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INTERACTIVE SPACE
- 1. I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 2. INTERACTIVITY PROJECTS F U T U R E AV E N U ES I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 3. TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 4. TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 5. TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 6. TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 7. PROJECT STUDIES Early projects Parametrics METHODOLOGY Iterative Interactive Symbiotic TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 8. TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 9. TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 10. Fears of ‘the digital’ it i seen as ‘j t another t l’ is ‘just th tool’… (Kvan, Mark et al. 2003) It is considered as ‘onerous import from without architecture called ‘the digital’ ’ (Mackenzie 2004) Promotion of ‘the digital’ revolutionary opportunities (exist) for creating … ! TERROIR and ‘the digital’ as a consequence my practice was asking (TERROIR 2004) ‘what do we do about the digital…?’ Branching compounds by biot(h)ing/ TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 11. so what exactly is the benefit of the digital media in a design process … ? (TERROIR 2005) TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 12. designs can be described parametrically Kvan, T E Mark Kvan T., E. Mark, et al. (2003) al parametric software can ‘break the traditional approach of surfaces modeling enabling quick surface creation…and ideation creation’ creation and creation (Dassault Systèmes 2007) the data set gains meaning very early in the piece… (Kvan First GRC Review 2005) so how does it assist my firm in conceiving and representing our ideas…? TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 13. this has provided a way to see concepts and ideas in a new way (TERROIR 2005) TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 14. verbal conversation operational visualisations representations of intent TERROIR / RMIT SIAL EMBEDDED RESEARCH IN ARCHITECTURAL PRACTICE 2005‐2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 15. PROJECTS I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 16. ELASTIC BAND INSTALLATION 25 JUNE ‐ 12 JULY 2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 17. ELASTIC BAND INSTALLATION 25 JUNE ‐ 12 JULY 2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 18. ELASTIC BAND INSTALLATION 25 JUNE ‐ 12 JULY 2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 19. ELASTIC BAND INSTALLATION 25 JUNE ‐ 12 JULY 2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 20. ELASTIC BAND INSTALLATION 25 JUNE ‐ 12 JULY 2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 21. ELASTIC BAND INSTALLATION 25 JUNE ‐ 12 JULY 2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 22. ELASTIC BAND INSTALLATION 25 JUNE ‐ 12 JULY 2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 23. ELASTIC BAND INSTALLATION 25 JUNE ‐ 12 JULY 2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 24. ELASTIC BAND INSTALLATION 25 JUNE ‐ 12 JULY 2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 25. ELASTIC BAND INSTALLATION 25 JUNE ‐ 12 JULY 2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 26. ELASTIC BAND INSTALLATION 25 JUNE ‐ 12 JULY 2008 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 27. BLACK LIGHT INSTALLATION FOR BY GEORGE LANEWAYS I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 28. BLACK LIGHT INSTALLATION FOR BY GEORGE LANEWAYS I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 29. BLACK LIGHT INSTALLATION FOR BY GEORGE LANEWAYS I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 30. BLACK LIGHT INSTALLATION FOR BY GEORGE LANEWAYS I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 31. BLACK LIGHT INSTALLATION FOR BY GEORGE LANEWAYS I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 32. THE BRIEF ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 33. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 34. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 35. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 36. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 37. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 38. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 39. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 40. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 41. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 42. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 43. ULTRAFAB2 PAVILION ARCHITECTURE FESTIVAL OCT 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 44. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 45. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 46. ULTRAFAB PAVILION UNI OF SYDNEY JULY‐AUG 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 47. ULTRAFAB2 PAVILION ARCHITECTURE FESTIVAL OCT 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 48. ULTRAFAB2 PAVILION ARCHITECTURE FESTIVAL OCT 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 49. ULTRAFAB2 PAVILION ARCHITECTURE FESTIVAL OCT 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 50. ULTRAFAB2 PAVILION ARCHITECTURE FESTIVAL OCT 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 51. ULTRAFAB2 PAVILION ARCHITECTURE FESTIVAL OCT 2009 I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
- 52. FUTURE I N T E R A C T I V E S PA C E : H U M A N , S PA C E & I N F O R M AT I O N D R S A R A H B E N T O N : U N I O F S Y D N E Y
Editor's Notes
- The aim of this seminar is to introduce students to the issues involved in the design of interactive systems and spaces. The seminar will cover theory, best practice and examples of human centered design, architectural spaces, and information visualisation. The seminar will also introduce different interactive technology research projects and approaches and explore opportunities for future research in the respective fields
- Theory?
- I completed PhD research within an architectural firm. my research explored the role and implications of integrating digital media into an architectural design process.
- To complete the research I continued my senior designer role in the practice and finished a series of projects. I captured the successes and failures in the early stages of these designs for comparison and used them to highlight particular themes and issues that I wanted to critique in existing published works.
- So from competition projects to large scale hotel designs
- And mid scale bowling club alterations and additions.
- So on completing my thesis I began seeking new opportunities to progress my new insights and expanded technical toolkit through art and architectural projects.Following are a few examples of human centered design and architectural spaces
- Elastic Band InstallationThe installation was to be located within Firstdraft, a small non-profit gallery run on a voluntary basis by a group of practicing artists from 25 June - 12 July 2008.
- My initial involvement was to create a 3d model of the proposed exhibit. The geometry and layout of the form was based on creating a perfect circle and then intersecting the projecting lines into the existing gallery ceiling.
- When the final arrangement was agreed in a digital format we took to the old gallery space and negotiated the uneven floor and complex batten ceiling to install the exhibit
- The benefits of computation in formalising and installing the installation were appreciated by the group of artists who had not worked with one before. Due to the accuracy they wanted to achieve the laptop, a laser measuring device were god sends in detailing the x, y, z positions of the top and bottom chords of the elastic bands
- Each elastic band was installed in place and was painted a glow in the dark colour to be illuminated under black lights. And The final part of the installation was an interactive music piece. Each elastic band was to be linked to a piezo and auduino set and laptop which played a distinctive chord depending on which string was played. The resulting artwork thereby became a huge musical instrument.
- As an artwork the installation was not world changing. And the piezos did tend to disconnect and by the end of the exhibit the musical instrument was hardly tuned perfectly. However, spatially the glowing elastics, the musical composition that could be gained from them and the black room was considerably exhillarating
- Based on the success and fun of undertaking the elastic band project we proposed a follow up project as a part of the recent 2009 Laneways by George festival. Where a group of 7-8 art groups are funded to install a small work within an existing laneway in Sydney city, with the intention of enlivening the city for a month.
- We selected a narrow tall laneway Abercrombie Lane, particularly taken by one wall being this old brick wall which has been modified and changed over many years.
- Our idea was to remodel and shield the decrepit wall and frame and highlight the brick wall and the narrow laneway itself with a lightweight curtain
- Which at night would come alive with artwork and reflections through the use of black lights and shadow
- The laneways project is a temporary art festival . We felt strongly about taking the issue of sustainability seriously. The material of the installation was to be recycled and the artwork itself was moveable and reusable and to be detailed in such that it could achieve a level of longevity. We wanted to avoid one of the disappointing aspects of today’s design culture in relation to artwork and value. By creating something beautifully, with thought and with an afterlife, we hoped to increase the installations sustainability
- And this aspiration to build a large scale work and consider the sustainability aspect of today’s contemporary design we began the ultrafab design exercise. As you will see the issue of interactivity was an outcome and integral to the design of architecture.this project began from a discussion I had with my design partner at Usyd, Damien Butler and an interest to create a larger built work to test the ideas that we have been exploring in miniature at the University of Sydney for the past few years.
- The design idea:The design responded to the team’s site studies and a poetic idea to create a dynamic ‘bower bird nest’ structure.
- The structure would reinforce the edge of the landscape garden, provides seating to gather and enjoy the morning sun, and, through its dynamic language, rejuvenate the entry to the Faculty.
- So a new iteration was proposed which lofted between a series of key sections within the site which achieved the seating, shielding and framing the team wanted to capture in response to the site studiesOn seeing this visualisation, the team agreed the design was at its optimaum and construction was givent the general approval
- Using a compound mitre saw
- A commonly understood auditing system
- And a series of lighting tests
- We completed the built pavilion
- In terms of interactivity
- Despite numerous setbacks, the course produced an amazing project.The greatest success was the material. Students and visitors to the faculty have enjoyed lying and sitting on the structure. The same pavilion built from metal studs would not allow the same level of interaction as our wood pavilion. The context also provides its own interactivity as the shadows and sun paths chart its way across the formSimilarly, although the process was intended to be entirely digital, the combination or interaction of digital and analogue techniques actually worked well. Each informed the other through an iterative process. the technique of ‘Frankensteining’ several concepts together worked well.
- the lighting: of the pavilion also brings the structure to life at night.As you pass along the central pathway the lights inside the pavilion come on one after the other and then fade to black again when there is no movement. These lights accentuate the timber frames. The central strip of lights is a lot more in your face and dynamic. They run a digitally directed composition changing the LED light colours and pace of light flickerings. One critique that Damien and I have always tried to highlight is that the central lights act in their own right, they have their own aesthetic and are a stand out feature, either day or night, particaulrly due to their form (a circle). We did try to suggest to the students to create a complementary lighting system that didn’t overpower the structure, however this was not quite successful.The other aspect is really the installation of the lighting, in particular the LEDs that have a considerable amount of cabling and are quite finicky to actually install within the frames. The structure without lights can be taken down in about 1 hour, however with the lights, we add about 4-5 hours, just because the detailing and requirements were not clearly communicated to the rest of the team which could have meant the installation issues were minimised, even though we were pushing the lighting students to do so…
- The outcomes; engagementBut when complete, the success of the pavilion is the interactivity with the people and environment.
- And to demonstrate the work to a larger audience we took the structure to customs house. was a part of the sydney architecture festival held in october
- Again the structure drew unexpected participation including a band of bikers
- And again the interactivity received wasengagement and joy particularly by the children who decided it was a playground structure.In this way we did achieve our aim to understand more about built works and their sustainability. By creating engaging structures, that provide interactivity in many ways from subtle lighting effects to bold ambiguous structures offered as places to enjoy the environment, designers can create forms that become socially beneficial.
- Future avenues: for me at the moment, projects do emerge through conversational interactions with other artists,on the horizon we have another pavilion to build, which will provide a testing ground for developing the issues we didn’t feel we succeed in the past projects. We would like to explore what material options we have available to us in Sydney and through our university and how we may design these into engaging projects.