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Presentasjon Phase 2
View more presentations from Harald Brynlund-Lima.
Showing posts with label ** Phase 2: Element. Show all posts
Showing posts with label ** Phase 2: Element. Show all posts
Monday, 12 April 2010
Sunday, 11 April 2010
Saturday, 10 April 2010
Friday, 9 April 2010
Thursday, 8 April 2010
Wednesday, 7 April 2010
Monday, 5 April 2010
Carpet in 3D
Been studying carpets for a this phase. Nice how the patterns has so much spacial quality.
Process and inspiration
What inspires me about my deafblind collaborator, Bent are Nielsen, is that he seems strong and grounded, happy and present. Even though he is considered legally blind, I constantly try to get an idea of how he still is able to see. During our collaboration I have not only tried to learn how a deafblind person gather information from the external environment, but also about the relationship between our brain and senses.
Most individuals who are deafblind are not completely deaf and completely blind. From what I have learned, there is a lack of understanding and awareness in the community of what deafblindness actually means. Through our senses we make new meanings of our environment, of ourselves, and people around us. With what kind of tools may we define that process of creating meaning?
Even though Bent are Nilsen is a man of relatively few words, he has this indescribable charisma that tells me a lot about him. I believe that his contentment has a lot to do with the fact that he is not alone. He lives with his dear partner, whom understands him, since she has similar abilities, and whenever he leaves the house, his dog or his assistant accompanies him. He seemed to have a strong relationship with his assistant.
I was thinking of using a material related to something in his past and to combine it with something from his present. To work in the industry with finger-sized pieces made him relax in the past, and it was a form of socializing as well. From what I learned during our material workshops the size and organization of things really made sense to his appreciation and understanding of things.
According to my collaborator, the understanding of an object or a surface is easy if it has got one type of tactile surface or material and one repetitive shape, consistence and temperature. However, if the object or surface has got two sides, he would find it interesting if they contrasted each other.
I started to think of organizing and structuring things, looking into some sources of inspiration. I started experimenting with different shapes that were abstract and representative of something bigger, in a sensory way. For example the shape of a seashell, that has an incredibly beautiful balance and contrast between the surface and smell of its outside and the gentle sound of wind and waves coming from its inside.
Working with objects and a surface with complementary sensory differences became my mission.
Friday, 2 April 2010
Friday, 26 March 2010
Molecules of water
II use plastic bags fill in water, hang from ceiling by fishing strings. Plastic bags seem to be in levitation.
The idea is to walk between these plastic bags, to touch the water, water's temperature, to move the bags and hear water. This installation allows to use our different senses.
Marie.
Thursday, 25 March 2010
Henrik so far
My plan is to use strings or thread that can be develoed into a fragile or more rigid use. A thread on its own is loose and flexible but when energy or a system is added, it becomes more solid. Like a carpet.
This is how I'm going to devolop my element of materials.
This is how I'm going to devolop my element of materials.
Henrik so far
View more presentations from Henrik Matheson.
Friday, 19 March 2010
Sunday, 7 March 2010
Phase 2 - In process
Here a pdf-file from SlideShare follows. In this presentation I explain where I am at now in the design process and some of what I have been doing.
Phase 2 Element, in process
View more presentations from Harald Brynlund-Lima.
Saturday, 6 March 2010
Monday, 8 February 2010
Introduction
We see, hear, feel and move through space and the experience and our body is in constant dialogue with the physical form in which we exist. Aware and unaware we constantly register form, texture, scale and movement and in doing so we perceive seen and un-seen architectural intentions and quality in a never ending dialogue with space.
Universal design is a new design concept focusing on physiological diversity and equal rights. Universal design points to the responsibility of the architect to design spaces for all, spaces for participation and social interaction – and spaces for experience! Often functionality is considered the core issue of universal design but in this course we will focus on the senses – vision, hearing, touch and the kinaesthetic senses – and through these discuss the balance between aesthetics, functionality, architectural quality and universal design.
As architects and humans we will look at our potential for inspiring socially sustainable living. We will discuss how to coexist in our complex urban environment, and how to stimulate social solidarities. Social sustainability is the examination of the social processes underlying sustainability: particular, universal and their interdependence.
We will explore the use of our body and our senses in the experience of architecture as well as investigate architecture's invisible details as an enhancing factor for social interaction and bodily awareness.
Studies will be based on universal design theories and methodologies as well as readings on social sustainability, perception, architectural experiences and sensory disabilities. Through 1:1 exercises and collaboration with impaired users we will explore aspects of architectural space which are invisible to the eye.
The semester will take us through 4 phases of studying form and space as facilitator of the meeting between diverse individuals using Universal Design as a design tool to investigate the relation between the individual and the general in architectural design.
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