#interactive spaces

[formula-d]

Difference Between Interactive and Immersive Spaces

Interactive and immersive spaces connect with audiences in different ways because they use different experiential design approaches. formula D_ shares how interactive spaces encourage participation through responsive elements like digital touchscreens, quiz-based learning walls, and interactive maps, while immersive environments surround visitors with storytelling, atmosphere, and sensory design that make people feel like they are truly part of the experience. 

[heartfulseniorcarellc]

A Different Approach to Providing Memory Care

Our senior home care services in Seabrook, Texas, are not just about assistance with daily tasks; they’re about enriching the lives of our seniors, especially those requiring memory care. At our company, we understand that engaging in various activities can significantly enhance the quality of life for these individuals.

Learn More: http://www.heartfulseniorcare.com/a-different-approach-to-providing-memory-care

[verygradthesis]

Project Nike 100, 2x4

[mfadt-is-s16]

Mala Kumar: Leaving a Mark

Humans have left their mark wherever they’ve gone since the beginning of time. It’s a way of reaffirming ourselves and our bodies; place-making in its most elemental form. Mark-making is a natural impulse even for non-artists that can take myriad forms: from ancient cave paintings to modern-day smartphone apps that allow users to leave reviews of places they’ve been. Mark-making within the interactive installation and public art domains can usually be placed in at least one of three categories: intentional mark-making, unintentional mark-making, and uncertain mark-making.

Intentional mark-making: A simple, powerful project that involves little more than a piece of chalk, spray paint, and an empty wall, Candy Chang’s project Before I Die asks residents of a city to share their hopes and dreams as part of a public mural that anyone can contribute to. 

Unintentional/unsuspecting mark-making: Jonathan Chomko and Matthew Rosier’s project Shadowing uses an infrared sensor system and a series of projectors to record pedestrians’ shadows as they pass under a street lamp. The projection-mapped shadows are then played back and re-recorded with new pedestrian shadows, creating an on-going dialogue.

Uncertain mark-making: Rafael Lozano-Hemmer’s installation Please Empty Your Pockets, invites participants to place any small item they might have in their bags or pockets on a conveyer belt that are then recorded by an overhead scanner and stored in a database. When the participant removes their item from the belt, a projected image of the object is left behind alongside images from past objects, and is used to accompany future objects. Participants are left unsure about where the scan of their object is going, and when it would reappear.

In all three examples, the awareness level of the participants and the ambiguity of the outcome of the marks they left behind are variables that the artists modified in some way. In Chang’s project, the participants is provided the tools and a prompt along with all the marks that previous people left in the space, whereas in Shadowing the participant is mostly unaware of the mark they are leaving behind - until there’s a moment of realization that their shadows are being recorded and played back alongside those from past pedestrians. In Hemmer’s piece, participants are aware of the mark-making functionality of the conveyer belt, but the outcome still feels ambiguous.

[studioindefinit]

Vaulted Views at the City Museum

Vaulted Views at the City Museum from Studio Indefinit on Vimeo.

We are proud to announce the opening of our interactive video installation, Vaulted Views, as part of Palaces for the People: Guastavino and the Art of Structural Tile at the Museum of the City of New York!  

Palaces for the People: Guastavino and the Art of Structural Tile, is a new major exhibition showcasing the architectural innovations of Spanish immigrants Rafael Guastavino and his son Rafael Jr., whose patented structural system for building domes and vaults revolutionized the landscape of New York City—and the nation in the late 19th century.

The Guastavino Company’s legacy is hidden in plain sight within more than 200 landmarks across the city’s five boroughs, including Grand Central Terminal and the famous Oyster Bar, the Cathedral of Saint John the Divine, the Ellis Island Registry Room, the Elephant House at the Bronx Zoo, the Boathouse and Tennis Shelter in Prospect Park, and many more.

Filmed in ultra high-definition and projected on a 10-foot screen within the gallery, Vaulted Views captures the grand scale and intricate detail of ten Guastavino spaces in New York, including the Elephant House at the Bronx Zoo, the Harder Mausoleum inside Green-Wood Cemetery, and the Boathouse at Prospect Park. Visitors are able to control the screen’s vantage point within these spaces from an iPad in the gallery, moving the view to look up and around magnificent vaulted ceilings or down toward the bustle of city life below.

Palaces for the People is on view at the Museum of the City of New York until Sunday, September 7, 2014.  Located at  1220 5th Ave, New York, NY 10029

We couldn’t have created this work without the brilliant expertise of:

Producer/Editor: Andrew Siwoff

Cinematographer: Ivaylo Getov

Additional photography: Craig Waxman

[studioindefinit]

New work: Guastavino

We're working on a new exhibition, opening soon.  Follow us on Twitter and/or Instagram for a glimpse into the process:   @studioindefinit

[dauo]

Interactive Spaces projects recap. In this projection-mapping based course, students work with a range of materials, concepts and digital tools to deliver ideas. Fall 2012