It has been more than a month that I finished my dissertation. But better later than never…
Here is the abstract and you can click on the cover bellow to access it.
By obfuscating what western human being take for granted, such as the knowledge offered to us by maps, clocks, or more recently electronic de- vices, my research aims to reveal how technology fails to give us the ‘god’s eye view’ that it promises. This dissertation presents three of my projects: MyMap, Circadian Clock and SAAD, which encourage people to reflect on how we might overcome the challenges that modern technology puts in front of us, in order to reconnect with others and nature.
This dissertation explores the concept of borders; physical, symbolic, invis- ible or psychological, which I would argue are partly responsible for ‘dim- ming’ our perspective of the world. The research and projects, allowed me to develop the concept of ‘Design Geography’, which I define as the prac- tice to mediate the value of human interaction with others and the natural environment, using design processes.
The posts and research of Matthew Flintham are very much related to what I am exploring.
With ‘Architecture of Mundane Routines‘ he plays with GPS data and cell tower data collected on phones. He explained that “considering that our phone apps are leaking geodata most of the time, I just wanted to see what an accrued body of this stuff might look like”.
“In collaboration with journalist Simon Rogers and Roundhouse (Portland), Universal Everything created an immersive narrative experience exploring the power of big data.
A 15’ x 8’ mirrored room and subtly choreographed pixel spheres echoed the LED animations, creating an endless digital landscape. Designed in code and running in real-time, the experience tells the story of the world around us through the medium of a simple US quarter.” From universal everything
Very interesting performance to demonstrate how much space could be gained if more people were using bicycles. It is simple, cheap, visually beautiful and the message is very clear. This could be also derived to show the security distance between cyclist and cars.
“During this year’s european week of sustainable mobility, a branch of latvian cyclists part of the let’s bike it community staged a creative protest, which effectively — and cleverly — showed that cars with single occupants take up way too much space. The streets of riga were lined with hand-crafted constructions of full-scale car frames, made to sit on the shoulders of the bike rider. Bamboo-like rods tethered together created the skeleton of a vehicle-sized structure, while bright colored paint ensured their visibility on the road. The wearable units extend far beyond the width of an individual cyclist — a truly representative and definite illustration of the difference in scale from driver to bike rider.” From Design boom.
A very inspirational artist. Her topics are mostly technology, body and space. She an exemple of a mix between science and art.
“Lucy McRae is a Body Architect exploring the relationship between the body, technology and the grey areas of synthetic and organic materials. She invents playful, imaginary worlds steered by complex scientific challenges to create portals of possibility that provoke the way people embody the future.”
“Where does the term “body architect” come from? I made it up to get hired for a job. I remember standing in the HR office being faced with the question “What are you?”. Wafting my hands in the air, scrambling for a description that packaged my background in ballet, architecture and fashion I plainly said, “I’m not just one thing, I’m a hybrid”. He gestured towards a white board with a matrix of job descriptions and explained he needed my job title in order to hire me, I left without the job. I called the my soon-to-be boss and said “Didn’t get the job, as I don’t know what I am.” He said “Go back and tell them you are a body architect”. I returned to HR the following week, knocked on the door and said “I am a body architect”… “Okay”, he said “Sign here, you start next week”.
An other installation with red strings disturbing a space.
Something thin as a string but multiply can completely make a difference. The power of number.
” Red lines radiate from the top of a waterfall over the pool below in this installation by French artist Pier Fabre for the Horizons Sancy art and nature festival in France. The 240 bright red strings are suspended in front of a cascade at Egliseneuve d’Entraigues, in the mountainous Sancy region of central France.
“My kinetic artwork Dripping… is designed to create an unusual scenic space above the water,” Fabre told Dezeen.
Originating from the top of the eight-metre-high falls, the 20-metre strings curve out in three tiers and appear to end in midair above the water.
“Water runs along all the lines and it is scattered from them like rain over the pool below,” said Fabre. “This never-ending rainfall is particularly spectacular when backlit, with the sun shining through every droplet.”
The strings are carried on metal wires, which connect to a thin frame that crosses the river. This frame attaches to trees on either side of the water and is anchored to rocks on the ground. ” From Deezen
OccultUs by Simon de Diesbach – Designing for alternate reality
Very interesting way to mix reality and virtuality
– reality and physical intervention are so powerful.
– how is it to be stuck between 2 worlds ?
– challenging perception
” Created by Simon de Diesbach at ECAL with the support from Alain Bellet, Gael Hugo, and Christophe Guignard, OccultUs is an installation that exploits the potential of the Oculus Rift technology by immersing the user into a sensory experience that mixes two distinct realities, physical and simulated.
The installation includes a collection of “abstract machines” designed to enhance the experience. What at first may seem like an uncomfortable scenario, user being seated in the centre of the unknown, the minimal virtual world takes over bringing the strange machinery to life, activated by the user’s gaze and creating a dynamic interplay between the virtual and the surrounding physical animations.
Users find themselves at the core of a hybrid space, where images and sound, though originating in heterogeneous realities, coincide. Stuck between two worlds, their perception is challenged. The OccultUs experience requests users’ participation in a double way: as the leading actor of the piece, but also as an integral part of it by becoming the object of other spectators’ attention.
Another interest element in the project is the physical abstraction of sound. Whilst there may have been more obvious choices behind how the sound is generated, their visual appearance if primarily driven by their function in virtual space. This raises many questions about how we may begin designing physical objects that complement and connect to our virtual experiences rather than the other way around. Traditionally we have sampled real life sounds to produce the digitally enhanced or manipulated. In this reverse scenario, we are using the real-world generated sounds to enhance the alternate reality.
OccultUs is a young project. The number of machines is limited for now. However, Simon’s objective is to increase their number and hence the diversity of sounds, in order to give a larger dimension to the experience. ”
Named Constell.ation, LIKEarchitects month-long intervention comprised several clusters of slender arches, which were made by filling red corrugated tubes with LED lighting. The clusters were scattered around the grounds of the Portuguese Presidential Residence in Lisbon, a building that now functions as a museum but whose gardens had not before been accessible to the general public. The arch – a primordial element in architecture – has the inherent power to create space and, at the same time, to build a physical relation between two places,” said Aguiar.
The reinterpretation of lightning elements associated with Christmas, has found in the multiplication of lighting arches – which usually embrace the city streets – the opportunity to form an whole intervention composed with different moments, in different places, which intended to hold a continuous diffusion within the different levels of the classical garden, celebrating the Nativities without recurring to common places associated this special festivity.
Materialised by a network of contiguous arches in red corrugated tube, illuminated by a LED lighting system, Conste.llation delicately dances on the gardens, connecting spaces and crafting unexpected routes. The arch – a primordial element in architecture – has the inherent power to create space (under, inside, etc.), and, at the same time, to build a physical relation between two places (between, inside, etc.) being related also to the idea of connection and unification.
He transform dark spaces into abstract light environments. His site-specific installations are based on triangular forms, which lines passes through walls, floors, façades and they may be seen floating between buildings.
“Paper is simply paper as long as it is white, but once you draw on it, it becomes ‘a drawing’. A design in light is a mental drawing that uses dark space.
Fibre optic drawings are in harmony with the place itself, the light creating an interrelation by overcoming the physical walls and transforming the environment in a deceptive way, pushing it to the limits of an illusionary dimension.
The installation takes over the space and incorporates it.”
Is it possible to change behaviours by bringing ‘beautiful’ into public spaces ? I really believe in this idea. One of the main example of this is the ‘Art stations’ in Naples metro. It seems that the Italian city have the most sordid reputation, streets are dirty, it is viewed as a crime centre. Nevertheless they made amazing change in how people use and respect the subway station by bringing contemporary art in the corridors, elevators…
“Art should help us to make our daily routine better, tele-transporting us in another more beautiful and superior dimension. This is in fact is the concept at the base of “Art Stations” in Naples metro, a project promoted by the city council to make the mobility spaces more charming, giving to everyone the possibility to meet contemporary art. Interior and exterior spaces of the stations received about 200 works of more than 100 eminent contemporary artists, creating one of the most interesting examples of decentralized museum, distributed on the whole urban area, a museum that becomes an expositive path that permits a dynamic fruition, not anymore a closed place. The realization of the different stations has been committed to internationally renowned architects and represents a strong requalification of big areas of the urban fabric.” Enzo Lofrano
“Artists come and present their vision of Naples to help Neapolitans see their city differently” Antonella Di Nocera
“This wasn’t about decorating the architecture, it’s about enhancing the space with the works of artists called on to dialogue with the space” Mr. Bonito Oliva