The Road to Aarhus
Doppelgänger @ Media Architecture Biennale 2014, Aarhus DK
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Cosmic Funnies
YOU ARE THE REASON
occasionally subtle

Kiana Khansmith

Product Placement
let's talk about Bridgerton tea, my ask is open
Not today Justin
macklin celebrini has autism
NASA

❣ Chile in a Photography ❣
RMH
noise dept.
taylor price

#extradirty

Origami Around
Cosimo Galluzzi
$LAYYYTER

PR's Tumblrdome
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@vincentkrause-blog
The Road to Aarhus
Doppelgänger @ Media Architecture Biennale 2014, Aarhus DK
Doppelgänger - A Public Communication Sculpture @Bauhaus Summaery 2014
Doppelgänger is the master thesis of Vincent Krause, Jan Poneß and Nima Vakili; conceived as a public communication sculpture and a mediating agent between two remote locations.
The installation offers a public walkway through an acoustically responsive tunnel structure of 20 meters length, which functions as an open channel to an identical tunnel structure in another part of the world.
The idea is to broadcast the sounds created though the physical movement (walking, jumping, dancing etc.) of visitors in one tunnel into the companion tunnel in real time. The desired effect is a subtly perceived presence of ‘another’, which is audible, responsive and spatially dynamic, yet remains invisible. As both tunnels are of identical build and the communication is bidirectional, visitors on either side are immersed in a subtle, non-verbal and non-visual form of communication which is only based on the variation of gait and location within the tunnel.
By relinquishing verbal, visual and textual protocols, and situating the interaction in a conditioned architectural environment, the participants' self- and foreign awareness are amplified. Furthermore our intention is to investigate and accentuate the communicative qualities of human gait, as an environmental, spatial, and social haptic experience.
Exhibitions:
Bauhaus Summaery 2014, Weimar Germany (Jul. 14)
Zukunftspreis Kommunikation, Museum für Kommunikation, Frankfurt a.M. (Nov. 14)
Media Architecture Biennale, Aarhus Denmark (Nov. 14)
Ziggy Starfish @ ACADIA Conference 2013
Prototyping Architecture Student Awards
University of Waterloo, Cambridge Canada
Post optimal mobility
Vicarious Walks
“In effect, the vertical-horizontal stationary position no longer corresponding to mankind’s own dynamic, architecture will henceforth have to express itself in the inclined plane, in order to situate itself on the new plane of human consciousness. Failing that, all architecture projects will rapidly become unusable.”
- Paul Virilio (La Funcion Oblique, 1969)
Luce Tempo Luogo - Light Time Place by DGT Architects and Nobuhiro Fushiya.from the Milan Salone 2011.
The interactive installation by DGT Architects alters the perception of body movement through barely noticeable pulsating light emissions. The hazy atmosphere created through water droplets adds to the effect of visual delay.
Meetings
Recap of the discussions -
Wednesday Nov 20th
Rework artefact 'CNC Walks'
- material qualities? finishings? resolution?
- level of time in relation to sociality. How does lingering map to spatiality
- what is the performative aspect of such a mapping
- Reconsider sociality and gait (two main themes) in relation to architecture
- inclined surfaces (as Paul Virilio theorized) and the corporal
Wednesday Nov 13th
What's at stake?
Walking: Spatializes the body / social locomotion
Contextualize the mid-term review's 'performance'. What is the scale; urban / interior?
2/3 more iterations:
1. Mapping 2. Artefact 3. Instrument
Relate this to ourselves as a constructive self critique. Draw inspiration from our own concentration deficits. Working with walking as a potential cure? Intuitive 'modus operandi' praised, lack of clear reasoning criticized.
Mentioned References:
Christopher Alexander - Pattern Languages
Ettiene Jules Marey - Chronophotography
The Smithsons / Antonioni - Blow Up
Ursula Damm, Jim Campbell - Installations (high/low resolutions + artistic deliberation - highly required)
Bruno Latour
LOGOTYPE for ATELIER ASA
Antwerpen, October of 2012
My introduction to the professional field of architecture was made up of the challenging task to develop a logotype and visual communication strategy for Atelier Allard Schwencke Architecten, Atelier ASA.
The reasonably freely formulated task was given to me at an early stage of my employment, to which I attended with little experience but high motivations.
The only given requirements were that the logo had to consist of the company founder‘s initials and that a subtle reference to our architectural nature of business was legible.
Since I was new and unfamiliar to my new home Antwerp, I eagerly studied maps of the medieval city in the first weeks of my stay. By doing so the idea emerged for the logo to unfold over the figure ground plan of the city and to compose itself of the abstacted urban spaces.
Implementing this idea in practise allowed me to familiarise myself with my new environment. The final result passed through various stages and settled on the basic quintessence; Initials on map - map in initials. See left for the central office in Antwerp. The design is also applicable for future ASA branches in other cities.
A highlight on the business card is the little red orientation dot, marking the location of the office. It can function as a journey description to visitors.
It is worth mentioning that my employers were satisfied with the final result and declared it for the official office logo.
See more at:
www.atelierasa.eu
s;l
Ambient Notes
Ambient Commons - Malcolm McCullough
Attention in the Age of Embodied Information
Selected Quotes -
1. The Ambient
"Remembering can occur one detail at a time. A patch of sun slowly crossing a wall might produce a sense of calm while you work. It might remind you how not all that informs has been encoded and sent. Its higher resolution and lower visual demands can restore your attention in a world that is otherwise too often low resolution and insistent."
"Altogether, advertising stops at nothing. As a cultural force, it has few equals. And as environmental experience, it often leaves you little choice but to tune out the world."
"As explained in Lisa Reichelt’s Twitter-friendly coinage of “ambient intimacy,” social media use countless trivial messages to build a detailed portrait, even an imagined presence, of a friend. At least to some degree, this restores a lost kind of awareness found in traditional life. The upstairs shutters are opened, the bicycle is gone from its usual spot at the usual time, deliveries are being made, and the neighbors are gossiping. To their enthusiasts, social media re-create some of this environmental sense, albeit across the necessary distances and at the accelerated paces of the metropolis."
"(T)he role of technology shifts as well, away from a means to overcome the world toward a means to understand it."
"Until recently, interaction designers have focused more on how users apply technology in the foreground of attention, as a deliberative task, for an intended purpose—and less on the role of context, or the importance of tacit knowledge, and how these
"Like the German Umwelt (literally, “surrounding world”), milieu and ambiance also implied an environmental influence on outlook or action."
"A wealth of information creates a poverty of attention" (Herb Simon)
(Information Excess leads to Information Overconsumption and Obesity - this leads to a disregard of contextual quality. What does context matter anymore; "Fuck Context ! ..."(R.K.)).
"After a day of drowning in unpleasant data being dumped on them by others, some people relax with an evening of drowning in more pleasant data of their own choosing. But when it comes to restoring the powers of attention, might going for a walk do more good?"
"In this regard, paying attention simply means keeping a commitment to stay fascinated about something. It is the opposite of being blasé, that jaded state of overstimulation held to be the default state of modern urban subjectivity."
"As Gallagher summarized: “Like fingers pointing to the moon, other diverse disciplines from anthropology to education, behavioral economics to family counseling similarly suggest that skillful management of attention is the sine qua non of the good life and the key to improving virtually every aspect of your experience, from mood to productivity to relationships.”
Embodiment
Main idea: Embodied cognition
Counterargument: Representational theories of mind
Key terms: Pre-ontological, runaway ontology
What has changed: Cognitive science of engagement
Catalyst: Deskilling and distraction
Related field: Activity theory Open debate Tacit knowledge
"Civic identity has to count high among architecture’s roles."
(I think the civic scale feedback here is more interesting than the individual feedback patterns usually delivered, via personal devices. It is also a performance in the city.)
"The point is that many words refer to, or take scope from, where they are exchanged. A dramatist would understand this as “mise-en-scène”: a script needs a setting; objects (props and backdrops) provide orientation. A neuroscientist would understand this as “scaffolding”: the objects and settings that language refers to become building blocks of action and thought. Rich metaphor depends on analogy in spatial experience."
"An age of flux still needs host forms and channels, much as a river needs banks. Instead of “permanence,” which by now is a questionable word, it is better to describe this configuring quality as “fixity."
"After a long hiatus in the one-size-fits-all broadcast age, the relation of media and the city is coming back around to more helpful role as mise-en-scène"
"Form informs. The two words obviously relate. Yet this simple truth gets forgotten when information is always considered disembodied."
In regard to a newly added Exit Sign between to historic glass doors: "By building in such a connotation, in effect signs like this institutionalize distraction" ("an exit sign, in the age of compliance").
"A great deal of space gets socially engineered"
"Besides furnishing mise-en-scène for communications and scaffolding for sensemaking, fixity provides exercise and rest for attention. "
"And, in the long run, the play of shadows on the stone does a better job than any digital wallpaper could at balancing your attention. No pixel technology could deliver quite such high resolution, nor be expected to change its appearance quite slowly enough, nor to have such fixity."
In regard to patina: "Without some persistent structure, attention diminishes. Total novelty disarms. Better to have serendipity amid practice. Thus it makes sense that there is no better basis for cultural practice than the enduring city."
"In architecture and urbanism, you can’t just turn off the screen, or flip to another channel. You have to live in the artifacts."
"This begins with the tag. There is no simpler piece of situated technology..."
"The considered life requires a balance between messages and things, between mediated and unmediated experience."
"Does having more ambient information make you notice the world more, or less? Can mediation help you tune in to where you are? Or does it just lower the resolution of life?"
"The role of architecture seems central to future inquiries into attention. The cognitive role of architecture is to serve as banks for the rivers of data and communications, to create sites, objects, and physical resource interfaces for those electronic flows to be about. At the same time, architecture provides habitual and specialized contexts by which to make sense of activities. And, where possible, architecture furnishes rich, persistent, attention-restoring detail in which to take occasional refuge from the rivers of data."
"Silent fascination can restore attention."
Urban Reading Rooms
ARC 606 - Situated Technologies Studio 2013
Prof. Mark Shepard - Minor Urbanism
Mobile Media Sharing through QR-Codes and a Thermal Receipt Printer. Every QR-Code posted in public space by stencils, stickers, flyers, posters are links to canonic novels, publicly available on the web (www.gutenberg.net) - due to the expiry of there licenceship they are now under the creative commons.
The thermal receipt printer functions as a data visualiser - every QR-scan on a smartphone or tablet triggers the printer installed in the studio space to print a paragraph of the novel linked to that code. As a result, a 30 foot long papertrail made up of literary snippets shows which QR-Codes were scanned most and when. A collage of Frankenstein, Metamorphosis, Alice in Wonderland etc. as a final piece concluded the project.
ZIGGY STARFISH
The Halved Icosidodecahedron
Vincent Krause
William Sedig
Nima Vakili
With Ziggy Starfish we took a stance that the contingencies of the machine, material, and time constraints should strictly govern the design.
A series of paper models led to a unit that aggregated into multiple regular polyhedra, from which we selected the icosidodecahedron for fabrication. The regular geometry allowed us to simply scale the model to best fit the available material size, which ultimately dictated the size of the final mockup.
Furthermore, the fabrication process was given over to the machine to a great extent. Hole-sizes for hardware, for example, were indicated on the .dxf cut file as a single point, which ensured that the Plasma CAM’s tolerance would decide their size and therefore the size of the hardware. The final orientation of the object was left to chance as we were delighted to discover that the material distribution allowed us to balance the mockup on one side, and material flexibility allowed corners to bend flat for additional stability. A less planned design approach was somewhat foreign to the team members, but the resulting workflow was extremely smooth.
Final assembly went quickly, and representational drawings were generated as an attempt to mirror the work done with CAMel earlier in the semester. The geometry and cut files generated during the design and fabrication process were changed very little for final documentation (only annotation was added), and the resulting vector drawings are scalable for any format.
Urban Reading Rooms - scan a QR code and a webpage designed for an easily digestible urban reading experience pops up on one’s portable device displaying the associated novel and the story unscrolls.
URBAN READING ROOMS
Foursquare Instigated Mobile Reading
- Slowness in Social Media -
ARC 606: minor urbanism
Situated Technologies Graduate Design Research Studio – Spring 2013, University at Buffalo, Prof. Mark Shepard
The proposal to insert stories and literature of a distinctive quality – such as pure length – is up and running in the foursquare database.
https://foursquare.com/user/46538212/list/urban-reading-rooms–buffalo
Today it is possible to access and distribute an array of texts found on the web. Ranging from amateur authored prose and lyric to canonical pieces of world literature, such as Franz Kafka’s Metamorphosis and the like, which have expired licenceship and can be found in the vast archives of sites such as Project Gutenberg. (http://www.gutenberg.org/)
The strategy in which to introduce long texts through foursquare is rather straight forward. By creating venues in the database and realm of the site’s map, the user is able to be forwarded to another site (a tumblr page), which hosts a story linked to the location the user is checking in with his or her foursquare account.
http://urbanre-dings.tumblr.com/
The possibilities of correspondance between venue and content are endless.
It could be of great value to openly share media referenced to certain places. One could even picture the creation of venues in the foursquare geo-database, that do not exist in today’s world as such. These fictional foursquare venues could be linked to the stories that imply their existance. For example, readers could check in to Dracula’s Castle and read Bram Stoker’s dark and great novel. Visitors of Weimar, ‘checking into’ Goethe’s Garden House (which still stands as such), could instantly have access to the poems he wrote whilst spending his summers there.
The question whether content has to be location specific and therefore non-exchangeably fixed to a certain site has influenced the project to explore other modes of operation.
The other proposal suggests content of universal interest or fame to be dropped into places which reach a broader public, as seen in image below. Balancing out the fact that the entire project is still very dependant on user interaction and the idiosynracies of social media, it will only start to show after growing feedback and develop a life of its own.
This example is merely a mockup suggesting the idea of having these world famous books flying through urban space, up for grabs by anyone with a QR-Code reader on his device and a mobile internet connection. It is the exact opposite to the notion of embedding a specific text in a specific venue and awaiting user interaction to stumble upon it. Making people aware of the fact that books of such relevance could be available on their daily commute might trigger involvement with the project. People could ‘share’, or ‘leave behind’ literature.
These different ways of implementing social media in the urban environment are not contradictory in their attitude towards mobile mass media. Either model seeks to question the way we embody new communication tools and whether our hypermobility can still relate to the act of reading a long long while. In both cases, the user or stumble-uponer is invited, or rather prompted to be engaged with slowness by finding a qualitative long read behind a link in the social media landscape, in which quality is mostly overshadowed by quantity.
Whether or not the future holds room for E-bibliophily is not up for debate here, but surely holds reason for further investigation during the course of my research.
The marking of Pierce Arrow
January 16th, 2013, Buffalo, New York
Visual narrative by Vincent Krause for
ARC 606: minor urbanism
Situated Technologies Graduate Design Research Studio – Spring 2013, University at Buffalo, Prof. Mark Shepard
Preface: The studio's focus lies on investigating the analogies, influences and forces between social media and urbanism. This short, openly formulated initiatory assignment asked for the leaving of a mark in the city of Buffalo. The act of marking was to be documented, indexed and presented the following day. Having arrived in Buffalo only days before from Germany, I decided to go on a stroll through my new living environment, despite the January chill and discover an opportunity for leaving a mark along the way. The long cold walk resulted in this visual narrative.
Towards the end of Wednesday's midafternoon and a cup of tea with scones, I begin my little journey to a destination yet unkown. The task is simple: to find a place, space, spot or area in town and leave a personal mark behind. And so I venture out into the cold, heading north, Duke Ellington playing to me through my headphones...
Bus 20, the Elmwood Line, offers me shelter from the winds. 2 dollars for 20 minutes and 4 miles of collective transportation. We pass through traffic in slow motion, the world outside is blurred, my neighbour falls asleep while reading a sports article. Albright Knox appears to the right. Am feeling tempted to jump out, but for some reason feel glued to my seat. I look behind untill the building dissapears under the 8 lane highway. The bus speeds up, people leave and no one new enters. Some stops later I step off, as the last passanger, finding myself to have reached the peripheries of town. A vast and vacant parking lot is loosely framed by medium sized, sleepy shops and food chains. If my undertakings can't be realized on this tar patch, I might as well turn around and join the others for a beer in the pub.
The bleakness of the location suddenly vanishes as a fun looking shop named "PARTY CITY" and the gentle winter sun show up simultaneously with A Tribe Called Quest in my Headphones.
Nothing really grabs my eyes as I walk through the manifold, glittery aisles. The shelves merge into a soup of luminous, colorful texture. The other 3 customers one after the other fade by, slowly pulled by their shopping carts into the deeper cavaties of the party city's alimentary canals.
I make my way to the counter, where a moderate selection of 3000 helium balloons cover 90% of visibilty. Randomly I choose three, request inflation and a decent amount of string from the shopkeeper, who in his excitement and generosity provides more than imagined. Slowly a vision is dawning upon me of these three 3$ red balloons soaring a mile high over town. I leave with a smile.
Back at the frozen bus stop, minutes feel like hours. The red balloons are tied firmly to my wrist, though still battle for freedom. People carrying aldi bags join me and together we share the waiting time. Nobody speaks.
The bus finally arrives. Heading townwards the seats fill up exponentially. Mostly youngsters with more than one cellphone each. After five stops I decide to leave and find myself in a lush park meadow with the Buffalo Philharmonic Orchestra occupied in dress rehearsal. The next hour flies by, with the disappearing sun more flurries from the arctic join me and the alleycats as we walk through dimly lit backstreets. Out of nowhere a shining red grand structure appears in front of bright blue skies. The grandeur and faded glory indicate aged prominence. Great Arrow Avenue 255. I will look it up when I get back home. If I ever make it, that is...
Suddenly it gets dark again and the luminous structure vanishes to be instantly replaced by a ghostly counterfeit.
Villa Almancil - Algarve, Portugal
The generous single family house is situated on the edge of a pine forest. It was clear from the early stages of the design process to work with local building materials and techniques. This was also translated into the building layout, which is accessed through various patios.
The design was in its final stages when I joined the project. My contribution was assisting in the design of the interior spaces, which at that point were only vaguely formulated.
The main task was to generate these interior and exterior vistas with which materials, light and the overall spatial perception were finetuned and presented to the client.
The realisation started in autumn of 2012.
Creation of interior and exterior vistas for presentations to the client - Villa Almancil, Algarve - 2012 - Vincent Krause for Atelier ASA