synesthesia project 1/2

1
hidden birds shelter habitat entry THE SHIP children nature center playground cycling aeroplanes 5 Synesthesia highlighted 100m x 100m cells contains the sites of interventions, 4 installations in a 10x10 meter frame and 2 linear ones # ten | The spatial grid is divided by 100x100 meter cells based onth latitude and longitude coordintes of Copenhagen. Copenhagen in decimal degrees: Latitude: 55.6759400, Longitude: 12.5655300. Ten is the base of the decimal numeral system, by far the most common system of denoting numbers in both spoken and written language. Ten is the easiest number to calculate, measure or relate with. Ten is the base of our most common measuring, the meter. A meter is 10 decimeters, 1 decimeter is 10 centimeters, a centimeter is 10 millimeters and so on. A kilometer is 10x10x10 meters. In other form it is 10 3 meters. By huge numbers we use 10 n formula. # the grid | in 2D sphere man often orientate himself by guidance of relative numbers. In the context of a spatial index, a grid (a.k.a. "mesh", also "global grid" if it covers the entire surface of the globe) is a regular tessellation of a manifold or 2D surface that divides it into a series of contiguous cells, which can then be assigned unique identifiers and used for spatial indexing purposes. "Square" or "rectangular" grids are frequently the simplest in use, i.e. for translating spatial information expressed in Cartesian coordinates (latitude and longitude) into and out of the grid system. The four points of the compass also uses the orthogonal axes of X and Y subdivived to intercardinals. A quadtree is a tree data structure in which each internal node has exactly four children. Quadtrees are most often used to partition a two-dimensional space by recursively subdividing it into four quadrants or regions. Quadtrees may be classified according to the type of data they represent, including areas, points, lines and curves. # orientation part 1. | Where am I? If I don’t KNOW or if I don’t REMEMBER I can look it up on a map. It will guide me with directions by mathematics and geography. space as a 2D data space as 3D by perception, knowledge and memories # orientation part 2. | Where am I? I can see, I can feel or I can remember. I can also hear it. # senses | Senses are physiological capacities of organisms that provide data for perception. Exteroceptive senses are senses that perceive the body's own position, motion, and state. External senses include the traditional five: sight, hearing, touch, smell and taste, as well as temperature differences and possibly an additional weak magnetoception (direction). Interoceptive senses are senses that perceive sensations in internal organs, any sense that is normally stimulated from within the body. # perception | By using our senses we are able to percieve what is around us. Perception is the organization, identification, and interpretation of sensory information in order to represent and understand the environment. space and the 4th D - TIME # chronoception | Refers to how the passage of time is perceived and experienced. Time perception is a construction of the brain that is manipulable and distortable under certain circumstances. A temporal illusion is a distortion in the perception of time, which occurs when the time interval between two or more events is very narrow (typically less than a second). In such cases, a person may momentarily perceive time as slowing down, stopping, speeding up, or running backwards. # landscape is time | Even if we always in the NOW, we percieve seconds, minutes, hours, days and seasons as well. We know what WAS and we look for a WILL BE. Landscapes and nature by their dynamic subsistence represent time and the different elements keep them in a constant motion however it is a widely different scale than human. perceptive landscape # synesthesia | Synesthesia is a neurological condition in which one or more sensory modalities become linked. The term has also been used to refer to artistic and poetic devices which attempt to express a linkage between the senses. By percieving and orientating in the landscape we use 2, 3 and 4D tools to understand, in other words, we use our learnt knowledge, senses and perception. # contrasts | The starting point of site analysis is the constant presence of human source activities, sounds such as construction site, heavy air traffic or the higway nearby this vast nature area. The overlapping of natural and urban features is such a strong phenomena that one can hardly find a situation on site without these. # aim & methodology| The project’s purpose is to grasp the landscape character and analyse it through a perceptive methodology using 2, 3 and 4D tools. To catch the time aspect and motion the project uses the filmic media and moving images as an experimental language to translate the landscape. We have learnt on grid paper how to calculate, we have learnt how to write guided by lines and we have learnt how to draw on an empty sheet of paper by using imagination and memories. Alongside the above mentioned tools, the project uses perception and the synthesis of sonic and visual experience. Using this methodolgy of exploration and design, the techniques of filmic and sound mapping, experimental and traditional diagram making will reveal the synesthesy of landscape. Project’s current outcome is a design proposal of setting installations onto specific sites to capture the essence, to respond and interact with natural or anthropogenic components. Installations also function as an introduction and invitation to a big scale exploration where explorers would collect different bits and pieces of the area and puzzle them together. # project in project | The project is dealing with different kinds of media platforms during analysis and the design process. Today, when our lives is spinned by and around digital media the project raises the question if it is possible to use the advantages of `being online` and put this `digital user attitude` into a different context. # on line | By putting the project online the idea is to set a part of the design process onto a digital platform to be able to collect and use different findings from visitors, park users or from others involved. It would funciton as a free and open library of explorations, impressions, ideas or comments about the site. What if we could create a `digital space` which we could use as a helper to deal with such a vast area? With a constantly broadening content it would launch an engagement from the visitor and the professional side as well in terms of a common, big scale exploration and tranlation of the site. # collect data and other stuff | Having an online collection of findings the site would function as a working tool of the design process and as a public library with a wide spectrum of data, infor- mation. On the other hand it can also function as a documentation of the design process showing a timeline of how the project developed itself during time(one can check out when was each item uploaded). # what to add | Any kind of media or form of illustration content can be uploaded which is found relevant according for this “transla- tion” of the landscape. It can be sound recordings, artworks, photos, drawings, films, sketches or written texts, comments for instance. The site is free and open so anyone can join easily and help the project. # common sense | This common library would reveal not just the evolution of the projcet but also the changes of landscape by time. For instanc from the uploaded photos and other findings one can filter out for a specific season of the area or compare the different seasons and their character. # specifications | Content categorization (if it is drawing, photo, film or it was made in winter) would help organizing the findings. The process is a bit similar to an on-site interview with locals about the area., but is not an online question sheet, it is much more free than that . The point is that this common exploration should collect as different aspects as possible. By adding content one should give some information about himself (age, gender, profession/student). This method could be useful for further investigation about how different perceptions do different people have and what kind of form do they use for expression their point of view on landscape and environment. # involvement | A possible collaboration with digital media firms, with involvement of park users and visitors, designers from architecture and landscape profession, filmic and sound professionals and artists would give an exciting mixture of participation. 7 5 1 2 3 4 7 sites were identified to catch the special features of the area, and define landscape characteristics. 7 collage diagrams were made to illustrate these. Kalvebod Fælled Amager Fælled project speed urban motion traffic noise fragments no mans land in-between the vacant parking lot construction imitated nature endless route built horizon sharp edges are we there yet? edge urban bites the nature green fields animals around vast horizon construction long ways skycape clouds infinite openness aeroplane ALL THE TIME “What would be truly surprising to find that sound could not suggest colour, that colours could not evoke the idea of a melody, and that sound and colour were unsuitable for the translation of ideas, seeing that things have always found their expression through a system of reciprocal analogy.” Charles Baudelaire, “The Salon of 1846” c b a # the web site | Stepping onto the digital fields a website is needed which one can visit and use it for uploading content or just for a guidance and information about the area. A basic version of the website is already established. http://synesthesiaproject.tumblr.com/ or by scanning the QR code above. project timeline 6 7 sailing sea horizon seascape industry clouds smoky chimney endless loops biking into the horizon aeroplanescape on the dike all the way in the forest density of trees birch forest special i wonder how it looks like in winter and autumn... aeroplanes again, but they are so huge, look! just above the heads of the trees efterklang of airport and horseback confused bridge to nature made of concrete looks like wood THE SHIP dramatic horizons sky volume the sea sailing industry and chimneys will disappear soon 1 6 3 5 2 1 - 7

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Page 1: synesthesia project 1/2

hidden birds shelter habitatentry THE SHIPchildren nature center playgroundcycling aeroplanes

5

Synesthesia

highlighted 100m x 100m cells contains the sites of interventions, 4 installations in a 10x10 meter frame and 2 linear ones

# ten | The spatial grid is divided by 100x100 meter cells based onth latitude and longitude coordintes of Copenhagen. Copenhagen in decimal degrees: Latitude: 55.6759400, Longitude: 12.5655300.

Ten is the base of the decimal numeral system, by far the most common system of denoting numbers in both spoken and written language. Ten is the easiest number to calculate, measure or relate with. Ten is the base of our most common measuring, the meter. A meter is 10 decimeters, 1 decimeter is 10 centimeters, a centimeter is 10 millimeters and so on. A kilometer is 10x10x10 meters. In other form it is 103 meters. By huge numbers we use 10 n formula.

# the grid | in 2D sphere man often orientate himself by guidance of relative numbers. In the context of a spatial index, a grid (a.k.a. "mesh", also "global grid" if it covers the entire surface of the globe) is a regular tessellation of a manifold or 2D surface that divides it into a series of contiguous cells, which can then be assigned unique identifiers and used for spatial indexing purposes.

"Square" or "rectangular" grids are frequently the simplest in use, i.e. for translating spatial information expressed in Cartesian coordinates (latitude and longitude) into and out of the grid system. The four points of the compass also usesthe orthogonal axes of X and Y subdivived to intercardinals.

A quadtree is a tree data structure in which each internal node has exactly four children. Quadtrees are most often used to partition a two-dimensional space by recursively subdividing it into four quadrants or regions.Quadtrees may be classified according to the type of data they represent, including areas, points, lines and curves.

# orientation part 1. | Where am I? If I don’t KNOW orif I don’t REMEMBER I can look it up on a map. It will guide me with directions by mathematics and geography.

space as a 2D data space as 3D by perception, knowledge and memories# orientation part 2. | Where am I? I can see, I can feel or I can remember. I can also hear it.

# senses | Senses are physiological capacities of organisms that provide data for perception. Exteroceptive senses are senses that perceive the body's own position, motion, and state. External senses include the traditional five: sight, hearing, touch, smell and taste, as well as temperature differences and possibly an additional weak magnetoception (direction). Interoceptive senses are senses that perceive sensations in internal organs, any sense that is normally stimulated from within the body.

# perception | By using our senses we are able to percieve what is around us. Perception is the organization, identification, and interpretation of sensory information in order to represent and understand the environment.

space and the 4th D - TIME# chronoception | Refers to how the passage of time is perceived and experienced. Time perception is a construction of the brain that is manipulable and distortable under certain circumstances.A temporal illusion is a distortion in the perception of time, which occurs when the time interval between two or more events is very narrow (typically less than a second). In such cases, a person may momentarily perceive time as slowing down, stopping, speeding up, or running backwards.

# landscape is time | Even if we always in the NOW, wepercieve seconds, minutes, hours, days and seasons as well. We know what WAS and we look for a WILL BE.Landscapes and nature by their dynamic subsistence represent time and the different elements keep them in a constant motionhowever it is a widely different scale than human.

perceptive landscape# synesthesia | Synesthesia is a neurological condition in which one or more sensory modalities become linked.The term has also been used to refer to artistic and poetic devices which attempt to express a linkage between the senses.By percieving and orientating in the landscape we use2, 3 and 4D tools to understand, in other words, we use our learnt knowledge, senses and perception.

# contrasts | The starting point of site analysis is the constant presence of human source activities, sounds such as construction site, heavy air traffic or the higway nearby this vast nature area. The overlapping of natural and urban features is such a strong phenomena that one can hardly find a situation on site without these.

# aim & methodology| The project’s purpose is to grasp the landscape character and analyse it through a perceptive methodology using 2, 3 and 4D tools. To catch the time aspect and motion the project uses the filmic media and moving images as an experimental language to translate the landscape. We have learnt on grid paper how to calculate, we have learnt how to write guided by lines and we have learnt how to draw on an empty sheet of paper by using imagination and memories. Alongside the above mentioned tools, the project uses perception and the synthesis of sonic and visual experience. Using this methodolgy of exploration and design, the techniques of filmic and sound mapping, experimental and traditional diagram making will reveal the synesthesy of landscape. Project’s current outcome is a design proposal of setting installations onto specific sites to capture the essence, to respond and interact with natural or anthropogenic components. Installations also function as an introductionand invitation to a big scale exploration where explorers would collect different bits and pieces of the area and puzzle them together.

# project in project | The project is dealing with different kindsof media platforms during analysis and the design process. Today,when our lives is spinned by and around digital media the projectraises the question if it is possible to use the advantages of `being online` and put this `digital user attitude` into a different context.

# on line | By putting the project online the idea is to set a part of the design process onto a digital platform to be able to collect and usedifferent findings from visitors, park users or from others involved. It would funciton as a free and open library of explorations, impressions, ideas or comments about the site.What if we could create a `digital space` which we could use as a helper to deal with such a vast area? With a constantly broadening content it would launch an engagement from the visitor and the professional side as well in terms of a common, big scale exploration and tranlation of the site.

# collect data and other stuff | Having an online collection of findings the site would function as a working tool of the design process and as a public library with a wide spectrum of data, infor-mation. On the other hand it can also function as a documentation of the design process showing a timeline of how the project developed itself during time(one can check out when was each item uploaded).

# what to add | Any kind of media or form of illustration content can be uploaded which is found relevant according for this “transla-tion” of the landscape. It can be sound recordings, artworks, photos, drawings, films, sketches or written texts, comments for instance. The site is free and open so anyone can join easily and help the project.

# common sense | This common library would reveal not just theevolution of the projcet but also the changes of landscape by time. For instanc from the uploaded photos and other findings one can filter out for a specific season of the area or compare the different seasons and their character.

# specifications | Content categorization (if it is drawing,photo, film or it was made in winter) would help organizingthe findings. The process is a bit similar to an on-site interview with locals about the area., but is not an online question sheet, it is much more free than that . The point is that this common exploration should collect as different aspects as possible. By adding content one should give some information about himself (age, gender, profession/student). This method could be useful for further investigation about how different perceptions do different people have and what kind of form do they use for expression their point of view onlandscape and environment.

# involvement | A possible collaboration with digital media firms, with involvement of park users and visitors, designers from architecture and landscape profession, filmic and sound professionals and artists would give an exciting mixture of participation.

7

5

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7 sites were identified to catch the special features of the area,and define landscape characteristics. 7 collage diagrams were made to illustrate these.

Kalvebod Fælled Amager Fælled

project

speed urban motion traffic noise fragments no mans land in-betweenthe vacant parking lotconstruction imitated natureendless route built horizonsharp edgesare we there yet?

edge urban bites the naturegreen fields animals around

vast horizon construction long waysskycape clouds infinite openness

aeroplane ALL THE TIME

“What would be truly surprising to find that sound could not suggest colour, that colours could not evoke the idea of a melody, and that sound and colour were unsuitable for the translation of ideas, seeing that things have always found their expression through a system of reciprocal analogy.” Charles Baudelaire, “The Salon of 1846”

c

b

a

# the web site | Stepping onto the digital fields a website is needed which one can visit and use it for uploading content orjust for a guidance and information about the area. A basic version of the website is already established.

http://synesthesiaproject.tumblr.com/ or by scanning the QR code above.

project timeline

6

7

sailing sea horizon seascapeindustry clouds smoky chimney

endless loops biking into the horizonaeroplanescape

on the dike all the way

in the forest density of treesbirch forest speciali wonder how it looks like in winter and autumn...aeroplanes again, but they are so huge, look! just above the heads of the treesefterklang of airport and horseback

confused bridge to nature made of concrete looks like woodTHE SHIP dramatic horizonssky volume

the sea sailing

industry and chimneys will disappear soon

1

63

5 2

1 - 7