Student Presentations

See a clip below illustrating the student presentations made on the 30th September.

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Every Way Outcomes / notes from presentations

Group 2 addressed energy consumption and urban sprawl — Every Way Out became an awareness raising device to monitor energy performance of buildings in an urban setting. Initially set out to look at public buildings, the group moved onwards to hook also domestic households to the surveillance grid. The cinematic and tactile character of the structure’s modules was further enhanced by way of translucent panels of polycarbonate sheeting which allows light to penetrate through the structure and create a play of color nuanced shadows. The timeline of the structure’s growth was based on a weekly schedule, while the contour of the structure undulates in correlation of the waterfront skyline. The cinematic dynamics had multiscalar layering where smaller panels started to act as seating and stairs, emphasizing the proposal’s flexibility and adaptability.

YOUnity by Group 1 addressed the structure’s life ‘after all this’. The proposed structural model, communicated via an animation of its evolvement over time, resembled magma of smaller elements pouring down from larger modules. The notion of ‘donation’ is immanent to this group’s proposal, as they suggested ways to offer the elements another life — beyond the structure’s stay on site — in primary schools, hospitals and so on. The lifespan of modules was not only extended to the aftermath, but also considered for the preparation stage of the installation, as locals would be offered a possibility to ‘decorate’ the elements beforehand. Children engaging with the structure, recycling of the elements and the structure’s continuous growth by add-ons, manifests a parallel process of simultaneous evolvement and dissolving.

Group 3 — Let the Great World Spin’ — addressed the notion of ‘play’ in a variety of ways. From passing ships and boats to swimming in the water, the core of the proposal revolved around the exhibitionist inside and the courage to leave one’s intimacy behind when plunging into a hot tub or taking a ride in a ‘zorbing’-like bubble on the water. Scenario of leaving one’s belongings to the installation and going swimming in public revoke the imagery of activities surrounding Japanese schoolgirls in front of lockers in Tokyo metro stations. ‘Stripped of everything’, the visitor of Every Way Out is as if a lone traveler reengaging with the inner child. The theme-park nature of the proposal with catchy nonchalance caused quite a stir for imagination.

Group 5 discussion geared up around a language’s rate of change — textese as a handy mode of communication using also emoticons and avatars, the group’s proposal featured a variety of opportunities for the community to interact with the installation by QR codes. As an example, the group presented txt-macbeth as a way to highlight evolution of a language. This brought up a discussion of txt links with phonetics and slang, the approach’s pervasive audio qualities and performative elements for further investigation. Every Way Out as a realtime piece on site would thus become as if a receiver of a variety of notes and tales from different kinds of people visiting the structure at any given moment. The proposal also offers an opportunity to ‘subscribe’ to Every Way Out — a physical object in the city, and thus to reconnect with the ephemeral, transient and temporary culture of emergence.

Group 6 LUMINECT association of iPad and audio explored the subtle notion of the fact that people who are working together don’t necessarily need to know that they’re collaborating. The audio + lighting scheme supported by sensors located in the modules and rearranged over time became a constantly generative system — responsive to local context. Lights flicking in different locations around the city perform as mementos, while discovered accidentally by the visitors. The proposal relies on the ‘instinctive’ — on curiosity driven phenomenon of ‘pushing buttons’. The solution offered could work nicely for larger urban scenarios, e.g. to highlight buildings which are going to be demolished, thus becoming an instrument for unlocking the hidden potential of the existing structures as well as connecting data through collective associations.

Group 7 suggested that a ‘physical drop box’ to send letters is needed at the time of increasing virtuality. Upon entering a dome structure created by the modules, the visitor has the means for drawing up and writing down an actual message, which thereafter goes to temporary storage and an exhibit preparation. The proposal raised a question of the scale of the drop box, as it would start to set the parameters of — e.g. size — of ‘dropped’ items. Furthermore, it raised a question of a ‘physical facebook’ — how is it curated? How is it archived? How is it managed? The physical transaction of the ‘Honest Exchange’ needs to respond to the local microclimate, to be effective on site. It would be great to elaborate on the ‘exchange’ aspect of the proposal — a visitor bringing an object and removing another in exchange. Such sequence of events would allow to look at Every Way Out as an installation capable of ‘self-curating’. Thus, the site and the installation behold the potential to become a networking hub for ‘need’ & ‘demand’. The spiraling dome as an intricate pavilion hovering above.

Group 8’s ‘Why Not Touch’ addressed sensitivity erosion — the more the structure is touched, the less sensitive it grows. On the other hand, the modules which are touched the most by visitors, are the points for further growth — additional modules to be added.  Combating over-exploitation of sensitivity, one could imagine the structure to start to evolve in a variety of unexpected ways. De-sensitizing emotive response to touch brings to mind R&Sie(n)’s project on mood moderating as tool for spatial expression, as well as urban tamagotchis — could the less touched panels start to ‘scream’ in neglect? Or, are there some parts radiating with happily? Lo-tech and hi-tech merge in this proposal through haptic interface. Dealing with proximities, the group suggested to also utilize organic matter from the water. The issues of textures provide diverse opportunities to investigate physical and sensorial negotiation of seemingly opposite materials, e.g. a cold material having the human characters of warmth and cosiness, or vandal-proof ‘guerilla glass’ incorporating AmoLEDs, to preserve elusive ideas which are otherwise hard to capture.

Group 9 strategy ‘Inclusive by Design’ originates in the world of the maze — a spatial puzzle solving game taking place within the installation. Interaction emerges through physical movement and discovery of ‘the way out’ where series of chambers create an ever tight lock for those who are inside the structure, while also providing passersby glimpses of people and the possibility to overhear their conversations. The proposal aims at changing people’s behavior by triggering their will to help one another out of the maze. The proposal raises many issues of forced-upon interaction, problem-solving as metaphor for ‘creativity’ and anonymity in urban environment. Such a scheme aims not only at social but also spatial intelligence skills and training while providing plenty of thought for intensifying the experience of ‘lost’ or ‘confused’. Navigation as such is common topic for those on water as well as on the shore.

Group 10 and their ‘Billie Jean Panels’ addressed the notion of an installation as a scaled-up musical instrument via investigating the structure’s performative capabilities and its potential soundscape in an urban setting. From noise pollution to ‘white noise’, the structure becomes a tool for audio identification of a given set of visitors onsite at a certain moment. Furthermore, the proposal added light as a playful element and as visual response — panels illuminated in correlation with the sounds being played. The environmental ‘self’ is thus manifested in a multiplicity of sensorial ways on a staged set of reciprocal surroundings. Abstract sound of water could be added, as well as shadow and echo considered. Filling the cavity, the proposal seeks to reach across tensions of the structural form played out acoustically. Reverberation factor of the construction materials could be regarded as one of the stepping stones to purposeful ‘content management’.

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Group 6 stuff

These are a collection of images that show work and idea’s we came up with during the week. *note, having issue with gallery not displaying. Will look into.

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Photos – observations from project

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An Honest Exchange?

Throughout the week we as a group have been discussing the ideas of self-expression, honesty, how people edit themselves for the benefit of others online and how the move towards solely electronic communication has eliminated the need for physical or tactile communication.

With our project we want to build a forum for the public to express themselves openly and honestly, where they feel they can share thoughts and feelings that in a less anonymous environment, they might not otherwise share.

We seek to do this by creating a “physical dropbox”, the idea being that members of the public would enter here, into this enclosed, semi private space where paper and pens are provided, and could then  leave small items, drawings, doodles, secrets, dreams, anything, in what would act as a post box. At the end of each day an invigilator would come and place whatever had been left in the exhibition space, which also serves as the exit.

 

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Personal Afloats / from discussions w groups

recycling the structure element by element — one module might go to a primary school, another to a hospital etc

acknowledgement of mental health as human resource

travelators

selective global warming

weather control geoengineering

adjustable barriers vs barrier-free

storage capacity (flood — water, things, info, tales etc)

your general ‘..ologist’

sensitivity erosion

textese for ‘macbeth’

installations around the city to monitor energy performance of public buildings

incomplete shadows

intimidation vs driver vs realization

physical drop box

concrete poetry

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Title Of Our Installation

The title of our installation is YOUnity. The installation involves individuals uniting to create a final structural unit. The pieces of the structure unite together also. So taking the above information we came up with YOUnity. YOU representing the individual and Unity representing the Individuals uniting to create the structure.

YOUnity Logo

The Logo

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Stop Motion Video

Here is the first stop motion video we made this is to give you an idea of what it will be like.Stop Motion Video of how installation will work

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Group 10 – Billy Jean Panels

Group 10:

Matthew Barry, Vincent Cahill, David Lennihan (Architecture)
Fiona Barry (Fine Art)
Sean Hamilton, Hazel O’Keeffe, Ricky Sweeney (Multimedia)

Since day one our ideas chopped and changed regularly from musical instruments powered by the elements of the Irish weather relying entirely on engineering containing absolutely no technology, to an interactive playground for children where they could create their own sculpture out of miniature scale replicas of the elements in the actual sculpture.

On day four we have settled on a realistic idea. Which we think would be beneficial and entertaining for the public, spanning all age groups. We are basically turning the sculpture into an instrument where each panel is the key of a keyboard and when pressed a corresponding panel illuminates and creates a sound. As the sculpture will be quite large it would be impossible for one person to hit enough keys in good time to create a song, so many people have to work together to create a piece of music.

Today David created a model of the sculpture in Goolge SketchUp. Using Imovie he created a short video outlining how the panels on the sculpture light up in time with the music. The rest of the group created a physical model of the sculpture. We cut pieces of flexible card into squares and slotted the pieces together. With the use of LED lights we can show how the panels light up when corresponding panels are interacted with. The connection between panels can be done using proximity sensors that alter the sound based on the distance between them or tap tile (touch) sensors.

 

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day 4

day four started preety quickly with the consturction of a scale model made of foam board. with this modle we figured out crowd control and saftey, weighting it to the port how to deal with rain and runoff water. we dcided to have the piece evole over the course of the mounth to show city growth and urban sprawl. the construction would take three phases, first off 1.5 meter square’s would be aranged in secure arangements, after a week of these pieces being on show the sceound phase would place 1 meter squares around the site developing the sturcture further. again after one week of display the site would evole nd sprawl with the addition of .5 meter pices. filling out the structre to a city like growth. photoshop photos were aslow workd on showing the piece at its intended site, along with the effects of the lighting on the work. more arctictural drwings were done from the model to work out its scale in relation to the site.

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