Mobius Daydream...the Design Drawings

Axo I - Entrance view

Axo II - Exit view 

Final equipment setup

Timber joinery detailing

Plan views I + II

Section I

Section II

Section III

Timber component schedule

Making // DAY 8 // Building media station/testing projectors

Making // DAY 7 // Building media station

Design Development // Interim review 12/12/13

“What''s a crit without a technical glitch?”

Despite the very awkward (walking to another room to fix the) technical fault regarding the video to projector setup during my presentation (!) the day was informative and educational to say the least! 

The design process is again leading to new thoughts and developments, given some expert advice from the 'Usual Suspects' and the two guests speakers from the AA and UCL.

Main questions posed:

Is the framework over engineered? could it be constructed more simply and still enclose an immersive experience? 

What message does the riot information projection convey? can it be refined?

Design Development:

Presentation sheets:

Experiment set-up No: 5:

Framework construction details:

The Video Projection:

                                

           

                Original test reel which was displayed during the presentation (Video: Tina Zacharia)

               Can be found at: http://www.youtube.com/watch?v=3L-jbI9Zlh0&feature=youtu.be

Visual feedback loop x Video information projection (Presentation: Tina Zacharia)

Riot glossary: building the narrative (Presentation: Tina Zacharia)

The Crit Panel: left to right: Gabor Stark, Sam McElhinney, Abigail Batchelor (AA), Dr. Sophia Psarra (UCL)
 (photo: Tina Zacharia)

Aiming to capture the essence of human interaction through an ephemeral collection of imagery via a visual feedback loop posed the questions of execution and structural simplification. 

Review Test Setup!!

Setting up the loop today to make sure things run smoothly... fingers crossed!

Photos (Tina Zacharia)

Riot reel "Teaser trailer"

...just a little snippet of what is to come!!

Surveillance // Julia Scher

Julia Scher, Recovery Agent (R.A.), 1987

Performance with security and surveillance equipment. One of the first installation presences animating the world of security sales with a mad-cap, jungle-like structure.

http://www.youtube.com/watch?v=4_r-cA7vMU4

"I originally saw surveillance in terms of looking at landscape, because indeed there was the landscape through the lens or eye of a camera rather than my own eye. I don't, however, agree that space is the battleground. More insidious and less visible to the human eye is identity, created through multiple data bases and hierarchies imposed and created without laws or the knowledge of those being judged. These virtual spaces are far more interesting for me and far more dangerous. At least you can see actual space. Virtual space is another ruse, because our virtual identities have to be created before we can pass through a virtual space. What kinds of hierarchies are going to be employed to keep us in or out of those virtual spaces? I can penetrate those walls without being a physical presence. I'm interested in the extremity of this battleground.

I have always found my best work to be "encounter work" — looking at the phenomenological world one enters. An experiential aesthetic interest. It continues here, in digital, programmable, plastic, and sensory testing areas. I have always thrived in initiating an impossible project (an invisible one, a ridiculous one) here in real new worlds (still smooth, new, and dependent new worlds) where visitors can deal with their own flexible script. It's not museum walk-through alone. It's cramming methodological reiterative tour guides — alongside on-your-own, have-what-you-will poem gardens. . . .

Surveillance space has been a metaphor for controlled space, controlled life. Electronic control devices in their earlier applications were placed at the edge of lived space (you would see the guard at the edge of the building underground, or hidden away). Now as surveillance and security (and kid scrutiny) has become more foregrounded in architecture, television, transportation, etc., its unmasking or its display has been FUN FOR ARCHITECTS.

To unmask (and deconstruct) was a way to criticize, undo, reveal, and be revolutionary. Now, it's part of an aesthetic of exposed foundations, a deconstruction of architecture. No longer on the edge, or behind the camera's hidden-eye security, THE APPARATUS comes out of its shell and acts as a prism and white-hot calculator in space"

Excerpted from "Julia Scher interviewed by Paul D. Miller," Artbyte, October-November 1998, 42-47, and from an email interview with Julia Scher by Bruce Jenkins, Film/Video Curator at the Walker Art Center.


Source: http://www.sfmoma.org/exhib_events/exhibitions/details/espace_scher#ixzz2lhKQeKjw
San Francisco Museum of Modern Art