Designer/Artist: Usman Haque

Artworks/Designworks

  • Burble
  • Control.Burble.Remote
  • Primal Source
  • Reconfigurable House 2.0
  • Sky Ear
  • Urban Constellations

Papers

  • Notes on the Design of Participatory Systems – for the City or for the Planet, in Habitar [ PDF, English ] [ PDF, Spanish ] June 2010
    Cooperation is difficult. Even when everybody agrees on an end goal, and even when everybody agrees on what is needed to achieve that end goal, it does not mean that everyone (or even anyone) will be able to take the first step, which is the most important step. Yet, while individualistic behaviour within a group results in short term benefit for the individual, competition between groups (anecdotally) favours those that have more altruistic individuals. This paper discusses the paradoxical structures of collaboration and ways that the paradoxes can be harnessed, illustrated occasionally with concrete, though anecdotal, examples. It is based on no research other than direct experience in trying to build participatory systems (see www.haque.co.uk).
  • Portholes & plumbing: how AR erases boundaries between ‘physical’ & ‘virtual’, Position Paper for W3C Workshop: Augmented Reality on the Web, Christopher Burman & Usman Haque [ PDF ] June 2010
    In this paper we make the case that future ‘augmented reality’ standards should focus on facilitating communications between disparate realities rather than defining how, when or where they are experienced and that standards should be designed expressly to encourage lateral approaches in reality design. In this context, we provide a brief overview of Pachube.com, a web service for storing and sharing sensor, energy and environmental data and the augmented reality application Porthole that helps people make sense of that data.

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.

藤本隆之+Rhizomatiks「The Organic Nucleus/有機中芯的『象の鼻』」、2011

http://gqjapan.jp/2011/10/06/%E6%A8%AA%E6%B5%9C%E3%81%8C%E5%85%89%E3%81%AE%E3%82%A2%E3%83%BC%E3%83%88%E3%81%A7%E3%82%AD%E3%83%A9%E3%82%AD%E3%83%A9%E8%BC%9D%E3%81%8F%EF%BC%81/

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

California Wash, Helen Mayer Harrison and Newton Harrison, 1996

http://theharrisonstudio.net/?page_id=301



California Wash is a narrative work of landscape sculpture combining a garden that portrays the former wash ecology, light, pathways, mural and sculptural forms that address the transformations of this site that are the inevitable outcomes of urbanization.
A drainshed mural, drawn on the new Pico-Kentner outfall cover, represents the current human settlement pattern with the California Wash garden as a reasonable reflection of, or memorial to, that which once existed. The mural also contains bronze plaques inset into the concrete, images of certain of the original fauna of the area. It is a reminder of the original life web of the Pico watershed, and of the disappearance of bio-diversity and the region’s most precious resource, its water.

Responsive Environments: Architecture, Art and Design, Lucy Bullivant, 2006

http://www.amazon.com/gp/product/1851774815/ref=s9_simh_gw_p14_d0_g14_i5?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=center-5&pf_rd_r=047PT8344RB3JGG78TEF&pf_rd_t=101&pf_rd_p=470939291&pf_rd_i=507846

Product Description

The latest title in the V&A Contemporary series looks at groundbreaking interior design, art, and architecture. Responsive environments—spaces that interact with people who use or pass through them—have become ubiquitous lately. Lucy Bullivant provides an intriguing look at these cutting-edge spaces, from an installation in a shopping center that registers passers-by with patterns of colored light and sound, to an interactive artwork in the boardroom of a British TV network.

With insights drawn from the author’s interviews with many of the designers featured, Responsive Environments will appeal to designers, students, and creative professionals, as well as anyone interested in interior design, architecture, and technology.