http://www.cinimodstudio.com/dj-light
DJ Light is an immersive public sound and light installation that gives visitors the power to orchestrate an awe-inspiring performance of light and sound across a large public space. It was created for energy company Endesa as the cornerstone of their Christmas celebrations in Lima, Peru.
DJ Light (DJ Luz), Lima 2010 from Cinimod Studio on Vimeo.
http://www.jillanholt.ca/projects/light-showers
Light Showers
Jill Anholt
A series of iconic sculptures integrated into a new park along Toronto’s waterfront visibly express the surrounding community’s aspirations to sustainability. Nine meter tall art elements display and celebrate collected and purified community storm water , lifting it from the ground to the sky where it falls as a textured veil of water into a channel that returns it to Lake Ontario. As people meander over bridges between the elements, integrated motion sensors trigger shifting light patterns in the water curtains, emphasizing the connection between local actions and distant effects.
Location: Sherbourne Park, Toronto ON
Status: Completed Summer 2011
http://dirt.asla.org/2011/08/17/the-future-is-here-sherbourne-common/
http://www.jillanholt.ca/
WHERE DOES THE DUST ITSELF COLLECT?, Xu Bing, 2011
at Museum of Chinese American, NY http://www.mocanyc.org/
and Lower Manhattan Cultural Council, NY http://www.lmcc.net/
http://insite.lmcc.net/projects-home/?id=15
The first American installation of a project by renowned Chinese artist Xu Bing, originally created in 2004 in Cardiff, Wales utilizing the dust that the artist collected from the streets of Lower Manhattan in the aftermath of 9/11. Recreating a field of dust across a floor surface, punctuated by the outline of a Zen Buddhist poem, the work explores the relationship between the material and the spiritual world, and the complicated circumstances created by different world perspectives.
Xu Bing (1955- ) was born in Chongqing, China but grew up in Beijing. He was sent to the countryside to perform farm labor as an “educated youth” during the final years of the Cultural Revolution and then entered The Central Academy of Fine Arts (CAFA) in 1977, where he studied and taught in the printmaking department, receiving both his bachelor’s and master’s degrees there. In 1990 Xu moved to the United States, eventually relocating to New York in 1992. His work has been the subject of numerous solo and group exhibitions at museums spanning the globe and he has been the recipient of awards and honors including a 1999 MacArthur Fellowship and an honorary Doctor of Humane Letters from Columbia University in 2010. He currently works out of his studios in Beijing and Brooklyn, and since January 2008 has served as vice president of CAFA, his alma mater.
This exhibit is made possible by support from the Ford Foundation.
The exhibition space in The Spinning Wheel Building has been donated by the
Greystone Management Corporation.
Image: Xu Bing, courtesy of the artist.
http://www.amazon.com/Celebrating-Third-Place-Inspiring-Communities/dp/1569246122/ref=pd_sim_b_1
Sociologist Oldenburg (The Great, Good Place) offers a compilation of essays on those places in America “where everybody knows your name.” What Oldenburg calls “the third place” is different from home and work (the first and second places respectively) it’s somewhere people can relax in good company on a regular basis. In this collection of 19 essays, proprietors and patrons of those third places describe how their establishments came into being and what exactly gives them their appeal. These third places aren’t just diners and coffeehouses: there are establishments as disparate as Annie’s Gift and Garden Shop, in Amherst, Mass., whose witty and provocative billboards provide a jumping-off point for conversation within the community, and Old St. George, an espresso bar located within a church’s sacristy in Cleveland, Ohio. There’s also the “great good gym” and, perhaps most surprising, an essay claiming prison to be the third place for many disadvantaged in American society. These charming and often thought-provoking essays, each written in a voice distinct as the place discussed, provide food for thought into the isolation our modern conveniences bring and people’s need to come together as a community. This book will strike a comforting chord for those questioning the status quo and desiring to live a more authentic and connected way of life.
Copyright 2001 Cahners Business Information, Inc.
http://www.amazon.com/gp/product/1559631139
Research has shown that successful public spaces are ones that are responsive to the needs of their users, are democratic in their accessibility, and are meaningful for the larger community and society. While considerable research has been done on needs and conflicts in open space, no one document integrates all this knowledge and makes it available to professionals, students, and researchers.
Research has shown that successful public spaces are ones that are responsive to the needs of their users, are democratic in their accessibility, and are meaningful for the larger community and society. While considerable research has been done on needs and conflicts in open space, no one document integrates all this knowledge and makes it available to professionals, students, and researchers.
Based on archival research; published case studies; site visits; and interviews with researchers, open space designers, managers, and users, Urban Open Space looks across several seminal studies to glean significant findings and design implications related to user needs and conflicts. It reviews and identifies those critical user needs that must be considered in the planning, design, and management of outdoor spaces, and synthesizes that knowledge into an accessible and useful document.
Mark Francis, a Fellow of the American Society of Landscape Architects, is professor of landscape architecture at the University of California, Davis, and senior design consultant with MIG in Berkeley and Davis. Trained in landscape architecture and urban design at Berkeley and Harvard, he is author of more than sixty articles and book chapters translated into a dozen languages. His books include Community Open Spaces (Island Press, 1984), The Meaning of Gardens (MIT, 1990), Public Space (Cambridge, 1992), and The California Landscape Garden Ecology, Culture and Design (California, 1999). His work has focused on the use and meaning of the built and natural landscape. Much of this research has utilized a case study approach to study parks, gardens, public spaces, streets, nearby nature, and urban public life.
http://www.amazon.com/Public-Places-Urban-Spaces-Second/dp/1856178277/ref=dp_ob_title_bk
Sustainability is the driving factor in urban regeneration and new urban development, and the new edition is focused on best sustainable design and practice. Public Places Urban Spaces is a must-have purchase for those on urban design courses and for professionals who want to update and refresh their knowledge.
. Tried and tested textbook in urban design, giving a comprehensive introduction to the principles and theory of urban design
. New and key focus on trends in sustainable design
. Now full colour to better visually demonstrate to students the application of design principles
http://dl.acm.org/citation.cfm?id=1348085
Facilitating public awareness—the design of information distribution for communication in future workplaces
Keio University
Computer Animation and Virtual Worlds, Volume 19 Issue 1, February 2008
John Wiley and Sons Ltd. Chichester, UK
table of contents doi>10.1002/cav.v19:1
Abstract:
We present Emo System that extends e-mail communication system in a workspace environment. In this system, the emotional information included in e-mail message is extracted and shared in the public space, while reserving the private exchange of messages. As a result, people in the public space become aware of the ‘emotional’ information. This paper discusses how we extract and segment the information to share the emotional information.
Copyright © 2008 John Wiley & Sons, Ltd.
Pre-review, August 3st, 2011
In this paper, what ‘Public space’ does mean?
http://www.ipsi.fraunhofer.de/ambiente/material/pictures/
Hello.Wall®
The Hello.Wall is an ambient display that emits information via light patterns and is considered informative art.
As an integral part of the physical environment, Hello.Wall constitutes a seeding element of a social architectural space conveying awareness information and atmospheric aspects within organizations or at specific places.
Interaction in Public Spaces
To contribute to a social architectural space, we focused on user interactions in rather public spaces within office buildings and designed a medium and mediator for conveying social awareness and atmospheric aspects at specific places in order to support informal communication.
Informative Art and Privacy-Enhancing Technology
We designed a piece of calm technology which contributes to the definition of a place while at the same time unobtrusively serves an informative role only to the initiated members of an organization or a place. Others might see it as an atmospheric decorative element and enjoy its aesthetic quality. Therefore, we consider our work to be at the crossroads of privacy-enhancing technology and informative art.
Hello.Wall exploits humans` ability to perceive information via codes that do not require the same level
of explicit coding as with words. It can stay in the background, only perceived at the periphery of attention, while one is being concerned with another activity, e.g., a face-to-face conversation.
Light Patterns
With respect to the Hello.Wall being a stimulating architectural element, the light patterns displayed on the wall are mostly dynamic and have a blurred and rather abstract appearance. Although recognizable to users, they are not being predictable and thereby introduce an element of chance or surprise.
Social Awareness
Communicating social awareness and atmospheric aspects within an organization includes general and specific feedback mechanisms that allow addressing different target groups via different representation codes and displays [implicit vs. explicit]. Individuals as well as groups can create public and private codes depending on the purpose of their intervention. The content to be communicated can cover a wide range and will be subject to modification, adjustment, and elaboration based on the experience people have.
View.Port®
We propose a mechanism where the Hello.Wall can ‘borrow’ other artefacts in order to communicate more detailed information. These mobile devices are called View.Ports. Due to the nature of the View.Port’s display, the information shown can be more explicit and it can also be more personal. Depending on their access rights and the current situation [e.g., distance to the wall], people can use View.Ports to decode visual codes / light patterns, to download [‘freeze’] or just browse information [e.g., video], to paint signs on the wall, or to access a message announced by a light pattern.
View.Port® Designstudy
This physical View.Port design study comprises the concept of having two parts of a display identified by form, e.g., to differentiate between a private and a public part of a display. This is to be responsive to the fact that sharing of information will be ubiquitous in smart environments and keeping personal data private will be a major challenge.
SIAM
SIAM is a lightweight task-management system. Moreover,
it is meant to foster group communication and to provide
awareness of what other people are doing. Tasks are not
only descriptions of what has to be done or what was done,
but are also conversational items and subject to collaboration.
Thus, task management in small co-located teams is
not only about structuring, assigning, processing, and documenting
progress in task processing, but also benefits from
the integration of collaboration support and from presenting
common task items in a way that aids conversation
about them. Support for awareness about who is doing
what becomes crucial in a team where members have only
a relatively small amount of overlapping presence at the
office. SIAM focuses on a collaboration infrastructure and
user interface to manage tasks, where every object can be
synchronously shared and every change is immediately
visualized at all machines.
Personal Aura
The Personal Aura is an artefact which enables users to control their
appearance in a smart environment. In real life, every person adopts
different social roles, depending on the present situation and current
social environment. The Personal Aura enables persons to decide on their own
whether they are “visible” and in which “social role” they want to appear.
The artefact consists of two matching parts: the reader module which is able
to “emulate” different identities or professional roles, and the ID stick
containing a unique identity and optional personal information. Each person
has multiple ID sticks symbolizing different professional roles. If people
want to signal their availability to remote team members they do so by
simply connecting a specific ID stick to the reader module.
About Marc Augé
http://en.wikipedia.org/wiki/Marc_Aug%C3%A9
Marc Augé (born 1935 in Poitiers) is a French anthropologist.
In an essay and book of the same title, Non-Places: Introduction to an Anthropology of Supermodernity (1995), Marc Augé coined the phrase “non-place” to refer to places of transience that do not hold enough significance to be regarded as “places”. Examples of a non-place would be a motorway, a hotel room, an airport or a supermarket.[1]
About the book