Digital Ground, Malcolm McCullough, 2004

  • Preface
  • Introduction
  • Part I: Expectations
    • 1 Interactive Futures
    • 2 Embodied Predispositions
    • 3 Habitual Contexts
  • Part II: Technologies
    • 4 Embedded Gear
    • 5 Location Models
    • 6 Situated Types
      • Typology(of  situated interactions)
      • fig 6.2 One set of situational types
        • at work
          • 1. Deliberating (places for thinking)
          • 2. Presenting (places for speaking to groups)
          • 3. Collaborating (places for working within groups)
          • 4. Dealing (places for negotiating)
          • 5. Documenting (places for reference resources)
          • 6. Officiating (places for institutions to serve their constituencies)
          • 7. Crafting (places for skilled practice)
          • 8. Associating (places where businesses form ecologies)
          • 9. Learning (places for experiments and explanations)
          • 10. Cultivating (places for stewardship)
          • 11. Watching (places for monitoring)
        • at home
          • 12. Sheltering (places with comfortable climate)
          • 13. Recharging (places for maintaining the body)
          • 14. Idling (restful places for watching the world go by)
          • 15. Confining (places to be held in)
          • 16. Servicing (places with local support networks)
          • 17. Meeting (places where services flow incrementally)
        • on the town
          • 18. Eating, drinking, talking (places for socializing)
          • 19. Gathering (places to meet)
          • 20. Cruising (places for seeing and being seen)
          • 21. Belonging (places for insiders)
          • 22. Shopping (places for recreational retailing)
          • 23. Sporting (places for embodied play)
          • 24. Attending (places for cultural productions)
          • 25. Commemorating (places for ritual)
        • on the road
          • 26. Gazing/ touring (places to visit)
          • 27. Hoteling (places to be at home away from home)
          • 28. Adventuring (places for embodied challenge)
          • 29. Driving (car as place)
          • 30. Walking (places at human scale)
  • Part III: Practices
    • 7 Designing Interactions
    • 8 Grounding Places
      • Why Ground?
      • Place and Space pp175
        • Yi-Fu-Tuan: “Space is movement, place is rest”/ Space is the anxiety of global indifference; place is the comfort of local malleability
        • Architectural phenomenologist Norberg-Schulz “Space is alienation; place is identification
        • Urban planner Edward Relph “Space is an ordering of understanding; place is an ordering of experience
      • Place and Placelessness
      • Place and Community p181
        • 1
        • city walls
        • rusticated
        • 2
        • Edward Relph, place and placelessness. 1976
          • “Places are defined less by unique locations, landscape, and communities than by the focusing of experiences and intention onto particular settings”.p141
        • thus while we can speak of the identity of a place, we must also admit identification with a place.
        • Space lies outside the walls, or outside the social sphere, but the experiences of place occur inside these seen and unseen boundaries.

      • High-Tech Nomads
      • Service Ecologies p186
      • Getting into Place: Architecture, Interaction, and Ground
    • 9 Accumulating Value
      • Value Emerges from Interactions
      • Value Itself
      • Utilitarian Value
      • Economism and Placelessness
      • Expanding the Measures
      • Context as Capital
      • Value as Impetus
  • Part IV: Epilogue
    • 10 Going Native
  • Notes
  • Further Reading
  • References

Lawrence Halprin

Wikipedia

Halprin’s work is marked by his attention to human scale, user experience, and the social impact of his designs, in the egalitarian tradition of Frederick Law Olmsted. Halprin was the creative force behind the interactive, ‘playable’ civic fountains most common in the 1970s, an amenity which continues to greatly contribute to the pedestrian social experience in Portland Oregon, where “Ira’s Fountain” is loved and well-used, and which has been a chronic failure at the transient-ridden United Nations Plaza in San Francisco.

 

In his best work, he construed landscape architecture as narrative.

from

Rainey, Reuben M. (2001). “The Garden as Narrative: Lawrence Halprin’s Frankllin Delano Roosevelt Memorial,” in Places of Commemoration : Search for Identity and Landscape Design, pp. 377-413.

 

*

http://d.hatena.ne.jp/caesar-blanca/20101219/p1

http://blog.enviro-studio.net/?eid=85

Ritsuko Taho, 田甫 律子

Artist’s website

MIT Visual Arts Program

Tokyo university of the arts

Biography

Ritsuko Taho is an artist who works in the public arena ranging from
landscape sculpture and earthwork to urban sculptural installations.

Taho is interested in relationships to the Other –for instance,
between nature and people, people and people. She has dealt with
these issues in public art and explored the use of various natural
materials while she has incorporated community participation within
her installations since the early 1980s.

Metamorphosis, Philips Design Probes, 2010

Philips Design’s latest Design Probe ‘Metamorphosis’ explores how we have become separated from the natural world, both in terms of our surroundings and how we perceive and manage our time.

http://www.design.philips.com/sites/philipsdesign/about/design/designnews/newvaluebydesign/june2010/metamorphosis.page

Architecture for the Poor: An Experiment in Rural Egypt, Hassan Fathy, 1973

http://www.amazon.com/Architecture-Poor-Experiment-Rural-Phoenix/dp/0226239160/ref=pd_sim_b_4

 

Product Description

Architecture for the Poor describes Hassan Fathy’s plan for building the village of New Gourna, near Luxor, Egypt, without the use of more modern and expensive materials such as steel and concrete. Using mud bricks, the native technique that Fathy learned in Nubia, and such traditional Egyptian architectural designs as enclosed courtyards and vaulted roofing, Fathy worked with the villagers to tailor his designs to their needs. He taught them how to work with the bricks, supervised the erection of the buildings, and encouraged the revival of such ancient crafts as claustra (lattice designs in the mudwork) to adorn the buildings.

Adéu, Barcelona!,Lucas Jatoba, 2011

Adéu, Barcelona!,Lucas Jatoba, 2011 GOODBYE, BARCELONA!
This is the way I found to say goodbye and thanks to the city that made me happy in the last 3 years. I also would like to say thanks to http://www.atrapalo.com for helping me make it true, and to Jessica Allossery for the wonderful song “Change the World”. A big hug, Lucas. http://lucasjatoba.com

Urban Interventions: Personal Projects in Public Places, R.Klanten et al., 2010

from amazon

Product Description

Evolving from graffiti and street art, urban interventions are the next generation of artwork to hit public space. Using any and all of the components that make up urban
and rural landscapes, these mostly spatial interventions bring art to the masses. They turn the street into a studio, laboratory, club, and gallery. Modified traffic signs, swings at bus stops, and images created out of sand or snow challenge us to rediscover
our environment and interact with it in new ways. The work is an intelligent and critical commentary on the planning, use, and commercialization of public space. With a rich visual selection of projects and methods, Urban Interventions documents
this new artistic approach to urban art that is currently making a profound
mark on our contemporary visual language. The book shows the growing connections and interplay of this scene with art, architecture, performance, and installation.
Propagators of urban intervention surprise and provoke with work in cities
including New York and London, but also in countries such as China, Columbia, and Turkey. Everywhere the work appears it turns public spaces into individual experiences. Urban Interventions is the first book to document these very current, personal art projects in a comprehensive way.

 

MEMO

Chapter 1: Urban Canvas

  • Haas & Hahn, Favela painting; Vila Cruzeiro, Rio de Janeiro, 2006 (p31)
  • ZASD,Berlin based artist
    • Arrow Pieses
    • Arrows Generation I,II
    • Acupunture Attempts; Berlin, 2009
  • Graffiti Research Lab
    • Laser Tag
    • LED Throwies
  • VR/Urban, SMSlingshot, Berlin, 2009
  • Electroboutique, Digiluck, Oslo, 2008-2009
  • Johannes Vogl, Five Moons, Vienna, 2007
  • Haque Design+Research, Open Burble Burble: Singapore, 2006 & Burble London, 2007
  • HeHe with Helen Evans, Nuage Vert(Green Cloud), helsinki. 2008

Chapter2: Localized

  • Pilar Lopez Baez, Little pieces of paper in the walls; Madrid, 2009(p79)
    • ‘The artist writes short texts in small pieces of paper and inserts them into little crannies in street walls. This project aims at giving buildings a voice. The pieces of paper are left to be found by pedestrians at an improbable moment.’
  • Slinkachu,
    • Slinkachu is also featured in book”Beyond The Street(p330)”
    • What brings us together and what keeps us apart, 2009 (p85)
    • installation made at Fame Festival, at Grottaglie(South of Itary, near Brindisi) ,
    • ‘For this street art and photography project, the “Little People Project”, the artist remodels and paints miniature model  train set characters, which are then placed on the streets and in public spaces…’
  • Dan Witz,
    • Third Man Series; Brooklyn, New York, 2008
    • Dark Doings’ series, New York, 2009
    • Ugly New Buildings series, New York, 2009
    • In Plain View, Williamsburg, New York 2009
    • ‘The “Kilroy Variations” are photo-based, heavily re-painted stickers glued to the walls of new modern architecture.

Chapter3: Attachments

  • ‘extensions within the cityscape’
  • ‘parasitic takeover of evーeryday spaces and structures, to which we adapt ourselves as we move through the city, can be witnessed in a wide array of works..’
  • Luzinterruptus
    • A lot of policeman for so few people..;Malasana district, Madrid, 2009
    • Urban Trash(IV); Carretas st., Madrid, 2009
    • Public toilets;Malasana district, Madrid, 2009
    • ‘Luzinterruptus is an anonymous artistic group that carries out urban interventions in public spaces using light as a  raw material and darkness as the canvas. The three members of the team come from three different disciplines: art, lighting, and photography.’
  • Jan Vormann
    • Dispatchwork; Berlin, Belgrade, Arnsberg, Israel, Arnsberg, Amsterdam
    • Using LEGO block to fill gaps and nicks in urban spaces.
  • Dan Wits
    • Prank;Greenpoint, New York, 2005
      • balloon on building facade to make it looks like a face.

Chapter4: Public Privacy

  • (the chapter) follows very different strategies that dissolve the boundaries between the private and the public, the familiar and the alien, in the urban realm.
  • Jason Eppink
    • Take a Seat; various metro stations, New York, 2007-ongoing
    • ‘Take a seat’ is an ongoing series of public furniture installations aimed at increasing the availability of seating options in New York City subway stations. Perfectly functional chairs are rescued from trash piles and reassigned to stations.
  • Arno Piroud
    • Assises ephemeres (ephemeral seats); Paris, 2007-2009
  • Cedric Bernadotte
    • Sofa at “grenier a sons”; Cavaillon, 2004
    • Interventions in public space; Toulon, 2003, Pau, 2009
    • Cedric Bernadotte’s experiments focus on the human presence in cities, namely how to adapt public spaces using inexpensive and ephemeral means. Questioning the frontier between public and private spaces, he works with tape, cellophane, and inflatables and creates new spaces by grafting existing urban furniture (p143)
  • Liesbet Bussche
    • Urban Jewelry, Amsterdam, 2009(p145)
  • Carol Hummel
    • Knitscape Larchmere, 2009(p149)
  • Kristof Kintera(p 157)
    • Lay down and Shine; Paradubice, 2008
    • Miracle(500 days from 12th September 2008); Tilburg, 2008
    • My Light us Your Light; 2008
  • Michael Rakowitz
    • paraSITE, New York, 1998-2000

Chapter 5: Activated( p 173-)

  • The projects here range from flash mobs and other choreographed events within the city,…
  • Compagnie Willi Dorner (p179)
    • Bodies in urban spaces
  • The Yes Man(p191)
    • The New York Times, New York, 2008
  • LIGNA, Radio Ballet; Leipzig, 2003 (p196)

Chapter 6: Advertised (p201-)

  • Filippo Minelli, (p241)

Chapter 7: Natural Ways(p245-)

  • Vanessa Harden(p255)
    • The Subversive Gardener/Precision Bombing Device II/Precision Bombing Device I/MkII Agent Deployed Field Auger; London , 2009
      • Guerilla Gardening subculture
  • Markus Mai(p279)
    • godlovesoul
      • God; West Carpathians, 2004
      • Mind; Magdeburg glacial valley,2004
      • Play; Black Forest, 2004
    • Beautiful Bastards; Berlin, 2005