7. I n t h i s f i r s t
phase the design
f o c u s s e s o n 2
e x h i b i t i o n
spaces (i.e. the
museum building "A"
and the Exhibition hall
"B") within their larger
industrial context.
The factory's park hints
o f B a u h a u s
mixed with Russian
and Chinese
a r c h i t e c t u r a l
characteristics.
The infrastructures are
from the mid-20th
century and are located
inside the north-west
walls of the historic
banking city of Pingyao.
Within its facilities
w o r ke r s u s e d t o
a s s e m b l e d i e s e l
engines and a
kind of pick up truck in
the style of old military
Jeeps up till about
2005. Some if not most
o f t h e 1 9 7 0
machinery is still
there and functional.
jhauters@animasuri.com
8. The design of the two
s p a c e s s i n g u l a r l y
t a r g e t s t h e 2 0 1 2
C h i n a P i n g y a o
I n t e r n a t i o n a l
P h o t o g r a p h y
Festival. The
d u r a t i o n o f t h e
festival is 10 days.
Although on a micro-
c o s m i c l e v e l t h e
infrastructural design
m u s t b e
sustainable and
d u ra b l e/
resilient for
the duration of this
one-time period only,
i t c a n r e f l e c t a
c o n c e p t u a l
i n t e n t i o n f o r
f u t u r e
design phases
on the macro-cosmic
level of the industrial
p a r k— t h a t m i g h t
become a designated
cultural park
— or perhaps even
reflect the spirit
of/within the entire
city.
jhauters@animasuri.com
9. jhauters@animasuri.com
Part of the design
has been said to
f o c u s o n t h e
refurbishing of
these 2 spaces (i.e.
broken glass, dirt
removal, solve leaks,
solve floor issues,
redecoration).
On a macro-level the
a r c h i t e c t u r a l
(interior) design has
been suggested to
reflect a "way of
life," it should offer a
"human feel."
In the process of
r e f u r b i s h i n g a n d
designing the spaces
we shall need to
understand
who shall exhibit
at these locations
a n d w h a t t h e i r
e x h i b i t i o n
requirements are. It
shall be important to
integrate controlling
elements that show
an understanding of
the foot flow and
circulation
10. In this first phase it is the
intention to create a wow-
feeling within a pre-defined
budget (the information on
this still needs to be shared).
Overall it is the idea to "make
the exhibition work and make
it work better." What this
implies still needs to be made
concrete.
12. macro-contexts might not be loudly mentioned within the
conceptualization processes. Though, they can be pillars or
cornerstones or foundations for fine-tuned ideas that are
more befitting the larger cultural, social or political
characteristics surrounding the micro-cosmos of a design.
As such it is pragmatic to pinpoint attributes distilled and
handpicked from the facts that the two buildings are
located within the Engine Factory in the Ancient City Of
Pinguao and that this historic Han designed banking center
is clasified as a Unesco World Heritage Site within Shanxi,
a province of the People's Republic of China.
The main question however becomes: What are the
attributes and which of the implied attributes should be
handpicked and applied to add value to the design?
18. factory design implies
labor, control,
o r d e r ,
r e p e t i t i v e n e s s ,
efficiency, assembly,
product
i v i t y ,
production of goods,
profit, solidity.
Its materials used
h a v e s c i e n t i f i c
f o u n d a t i o n s ,
engineered execution
a n d p r a g m a t i c
application.
The industrial complex
within the historic
banking city
of pingyao stands in
stark contrast with
t h e
H A Nd e s i g n o f t h e
s u r r o u n d i n g
architectural
infrastructures
jhauters@animasuri.com
19. jhauters@animasuri.com
the HAN design as well
as designs related to the
c i t y ' s f u n c t i o n a l i t y o f
banking obviously
a l s o i m p l y
control,
o r d e r, r e p e t i t i v e n e s s ,
efficiency, and solidity.
It was stated that within the
ancient urban design of
Pingyao there might be
applied attributes of several
s y s t e m s o r
matrices
such as those from K!ng
Z"'s socio-political
philosophies or of Feng Shui.
Evident artifacts, designs,
memes, engineering and
building technologies of their
respective time make the
factory and the city at odds
with each other.
although their contrasts
stand tall one can not deny
h a r m o n y
between the two created by
similar conceptual,
o r g a n i z a t i o n a l , s o c i a l ,
p o l i t i c a l o r s y m b o l i c
intentions: Each express
their understanding of order
and control. Also, they both
f i n d
synchronization
in an essential attribute
of time: entropy.
20. entropy is
an attribute of time in that
the differentiation between
past, present and future can
be established by observing
the increase entropic degree
that over time shifts a
structural soundness towards
a lack of such solidness.
B o t h s t r u c t u r a l
systems (the factory and the
ancient city) show signs of
entropy.
a truism however is: no
entropy, no life.
A n o t h e r i s : l i f e m i n u s
entropy=absolute human
control at an inhumane god-
like level. A harmonic way of
life is a balance between the
two: a control of entropy and
an embracing of it. While
control allows sustainability
and resilience, entropy allows
t e x t u r e ,
c h a r a c t e r ,
uniqueness.
Hence the obvious need for
restoration, and
world heritage status
o r r e f u r b i s h i n g
m e c h a n i s m s . T h e s e
mechanisms and dynamics in
addition to those such as
entropy across time influence
ways of life and
can be used as conceptual
corner stones for design.
jhauters@animasuri.com
21. Wood, sand and stone are
symbolic materials and media
within this first brainstorm
towards conceptualization.
sand is a collection of
microscopic particles of stone
(quartz, silica, minerals, etc).
sandstone is sedimentary
rock composed of sand-sized
grains of rocks and minerals.
E r o s i o n ( o r e n t r o p y ) ,
pressure (or an attribute to
impose order) are the relating
a t t r i b u t e s b e t w e e n
stone (or rock) and
sand but also between sand
and wood.
sandstone reserves and
filters.
trees reserve and filter.
i.e. a tree prevents erosion. it
blocks desertification or
poetically: "Trees block the
congregation of sand." its
architectural derivative is
wood.
a tree (or wood) under
extreme high pressure and in
harmony with sand petrifies
into stone.
I suggest the exploration of a
design combining these 3
elements on a larger scale.
Following are some initial
thoughts.
jhauters@animasuri.com
22. jhauters@animasuri.com
There shall be several
degrees of influencing
contexts
t o a n y d e s i g n
attribute.
The main contexts
t h a t c o u l d b e
brainstormed are:
—1—The directly
r e l a t e d d e s i g n
attributes within the
whole set of all the
a p p l i e d d e s i g n
attributes
—2—The design
within its structural
context of the factory
space
—3—The design
w i t h i n t h e l a r g e r
context of Pingyao (as
it was, as it is and as
it could be)
In combination, the
material, its quality,
t e x t u r e , c o l o r
scheme, dimensions,
form, organization and
location shall define
the narrative being
told.
25. jhauters@animasuri.com
WOOD
The wooden path design
is...
i n
contrast
t o
bauhaus
/ r u s s i a n / c h i n e s e
industrial design from
the last century and on
i t s p a t h t o w a r d s
entropy
in contrast to lack of
trees in the banking
city of pingyao
i n c o n t r a s t t o
materials
(i.e. steel, concrete,
glass)
26. The wooden path design
is...
in harmony
with the trees in the
factory park as a link
between the natural
(i.e. a tree) and the
factory/industrial
concept of the processed
(i.e. the wooden plank)
in fluid connection
w i t h t h e m e s i n
p h o t o g r a p h y a s
windows to the
world; from the tree to be
seen, to the path offering
gazing while walking ,
to the view captured in the
f o c u s o f t h e
image .
i n f l u i d i t y w i t h t h e
organic from
the world outside the
industrial park: human,
nature. The path is always
lead by and always leads
to
sources of life
jhauters@animasuri.com
27. T h e w o o d e n p a t h h a r m o n i z e s — 1 — t h e
(unfavorable) conditions and —2— (less controlled)
multi-directionality of the original roads within the
factory's compound with that of —3— accessibility
and —4— comfort of passage.
The roads are allowed to remain in whichever state
they are in, depending on weather conditions or
other contexts.
The wooden path transcends the dominating polarity
of order|disorder. It slightly shifts the participatory
visitors to an objective observer perspective as an
audience in a museum or archeological site.The idea
is to create a struggle between alienation and
participation as much as a 1960s factory creates
such tension with its historic surrounding.
The wooden path creates pedestrian canals. It
controls foot flow and circulation. It can create
frequency (speed up the flâneurs, invite roaming,
support pause and contemplation, for instance, by
means of larger wooden islands, plateaus at
strategic nexuses or secluded corners and nooks.
29. B y m e a n s o f t h e
wooden path the visitor
is taken on a guided
tour to see first-hand
h o w e n t r o p y i s
negotiated
with nature and applied
as an aesthetic. This
n a r r a t i v e i s
constructed while also
t h e m e a n s o f
reconstruction
and innovation are
i n t r o d u c e d a s
c h a r a c t e r i s t i c s i n
refined dialog
with the preexisting
a r c h i t e c t u r a l
infrastructures.
31. jhauters@animasuri.com
sandThe sand surface design
is...
i n
contrastto industrial design promoting
solidity, concrete functionality,
linearity, geometry and the
p o s t p o n e m e n t o f
entropy
The factory is the ultimate
example of control. Sand is the
ultimate example of entropy
(the maximized decay of rock.
the maximization of chaos.
However, large planes of sand
offer order again. This is the
sublime beauty harmonizing
order/solid form with chaos/fluid
form.
in contrast to lack of
f l u i d i t y i n f a c t o r y
structures. while sand is not
water as a collective it can be
shaped, reshapes, displaced and
assimilated infinitely.
i n c o n t r a s t t o a n
i n d u s t r i a l
compound
(i.e. access street, hall, offices
and assembly lines). Sand
organizes by different logic and
means.
32. The sand surface design
is...
i n
harmonywith the trees in the factory
park as a link between soil
as a foundation (i.e. for a tree
to root and trees ) and the
factory's concrete foundation
based on a ratio of sand with
cement and other compounds.
Simultaneously we realize that
sand wins its struggle against
trees if deforestation for wood
p r o d u c t i o n l e a d s t o
desertification.
in fluid connection with
p i x e l s o r g r a i n i n e s s i n
photography. Visitors can
gaze onto the sand surfaces
and see infinite shapes from its
grainy textures and collective
organization; they become the
driving force in the shaping of
meaning. in similarity, the
photographer captured and
organized pixels or grains of
color to end up focused as an
image 's meaning.
i n f l u i d i t y w i t h t h e
inorganic
from the world outside the
industrial park: human
innovation. The sand
surface is as a source leading
t o s i g n s o f
lifeready to be excavated.
jhauters@animasuri.com
34. B y m e a n s o f t h e
wooden pat h t he
visitor is taken on a
guided tour to see
f i r s t - h a n d h o w
e n t r o p y i s
n e g o t i a t e d
w i t h n a t u r e a n d
a p p l i e d a s a n
a e s t h e t i c . T h i s
n a r r a t i v e i s
constructed while
also the means of
reconstruction
and innovation are
i n t r o d u c e d a s
characteristics in
refined dialog
with the preexisting
a r c h i t e c t u r a l
infrastructures.
By means of the sand
surface(s) the visitor is
invited on a guided
plane to see first-hand
h o w e n t r o p y i s
negotiated with nature
a n d a p p l i e d a s a n
aesthetic (thus shifting
sand's state again but
now from chaos to
order). This narrative is
constructed while also
form and 'decay of
form' are introduced as
c h a r a c t e r i s t i c s i n
refined dialog with the
attributes of sand over
large surfaces and the
p r e e x i s t i n g
a r c h i t e c t u r a l
infrastructures.
35. does sand suffer from
entropy?
If sand decays can we
assume it does not
decay but turns into
finer grains?
Sand is the catalyst for
d e c ay ( i . e e r o s i o n .
abrasion, scouring, etc)
sand is not a finished
nor polished result it is
used to polish.
however its texture can
create a mental and
emotional "polished"
state open to meditation
(i.e. sand-based garden
design). sand seems
homogeneous yet can
contain very different
particles.
36. B y m e a n s o f t h e
wooden pat h t he
visitor is taken on a
guided tour to see
f i r s t - h a n d h o w
e n t r o p y i s
n e g o t i a t e d
w i t h n a t u r e a n d
a p p l i e d a s a n
a e s t h e t i c . T h i s
n a r r a t i v e i s
constructed while
also the means of
reconstruction
and innovation are
i n t r o d u c e d a s
characteristics in
refined dialog
with the preexisting
a r c h i t e c t u r a l
infrastructures.
i n d u s t r i a l a n d
banking settings
h a v e
homogenization as
an artifact to their
p r o c e s s e s a n d
targets.
But these systems
can only do so to a
certain extent and
sustain it for a finite
period in spacetime.
sand as a symbol
plays with these
s t r u g g l e s ,
p a r a d o x e s a n d
contradictions in a
h a r m o n i z i n g
manner.
38. jhauters@animasuri.com
stoneThe stone feature design
is...
i n
contrastw i t h i n d u s t r i a l d e s i g n
p r o m o t i n g l a r g e s c a l e ,
functionality, linearity, order,
concrete, steel and bricks.
The stone features are
rounded and complex forms
compared to the factory
design.
i n
harmony
w i t h t h e r e m i n i s c e s o f
productivity, pressures and
h e a t r e l a t e d t o e i t h e r
geological forces creating
rock or with factory forces
creating engines.
i n f l u i d
continuation
with a broadened concept of
ornamentations as some
artifacts are found across
the historic banking city of
pingyao.
39. jhauters@animasuri.com
stoneThe stone feature design
is...
i n
harmonyw i t h t h e m a c r o - c o n t e x t o f
ornamentation.
While such stone features as space
ornamentation might perhaps be
contrasting with the biases one has
towards factories, the current
complex offers at least two
categories
of ornaments. One is the category
of old machinery the other
i s t h e w i n d o w- t o - t h e - w o r l d
atmosphere radiating from each
photography.
the factory promotes pragmatism.
it is a linear and materialist
approach to functionality. it uses
a n d t a r g e t s t a n g i b l e s .
c o n t e m p l a t i o n i s a n
intangible process
resulting in the intangibles of
mental focus or peace or the more
practically intangibles of concept
and idea. these lead to tangible
innovation. Therefor ornamentation
b y t h e
Recontextualization
of naturally occurring objects
such as stone (rocks) has a
practical, albeit less linear, attribute
or result.
41. "The use of rocks has had a huge
impact on the cultural and
technological development of the
human race. Rocks have been
used by humans and other
hominids for more than 2 million
years" [*1]
Although various classifications
could be applied, Sedimentary
rocks best symbolize the concept
suggested here. these are "types
of rock that are formed by the
deposition of material at the
Earth's surface and within bodies
of water. Sedimentation is the
collective name for processes
that cause mineral and/or
organic particles (detritus) to
s e t t l e a n d a c c u m u l a t e o r
minerals to precipitate from a
solution. " [*2]
[*1] http://en.wikipedia.org/wiki/Stone
[*2] http://en.wikipedia.org/wiki/Sedimentary_rock
42. Stone compositions are as
poems; depositions of words and
meaning sedimented in the mind
of its creator. here the stones
poetically hint of geological
productivity as factories hint of
productive forces.
Simultaneously, at their current
stage both factory and stone
formations find harmony in their
spirit of melancholic peace while
e m b r a c i n g s p a c e f o r
contemplation.
The stones are ripped from their
n a t u r a l f u n c t i o n a l i t y a n d
composed in a design-conscious
m a n n e r t o a m p l i f y a n y
metaphysical potentials a factory
complex might have to offer.
So too is the factory reborn and
revitalized with new meaning.
through innovative meaning
innovative function is offered.
STONENARRATIVE
44. jhauters@animasuri.com
trans media
narrated
m u l t i s e n s o r i a l l y
experienced
immersively perceived
i n t e r a c t i v e l y
participated
telepresently visited
d y n a m i c a l l y
composed
organically-driven
s o u n d s c a p e s -
surrounded
teleperformed
smart cities-minded
i n t e r a c t i v e
a r c h i t e c t u r a l l y
designed
augmented
46. Transmediation refers to "the process through
which individuals select and translate data to
represent it in other media forms. It may
utilize more than one media form. All the
components of a transmediated work are
interlinked with each other to form the whole
network. Therefore, transmediated works are
closely linked to semiotics and technology in
the context of digital media."
Transmedia narrative is the "technique of
telling stories across multiple platforms and
formats using current digital technologies."
I agree to a large extent with the above
citation however, transmedia narrative taken
literally does not have to be limited to the
digital and can use any source material from
any medium, focus on any attribute from
within the source story line and source
medium, transcode these, extrapolate and
elaborate on these into another medium for
further fine-tuned narration. The storytelling
technique can be old and contrary to some can
still work nicely within the present-day needs.
Old and new do not mitigate one another.
They are simply two directions on one and the
same playing fields of time & space.
sources:
http://en.wikipedia.org/wiki/Transmedia
http://en.wikipedia.org/wiki/Transmedia_storytelling
jhauters@animasuri.com
TRANSMEDIANARRATIVE
47. The aim is to maximize (new) media
applications for traditional architecture, design
& art forms implemented within publicly
accessible settings (i.e. the factory's exhibition
spaces; or, at a later stage hand-picked and
interlinked pingyao urban design: in-store, in-
office, outdoors, public, exclusive or private
fora, cultural facilities, etc). As such the goal is
to apply (new) media technology in order to
increase story telling as a communication/
urban functionality. The intention of such open
story telling is to create a service that offers
interactive and communication-fertile
architectural designs. The story telling can be
static (never changing) or it can be dynamic.
Its dynamism is defined by environmental
attributes influencing the compositional
outcome of that moment in timespace
(concerete examples shall be given and
brainstormed).
transmediated (dynamic) narratives also hint of
the concept of "smart cities." Metaphorically it
means dwellers do not simply dwell but
interact, form and transform the architectural
systems. the visitors/inhabitants are not
alienated by the architectural systems but
rather are forming an intricate part towards a
cosmopolitan organism. they are not lived by
its system they form the system in a
participatory manner.
TRANSMEDIANARRATIVE
48. Note, the implementation of technologies
does not negate the pre-existing historic
nor functional values. On the contrary,
they preserve these, augment these and
maximize their functionality across
spacetime; across reality and perhaps
even into virtual architecture.
Wikipedia defines 'smart city' rather
clearly: "Urban performance currently
depends not only on the city's endowment
of hard infrastructure ('physical capital'),
but also, and increasingly so, on the
availability and quality of knowledge
communication and social infrastructure
('intellectual and social capital'). The latter
form of capital is decisive for urban
competitiveness. It is against this
background that the concept of the "smart
city" has been introduced as a strategic
device to encompass modern urban
production factors in a common framework
and to highlight the growing importance of
I n f o r m a t i o n a n d C o m m u n i c a t i o n
Te c h n o l o g i e s ( I C Ts ) , s o c i a l a n d
environmental capital in profiling the
competitiveness of cities."
49. The concepts of the multisensorial,
of transmedia narrative and of the
smart city can be transcoded into
p i n g y a o t a k i n g b u d g e t a r y
definitions, phase strategies,
needs and vision towards
future competitiveness within the
world of ancient heritage across
the globe into account. While
integrating cultural platforms
crossing, transforming, going in-
between and beyond the initial
intention of the architectural
s t r u c t u r e s a t h a n d ( i . e .
manufacturing engine, showcasing
photography, banking, preserving
heritage, etc) this design approach
i s s i m u l t a n i o u s l y
conserving as well as it is
progressive.
jhauters@animasuri.com
50. —001—
position recording devices along the wooden
path and playback the sound (with or
without manipulation) at a different locale;
i.e. somewhere within the city area,
somewhere further or earlier down the
wooden path, within one of the exhibition
spaces, etc. Variations on, convolutions of,
iterations of these scenario can be fine-
tuned and implemented
use real-time interactive audio software to
c r e a t e d y n a m i c s o u n d s c a p e s ; i . e .
soundscapes that might find their base
elements in real-time or pre-recorded
sound-bites from within the factory
compound or from within pingyao or from
photography-related sources (ad infinitum).
variations on, convolutions of, iterations of these
(sub-)scenarios can be fine-tuned and implemented over time
or depending on location.
jhauters@animasuri.com
transmedia|multisensorialscenario#001
51. —002—
life performances/improvisations based
on the activities or themes at hand.
sub-scenario i/ improvisations based on
photographs or on festival themes.
sub-scenario ii/ teleperformances:
artists perform and link with one
another across spacetime over the
internet to perform in real-time (note:
internet speeds in China might be
problematic). the performance can be
data (mapping) rather than actual
audio/video.
sub-scenario iii/ teleperformance:
artists can be spread across the
compound (or city) and connected by
means of an audio-video link performing
a b s t ra c t i o n s o f t h e f e s t i va l i n
orchestration.
sub-scenario iv/ ...
variations on, convolutions of, iterations of these
(sub-)scenarios can be fine-tuned and
implemented over time or depending on location.
jhauters@animasuri.com
transmedia|multisensorialscenario#002
52. —003—
telepresence: tourists can physically visit the
festival but tourists can virtually visit the
festival by means of strategically placed
audio-video gear uploading/streaming the
event in realtime.
sub-scenario i/ the video capturing can be
streamed back onto a video wall within a
very different location (i.e. imbedded into
the wooden path or within the sand surfaces,
or amongst the stone features)
sub-scenario ii/ the video material can be
digitally manipulated into video art. from this
snapshots can be made and projected
elsewhere as a liquid/dynamic surface
texture.
sub-scenario iii/ people can upload pictures
onto a designated webpage. a selection of
the pictures (after censorial, aesthetic or
theme-based filtering) can be projected
onto a designated canvas
sub-scenario iv/ ...
variations on, convolutions of, iterations of these
(sub-)scenarios can be fine-tuned and implemented
over time or depending on location.
jhauters@animasuri.com
transmedia|multisensorialscenario#003
53. —004—
digital canvases. photos can be digitized (or
digital photos) and shown on digital screens
across the exhibition space(s).
sub-scenario i/ the photos can be simply
sliding with hard cuts from one to the other or
the photographs can become the raw material
for animation artists (perhaps a contest) to
create fluid transitions from one photograph
into the next.
sub-scenario ii/ the photographs used can be a
selection of this years festivals or high-points
of previous years.
sub-scenario iii/ instead of LCD or LED screens,
projectors can be used to create lay-overs on
handpicked surfaces (i.e. the sand surfaces)
sub-scenario iv/ one and the same picture can
be used as source material to be partially
shown on a LCD screen and to have the larger
context within that picture projected around
the LCD screen
variations on, convolutions of, iterations of these (sub-)scenarios
can be fine-tuned and implemented over time or depending on
location.
transmedia|multisensorialscenario#004
54. —005—
immersive.
with larger budgets new media art can be
implemented to ameliorate the experience of the
photography festival or of pingyao as a whole. these
scenarios shall not be mentioned yet but are
available at request.
sub-scenario i/ of course low-budget immersive
systems can be constructed. for instance a
handpicked photograph can be reconstructed/
reenacted/look-alike/subverted within the
architectural surrounding. one can for instance
imagine a (silly) still-life photograph of a bowl of
fruit. The basket of fruit can be physically there next
to the picture. If the reenactment is strong the
audience will be invited to question concepts of
originality, authenticity, source and reference. The
fruit in the picture could be decayed whereas the
fruit "in real life" could be fresh (or plastic). By doing
so the audience will be pulled (at least intellectually,
emotionally and creatively) more into the
photographic art. it is a limited form (as they are not
physically pulled) of immersion.
sub-scenario ii/ ...
sub-scenario iii/ ...
sub-scenario iv/ ...
variations on, convolutions of, iterations of these (sub-)scenarios can be fine-
tuned and implemented over time or depending on location.
transmedia|multisensorialscenario#005
55. In this first brainstorm it is
the intention to hint of
opportunity and potential
without a pre-defined budget
o r o t h e r d e m a r c a t i o n s
available. Overall these
scenarios are open to be
fine-tuned, overthrown or
substituted for better ones.
57. Meaning is
b r o u g h t
t o g e t h e r
through the
p a r t s
intimately
interconnec
t e d b y
design and
explicable
o n l y b y
r e f e r e n c e
t o t h e
whole on a
micro- and
o n a
m a c r o -
c o s m i c
level: from
function to
form; from
building to
park to city
to country
to nature;
f r o m
h i s t o r i c a l
storytelling
to present
a c t i o n t o
forecasted
scenario.
media
jhauters@animasuri.com
Recontextualization is
"the dynamic transfer-
and-transformation of
something from one
discourse/te xt-in-
context ... to another"
(Per Linell, 1998:154)
factory
images
culture
wood
sand
stone
58. In this first brainstorm
several questions are still
unanswered: what is the
2012 photography theme?
a r e t h e r e a n y o t h e r
i n f r a s t r u c t u r a l
constraints within which
w e h a v e t o d e v e l o p
designs? what is the budget
for which attribute of the
design? Other questions
will be generated later.
59. v.1.0 — this document is
n o t h i n g m o r e b u t a
c o l l e c t i o n o f i n i t i a l
thoughts; an individual's
brainstorm put to paper.
Obviously these do not
a r ro ga n t ly c l a i m a n y
dominance nor priority.
they have been collected
with the intention to share
and to show capacities
besides potentials; and this
only if these are evaluated
as such by you, the reader.
in the meantime I remain
available for comments
and further exploration at
jhauters@animasuri.com
