaking waves, guitar sounds and the gentle clink of Coke bottles.

The second riddle read:

Even if they pop I smile,
It’s no secret why.
The soapy rainbow swirls,
Are magic to my eye.
I love looking up at clouds,
And blowing _ _ _ _ _ _ _ in the _ _ _ .com

This one directs fans to blowingbubblesinthesky.com: a bright blue sky filled with little fluffy clouds and birdsong, where you can blow bubbles using your computer’s built-in microphone (or by clicking on a mouse, if you’re feeling less adventurous).

The third riddle, posted yesterday, reads like this:

Set them up row after row
Knock them down and watch them go
It’s a toy that the whole world knows
The simple joy of F _ ll _ _ _ D _ _ _ _ _ _ _ .com

It leads to fallingdominoes.com, which is the most elaborate and appealing Coke sitelet so far. Users tap a hand that sets a Coke bottle rolling before setting off an impressive domino display.

Coke will continue to post riddles on its Facebook page over the coming weeks. To join in the fun, visit facebook.com/cocacola.

Credits:
Agency: Wieden + Kennedy Amsterdam
ECDs: Eric Quennoy, Mark Bernath
Creatives: Daniel Maxwell, Nacho Guijarro, Ivan Cash
Digital production: Random, Amsterdam
Owner: Daan Lucas
Creative developer: Hugo Dechesne

 

CR in Print

Thanks for visiting the CR website, but if you are not also reading CR in print you’re missing out. Our March issue is an illustration special with features on Clifford Richards, Pick Me Up, the relationship between illustrators and writers, the making of the cover of the New York Times Magazine and a powerful essay by Lawrence Zeegen calling on illustrators to become more engaged with the wider world and accusing the profession of withdrawing “from the big debates of our society to focus on the chit-chat and tittle-tattle of inner-sanctum nothingness”.

The best way to make sure you receive CR in print every month is to subscribe – you will also save money and receive our award-winning Monograph booklet every month. You can do so here.

In Case of Inclement Weather: Implement Full Windsor Fenders

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We’ve seen at least one discreet fender concept before*, and the growing popularity of cycling certainly invites further innovation. Lest we succumb to the likes of the entirely inane (and ill-advised) “Uberhood,” London-based designer Mark Windsor has risen to the challenge with a pair of folding polypropylene fenders that might just do the trick.

FullWindsor-2.jpg

The attachment mechanism of both the removable Quickfix and more permanent Foldnfix are both rather less complicated than the company’s namesake knot: they slot through the seatstays, to which they are fastened, with a third attachment point on the seat tube. The result is invariably described as origami-like, a shorthand that also captures the fact that it packs flat (into a distinctly necktie-like shape) when not in use.

FullWindsor-4.jpg

Where the Quickfix attaches with “marine-grade metal snaps,” the Foldnfix is geared towards those who require “full-time protection,” i.e. during the rainier months of, say, the Pacific Northwest. Indeed, it’s no coincidence that Windsor’s stateside business partner, Catherine Liu, hails from none other than Portland, Oregon.

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Which is a long way of saying: he’s looking to Kickstart his U.S. distribution, and considering that he’s offering $5 off either model in order to meet a minimum shipment requirement, he should have no problem reaching his modest goal of $5,000. (Video below…)

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Nomerz Street Art

Nikita Nomerz offre des visages aux batiments avec tout son talent pour la peinture. Très bien réalisées et un brin inquiétantes, ces créations changent totalement l’environnement dans lequel elles se dévoilent. Un travail réussi à découvrir dans une série d’images ainsi qu’une vidéo.



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