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’.