My redesign of the exhibit was basically summed up into two different changes:
1. Creating the appropriate environment
Basically achieved by isolating and enhancing the impact of the artwork through structural changes. The following images illustrate an imagined space where this occurs.
Perfect cube mimics the perfect square present in both wall and artwork, and transparent doors provide sneak peek of exhibition from the outside.
Top view of complete space, illustrating one half for the artwork and the other half for an interaction visitor space.
2. Creating new interaction that enhances current experience
Through the act of exploration and increased aural sensitivity, visitors can create a better understanding of how electronic interference has permeated our living spaces.
The visitor space is a location where visitors can pick up a set of earphones and a handheld microphone. They can then move on to explore the rest of the museum, listening and documenting the ambient noises around them.
Electronic hotspots to be labelled through the museum with red stickers, encouraging visitors to approach and listen to an amplified version of electronic interference through the microphone. Artworks that produce electronic interference, as well as museum architecture, can all be part of the experience.
My second and third presentations were both made via Prezi. The third presentation builds on the structure of the second presentation. The links below allow you to access the folders containing the presentations and the Prezi project. Download all the content and double click on the prezi icon to view the presentation.
I feel that one thing I could have worked on for this assignment was to focus on either option 1 or option 2. As both ideas are very different, with one focused on structural changes and the other on creating new interactive experiences, they may not work well together and choosing one or the other would have allowed me to develop my ideas with greater depth. Another alternative would be to pick two ideas that were truly symbiotic. In any case, it’s definitely important that a redesign respects what the artwork already successfully does.
Panasonic by Haroon Mirza is a work that is situated in the New Media gallery as part of the Double-and-Add exhibition.
More about Haroon Mirza:
Initial sketches of the exhibit:
The research is then combined into a single mindmap, which is an analogue way of making presentations.
I decided to create a ball pit and placed it in the elevator. The objective of this was to intervene with our expectations of an elevator as a transitory space rather than as a contained space for human interaction. Most importantly, it tries to inject a sense of fun into the design center by encouraging visitors to rediscover their inner child, or simply relax. The strength of the project lay within its ability to be completely intuitive — the ball pit was not only inviting and fun, but required absolutely no instructions from its user. Instead of designing a specific interaction with an end goal, the ball pit invites visitors to create their own interactions.
The schematics of the ballpit, which required some math!
Building the ballpit:
The pit was constructed by using cardboard and a generous amount of wood glue. It fits one person perfectly, much like a bed or a coffin.
One way the project can be further developed could be a change in size or scale. If the ball pit was the size of the elevator, leaving the user no choice but to enter into the pit, would that intervention be more succcessful? Another change I could have made was to consider the redecoration of the entire elevator space, integrating the ball pit as part of a joyous space rather than as a stand alone pit.
In any case, the ball pit currently lives out its life in the 6th floor studio, and has very much become part of the studio architecture.
This project began with an investigation and mapping into the Design Center’s elevator. I was very interested in the elevator as a choice for my intervention, because its ability to move meant that it was regarded both an object as well as a space. I loved the idea that the elevator was a physical space that people had to call, and that they were then able to enter it and be transported to a completely different space.
Here are some images from the mapping I created of the space. I made observations about specific input and output interactions with the elevator, and visualized it. It was very interesting to me that an elevator always arrived with a sense of surprise — it was impossible know what was behind the door. That meant that even if we can properly predict our physical interactions inside the elevator (such as pressing a button, or standing), it is impossible to predict our actual behaviour within the elevator, because there’s no knowing what kind of circumstances we wil be placed in.
With that, I delved deeper into the elevator decision-making process, and thought about how I could subvert that expectation and create a unique spectacle.
Here’s the final version of the Access infommercial! It’s shorter and flows much better than the previous version.
Access is both a product and a service that replaces the need for a security pass or a key. Utilizing RFID tagging technology, it allows users to gain access to services and spaces much more efficiently than before.
Before I began my interviews with Jay, I first considered my own role as an documentary filmmaker. As with all forms of film, so much of the filmmaker’s self becomes exposed through filming and editing. The questions we pose to our subject, our choice of perspectives, the quotes we keep and the ones we discard — All these decisions become markedly important in the creation of a documentary; especially because it is a form through which people expect some seed of truth.
Thus, I made the decision to keep a hands-off approach to my film of Jay, trusting that the interviews would allow me him to reveal what was important to his design perspective; in order for me to better craft a narrative about his story. This proved to be successful, as we ended up working closely together to understand this process — I looked outward for points of interest and relevance, and Jay looked inward through self-reflection — allowing us to meet in the middle.
In many ways, the ethnographic video was discovered rather than created. As interviewer and interviewee, we celebrated brief moments of synchronity. An interesting interview, when watched in full, can be very boring due to its predictability and lack of rhythm. However, any interview, when interspersed carefully with sensible links and transitions – much like telling a story – can be interesting and feel well-paced. Allowing the audio and visual to take turns, much like in a dance, can also allow different elements of the film to lead into each other, creating a much smoother expeirence.
I’m very happy to have had the opportunity to film Jay. To share in the personal space of another person; to see the environment in which they live, relax, and work, can be an intrusive experience, and I’m glad that Jay was very open and willing to let me into his life. It was altogether a very enjoyable film to make.