#studioV

[jaizy]

And a couple more 💞

[hein-eberson]

@de_volkskrant 11022023 1 - #BrettEastonEllis ##StudioV #SophiaTwigt 2 - #TevhitMoskee #Harim 07022023 #JeroenLeenders #MayaKonus https://www.instagram.com/p/CpJHcrdILxM/?igshid=NGJjMDIxMWI=

[taevisionceo]

Stay tune! 2023 MOMO FF Official Selection announcements coming soon. April 11-13 2023 ▸ MOMO Film Festival THE HUDSON THEATRES 6539 SANTA MONICA BLVD LOS ANGELES, CA - 90038

[lachlanbctsmith]

[alyssabct]

[synergybct]

I made this to put some smiles on faces in Studio during these trying times at university. I figure this will be nice memorabilia some day. Love these people.

[vaanibct]

Studio V - Open Studio

FEAR - Project Reflection

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[krouxbct]

Project Timeline

[taliabct]

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The Collective Visual Display

Week 13: 2-7/6/19

As part of our most recent iteration of the Visual Display we:

Implemented the Koru visualisation

Updated the continent visualisation (which was previously the squiggly ring) so we could layer elements behind it.

Created a hexagonal mask for the webcam display

Implemented a double window display so the webcam would show on the laptop screen, and the visualisation on the projector (see image below)

Previous Prototype:

Prototype for Open Studio

Reflection:

In previous playtests, users have said that the visual display looked bare and visually not interesting compared to the collection of physical tiles. However, as demonstrated in the video, the display gets increasingly cluttered (spatially and colour-wise) with more inputs. As a result, this reduces the clarity and readability of the display.  

Thus, while the methods we have used for our data visualisation will work in a small-scale setting like Open Studio, it will not in a larger-scale setting i.e. if it were to be displayed for a long period of time as a contracted installation. For example, the ‘pie-chart’ method which we used for the continent data set, effectively works for both small and large sample sizes without compromising the visual composition. On the other hand, changing the scale of the environment circles according to number of inputs, doesn’t work as effectively for larger-scale settings because eventually the circles will get too big.

To improve, we would need to conduct more research into live data visualisations and how we can make our visualisation better suited to larger sample sizes.

To develop further, we also want to automate the collective display using computer vision technology, which we had explored earlier in the semester. Refer to this blog for more information. With this, we would love to use animated graphics to highlight the individual contributions from the physical tiles to the collective tile to create a more dynamic display.

Another avenue we would like to pursue further is to offer the participants a post-experience extension such as an email with:

a link to an image of their tile (taken as part of the experience),

the individual contribution they made to the collective tile,

and a link to a website about the work where they view a live feed of the future and past contributions to the collective tile.

We hope this would create a greater sense of individual contribution and provide a long-term memento to remember the experience by.

[jaizy]

No real caption. I just want to take some pics 😊

[hein-eberson]

@de_volkskrant 07012023 #KevinMcCarthy #Erasmusbrug #PausFranciscus 07012023 #MohamedMbougarSarr #StudioV @IoCooman #Zora 10012023 #TheRiteofSpring #SorabyNowotak #HedyTjin https://www.instagram.com/p/CnoE6BDIgvQ/?igshid=NGJjMDIxMWI=

[liv-hobman-bct]

Playtesting Like it’s 2001 (and we’re kindergartners)

Week 4

Yesterday afternoon we conducted a half hour long workshop with 6 participants. This consisted of two activities meant to encourage discussion around one’s own culture and New Zealand’s culture. For this playtest, we wanted to test both a tangible activity and a visual one.

Activity 1: Lego Building

For the first activity, we provided 4 colours of lego blocks and laid them out in a continuum from Very Little to Very Much. We then asked the participants 4 questions:

To what extent do you…

1.      Consider yourself a New Zealander?

2.      Think it is important to preserve your culture?

3.      Think it is important to preserve New Zealand culture?

4.      Feel like your culture is presented in New Zealand?

And asked them to select a block to represent each answer and then make something with those blocks. After constructing these things, we asked them to compare their blocks and discuss which questions challenged them and why they chose the colours they did.

Activity 2: Pictures

For the second activity we provided 2 copies of 100 pictures/icons and some blank cards and pens. We asked the workshopees to select 5-8 images that:

Represent New Zealand’s identity

Represent your identity

We then challenged them to answer the below questions:

Have you found any connections between the images you selected as symbols of New Zealand’s identity and your own?

What images do you think represent your identity but is not represented in New Zealand’s identity?

How much do you think your identity relates to New Zealand’s identity?

Do you feel represented in New Zealand identity? Do you think that is     important?

Then we asked them to create another pile, this time as a group, to represent a multicultural national identity.

After the activities, we asked some reflection questions. 

Which activity did you connect to/challenged you the most? And why?

The participants all preferred the picture activity to the lego one. They found the former to be easier, and enjoyed the visual aspect. The lego activity proved too difficult to choose, binary and the playtesters had trouble remembering what they picked for each question. 

What is something you have learnt from this workshop?

How to explain what a New Zealander is.

The complexity of what it is to be a New Zealander.

New Zealand is not just what it appears to be to outsiders.

In other countries it is more immediately obvious what it is to be part of their culture, in New Zealand we have so many different cultures that it’s more difficult. 

I was surprised to see similarities between my own pile and my New Zealand pile.

Our reflections

We found that this exercise developed a theme of reconciling personal and national culture/identities which links back to our key question: “How do we preserve a multicultural national identity?”. Through discussion with the playtesters, we decided that a key concept is sharing with others. 

We’ve realised through the activities that the visual aspect of the end product is important in understanding the messages. We would still like to integrate a tangible user interface.

As an interesting note, we found that a big part of culture for many of us is food. This is important to note as food is an excellent way of sharing culture as it is accessible to everyone and often integral in cultural practices.

[studiovjournal]

Students:         Michal Laszczuk (MLA candidate, University of Guelph)

                          Calum Thomas Morrison Mitchell                           Hanne Lisbeth Jehg                           Nanna Høgsberg Kristensen

Course:             NIGK15015U Landscape Studio                             University of Copenhagen , Spring 2017

Instructor:        Peter Lundsgaard Hansen;                           with Anna Sofia Falkentoft as Teaching Assistant

Dokholm

Michal Laszczuk writes: “My group was challenged to develop a cohesive district across the islands of Dokø and Frederiksholm in Copenhagen to connect it with the Emerald Island Necklace Park System and soften the dominance of the Copenhagen Opera House. We started by naming the district Dokholm (Dock Island), merging the names of the two islands. We focused on two design interventions to foster coherence. First, our group felt that the straight edges of the harbour are important historic landscape features. Therefore, instead of changing the physical structure of the coastal edge, we developed an inverse edge using paving to represent water, gravel as sand, and a mixture of grasses for coastal vegetation. This inverse edge is found across both islands and constitutes a coherent public space across the district.

Second, starting from the grasses along the inverse edge, we develop a planting strategy that constitute bands of orthogonally planted trees that are planted in single species blocks. These blocks serve to further foster cohesion as they dissipate into the interior of the islands, forming a costal urban forest. As the trees mature, the orthogonal bands will give way to ribbons that will still have a semi-ordered structure due to the orthogonal planting base. Radiating from the opera, these blocks will constitute a tapered form determined by tree height, hence anchoring the building to the district. These ribbons will structure an engaging public realm that frames the historic features of the neighbourhood and together with the inverse edge, the district can attain more meaning through cohesion.”

You can find the studio paper for this course on issuu; and the studio’s blog page on tumblr here. 

Michal Laszczuk is a Master of Landscape Architecture student at the University of Guelph. Currently (Nov 2017) he is in his last year of study. Michal has a Specialist in Archaeology and a Minor in Near and Middle Eastern Civilizations from the University of Toronto. This last Spring, Michal did a semester abroad at the University of Copenhagen, where he developed this featured project with his group. Michal is interested in the interpretation of historic landscapes in design, experimental 3D modelling, visualisation techniques, and tree planting strategies. Your can read Michal’s OALA article Hedgerows: Structuring a suburban neighbourhood identity here.

[alyssabct]

#ctec708 ‐ Final Entry ‐ Alyssa Kerrigan ‐ Little Histories

Project: Little Histories - Studio

Little Histories: Flow Chart - Studio

Lo-fi Prototyping - Studio

Research Trip - Studio

Relevant Installations - Studio

Immersive Technology - Studio

MOTAT Research - Studio

Relevant Artist Models - Studio

Children & Museums - Studio

Children & Kinaesthetic Learning - Studio

Virtual Technology In Education - Studio

Low-fi Prototyping II - Studio

Transitioning from Fusion360 to Rhino - Studio

First Model - Studio

Crit Sessions - Studio

Creative Workflows - Studio

User Testing & Feedback - Studio

Iterating on our Last Prototype - Studio

Using Loopy to model complex problems - Studio

Logo Designs - Studio

3D Modelling from a real life subject - Studio

Sketching new ideas - Studio

Resources:

6 Creative Museum Exhibitions. (2020, March 05). Retrieved from https://www.lamasatech.com/blog/creative-museum-exhibitions/

Lights. (n.d.).Retrieved from https://festivaloflights.nz/lights/Mcilraith, B. (2020, December 18).

The Taranaki festival of lights that never stops. Retrieved from https://www.stuff.co.nz/travel/destinations/nz/taranaki/123598706/the-taranaki-festival-of-lights-that-never-stops

The Deep Sea. (n.d.). Retrieved from https://neal.fun/deep-sea/

Motat (n.d.) Employment. Retrieved from https://www.motat.nz/get-involved/employment

Motat (n.d.) Partnerships. Retrieved from https://www.motat.nz/get-involved/partnerships

Motat (n.d.) Explore. Retrieved from https://collection.motat.org.nz/explore

Collections Online. (n.d.) Retrieved from https://www.aucklandmuseum.com/discover/collections

(n.d.). Retrieved from https://graphics.stanford.edu/papers/twohanded/

Bringing 17th-Century Documents from Rembrandt's day to Life Using Augmented Reality. (2019, December 23). Retrieved from https://www.museumnext.com/article/bringing-17th-century-documents-from-rembrandts-day-to-life-using-augmented-reality/

GoogleArtProject. (2018, April 16). Retrieved March 18, 2021, from https://www.youtube.com/watch?v=ryaWVQM53gQ&ab_channel=GoogleArts&Culture

Heroes & Legends. (n.d.). Retrieved from https://www.kennedyspacecenter.com/explore-attractions/heroes-and-legends/featured-attraction/heroes-and-legends

Hillier, L. (2021, February 09). How museums are using immersive digital experiences (pre- and post-pandemic). Retrieved from https://econsultancy.com/how-museums-are-using-immersive-digital-experiences/

How virtual reality is bringing historical sites to life. (2020, October 17). Retrieved from https://www.museumnext.com/article/how-virtual-reality-is-bringing-historical-sites-to-life/

Immersive Tech is Making the Museum Experience Even Better. (2019, January 28). Retrieved from https://blog.kadenze.com/arts-culture/immersive-tech-is-making-the-museum-experience-even-better/

Kennedy Space Center Visitor Complex. (n.d.). Retrieved from https://www.kennedyspacecenter.com/

The Kremer Museum. (n.d.). Retrieved from https://www.thekremercollection.com/the-kremer-museum

(n.d.). Retrieved March 18, 2021, from https://www.youtube.com/channel/UCauNCpc-Ln81BOEUMgTEO5A

(2019, December 07). Retrieved March 18, 2021, from https://www.youtube.com/watch?v=Lg4JBdJUGHU&ab_channel=PlayfulTechnology

Buckley, S. (2020, February 16). 'Skylanders' learns what Amiibo knew all along: Drop the portal. Retrieved from https://www.engadget.com/2017-03-31-skylanders-learns-what-amiibo-knew-all-along.html

Clark, W. (2016, January 27). How they make the toys for Skylanders, Disney Infinity and Shovel Knight. Retrieved from https://www.polygon.com/features/2016/1/27/10811024/manufacturing-skylanders-disney-infinity-shovel-knight

Gil, L. (2020, December 25). Retrieved March 18, 2021, from https://www.imore.com/how-use-your-amiibo-nintendo-switch#:~:text=The chip in the amiibo,the data to your Switch.

Halliday, E. (2021, February 17). Retrieved March 18, 2021, from https://apptrigger.com/2021/02/17/nintendo-amiibo/

Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death. (n.d.). Retrieved from https://americanart.si.edu/exhibitions/nutshells

Peckham, M. (2014, November 19). Retrieved March 18, 2021, from https://time.com/3591835/nintendo-amiibo/

Saraiva, S. (n.d.). Dioramas. Retrieved from https://monstresss.bigcartel.com/category/dioramas

Shoebox Musicals: A Story of TikTok, The Pandemic, "Ratatouille The Musical", And The Wizard Conquering Them All. (2020, December 01). Retrieved from https://thetheatretimes.com/shoebox-musicals-a-story-of-tiktok-the-pandemic-ratatouille-the-musical-and-the-wizard-conquering-them-all/#

What is an amiibo Figure? - amiibo by Nintendo. (n.d.). Retrieved from https://www.nintendo.com/amiibo/what-is-amiibo/

Anderson, D., Piscitelli, B., Weier, K., Everett, M., & Tayler, C. (2002). Children's museum experiences: Identifying powerful mediators of learning. Curator: The Museum Journal, 45(3), 213-231.

Shaffer, S. (2015). Engaging young children in museums. Left Coast Press. 36.

Wong, K. M., & Piscitelli, B. A. (2019). Children’s voices: what do young children say about museums in Hong Kong?. Museum Management and Curatorship, 34(4), 419-432.

Harms, K. (2020). Museum Visits Students Where They Are. Childhood Education, 96(4), 34-41.

Golden, T., & Walsh, L. (2013). Play for all at Chicago Children's Museum: A history and overview. Curator: The Museum Journal, 56(3), 337-347.

Koutsabasis, P., & Vosinakis, S. (2018). Kinesthetic interactions in museums: conveying cultural heritage by making use of ancient tools and (re-) constructing artworks. Virtual Reality, 22(2), 103-118.

Iqbal, M. Z., Mangina, E., & Campbell, A. G. (2019, October). Exploring the use of augmented reality in a kinesthetic learning application integrated with an intelligent virtual embodied agent. In 2019 IEEE International Symposium on Mixed and Augmented Reality Adjunct (ISMAR-Adjunct) (pp. 12-16). IEEE.

Flexer, B. K., & Borun, M. (1984). The impact of a class visit to a participatory science museum exhibit and a classroom science lesson. Journal of research in science teaching, 21(9), 863-873.

Terreni, L. (2015). Young children's learning in art museums: A review of New Zealand and international literature. European Early Childhood Education Research Journal, 23(5), 720-742.

DLTK's Crafts for Kids Why should we teach our children history? (n.d.). Retrieved from https://dltk-kids.com/articles/whyhistory.html

Rose, K. H. (2006). Book Review: Practice Standard for Work Breakdown Structures—Second Edition. Project Management Journal, 37(5), 114-114. doi:10.1177/875697280603700513

Wright, Diana, and Donella H. (2009).  Meadows. Introduction: The Systems Lens |. Thinking in Systems, 13-19. doi:10.4324/9781849773386-6

Cross, N. (2011). How Designers Think. Design Thinking. doi:10.5040/9781474293884.ch-004

Chao, L. P., & Ishii, K. (2005). Design Process Error-Proofing: Benchmarking Gate and Phased Review Life-Cycle Models. Volume 4b: Design for Manufacturing and the Life Cycle Conference. doi:10.1115/detc2005-84235

[vaanibct]

Studio V Project

Week 9 (May 2019)

Monday : Day 20 (06-05–19)

On Friday, I continued making the letter ‘F’ prototype. I had booked the 3D Lab to finish the rest of the laser cutting. I was very happy with how the pieces turned out, and glad that Matt (technician) didn’t charge for prototypes. In Studio, I arranged the pieces and glued them together to dry over the weekend.

Today, I started to measure the letter and mark where the shelves would sit. I thought that they would fit perfectly as I must have measured everything correctly. However, there were parts of the letter that were inaccurate and didn’t match properly. Through the help of this prototype, I realised which measurements I needed to change, as well as realise that the size of the overall letter needs to be bigger. This letter was cut to the 6 x 6 x 8 cm measurement, so after all the contemplation, I have finally confirmed the size of each compartment to be 8 x 8 x 8 cm, therefore making the full letter to be over 100 cm tall.

Overall, I think I’m at a good place with my project at the moment. Although I have not been able to work on the storyline and informational aspect of the installation yet, I have a few ideas in mind. I plan on seeking advice from Andy tomorrow and continue working on the letters over the week.

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Tuesday : Day 21 (07-05–19)

Today, I had a quick chat with Andy about my project. Over the past week, I have been confused about what sort of information to include in the boxes. Andy suggested that I follow the idea and acronym of FEAR and work through what each of the letter stands for.

I thought his feedback was very helpful, as it provided me with a starting point to my play test. I developed this idea and decided to use the letters of the word FEAR as a way of communicating different aspects to the audience. The FEAR letters would follow a CYOA format, while informing the audience of the fears, the effects people suffer from, how it affects their decisions and a quote of inspiration.

After working on this aspect, I decided to continue the prototype letter. The compartment shelves dried over night and it stood at a reasonable height. However, it wasn’t free-standing. I knew that this was a barrier, because the other letters would be able to stand alone as they have a balanced support. I wasn’t worried about this because I know that there will be a way for the ‘F’ to stand.

The next step to the prototype was doors. I used the leftover cardboard from last week to cut out the individual doors and taped them to the wood. It was starting to meet my expectations as it gave me a clear idea of what the real letters would look like. I also looked into using elastic tape as a hinge for the real letters, because small hinges were adding to be very costly. However, this is something I will leave until the end, and further discuss with the technician.

I thought about making a list of the advantages and disadvantages of constructing the letters this way: Pros - fast, easy, accurate, looks sturdy and competent. Cons - costly, wrong measurements, untidy, uneven spaces.

Even though there are a few cons, I have decided to produce the final ‘FEAR’ letters using this method, as it is less time consuming and looks precise. I realised that making 67 individual boxes would require a lot of time to assemble, glue and sand. It might need more wood than planned, however, the laser cutter cost is within my budget. And this method works well.

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Thursday : Day 22 (09-05–19)

Yesterday, I started planning and designing the final letters. I learned that the measurements need to be accurate as even a 1mm difference can cause issues. Before making the final Illustrator file, I drew all the letters on paper and calculated the height, width and dividers of each letter. I figured that since each compartment would be 8 x 8 x 8 mm, the dividing shelves would require an extra 6 mm of wood each, in order to stand at the correct height. To be honest, I didn’t realise I would use Maths after leaving High School, but this sort of task demanded precision.

While designing and calculating the letters, I came to learn that the letters F and E were similar in structure, while A and R shared the same qualities. This made my job much easier as I based the letters and measurements off each other.

I also visited the 3D Lab to book a time for laser cutting tomorrow. While I was there, I decided to experiment with a wooden door piece to compare with the cardboard door. The wooden door had a better appeal, and opened easily with a tape hinge. I also cut a small cardboard “doorknob” to test the opening and closing procedure. Through this test, I realised that a proper door and knob would work well with the overall letter. However, I also noticed that using an inside hinge method could allow the door to slip inside. I prefer the hinge to be inside the door, rather than showing outside as it looks tidier. So, Matt suggested that I have a little piece of wood, acting as a stopper, inside the compartment.

I feel that I am prepared and have progressed well over the past week. I will be ready to laser cut the letters tomorrow as the wood panels have been delivered. Over the next two weeks, I plan to finish constructing and planning the content for the boxes. I think I’m currently working according to my time table and should be completed within the time frame. I have also set an extra week in case of complications or other issues.

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