Interaction design Visualisation

Information visualization and data journalism

This Thursday I am giving a talk on the topic of information visualization at the Headstart Network, a new and social media community. As I’m browsing through old presentations and looking at web resources, the video Journalism in the Age of Data really stands out. I’ve embedded the video below, but if you’re interested in this topic, do yourself the favour of visiting Stanford’s dedicated website. It provides heaps of additional information – links, bios, background data etc. – that supplements the video perfectly.

Architecture Interaction design Visualisation

Media surfaces in everyday life

A couple of videos from Dentsu London and BERG that explore a variety of ways in which information could be embedded into our physical environment. I like the way in which the videos envision these systems as everyday phenomena rather than something spectacular, which is often the case in this type of presentation. After all, as these systems and displays become ubiquitous, they will inevitably become mundane occurences.

Media surfaces: Incidental Media.

Media surfaces: The Journey.

Architecture Interaction design Visualisation

Kinetic and augmented sculptures

A couple of intriguing sculptural projects that I have stumbled upon recently:

Kinetic Sculpture is designed by Art+Com for the BMW Museum and is intended as “… a metaphorical translation of the process of form-finding in art and design. 714 metal spheres, hanging from thin steel wires attached to individually-controlled stepper motors and covering the area of six square meters, animate a seven minute long mechatronic narrative. In the beginning, moving chaotically, then evolving to several competing forms that eventually resolve to the finished object, the kinetic sculpture creates an artistic visualisation of the process of form-finding in different variations.”

“Augmented Sculpture” by design agencies Grosse8 and Lichtfront. The installation is a 2,5m tall wooden sculpture augmented with projections in sync with an audio track.

Architecture Visualisation

555 KUBIK – How it would be, if a house was dreaming

555 Kubik is a facade projection that dissolves the strict architecture of O. M. Ungers “Galerie der Gegenwart”. The resulting permeability of the facade “uncovers different interpretations of conception, geometry and aesthetics expressed through graphics and movement. A situation of reflexivity evolves – describing the constitution and spacious perception of this location by means of the building itself.”

555 Kubik is produced by and art directed Daniel Rossa.

Architecture Interaction design Visualisation

fLUX Binary Waves

fLUX, binary waves by Metalab is an installation based on measurements of infrastructural and communicational flows and their transposition into luminous, sonic and kinetic rules. This relation between the installation and the urban activity happens in real time and sets each person as an element of the installation, as a centre of the public realm.

From the project description:

The installation fLUX, binary waves is constituted by a network of 32 rotating and luminous panels of 3 meter-high and 60 centimetres wide, placed every 3 meters to form a kinetic wall. The panels rotate around their vertical axis, and have a black reflective surface on one side, the other being plain mat white. Their rotation is controlled by microprocessors, allowing to determine precisely the rotation speed and angle, while their networking allows to synchronise the movement of the 32 panels. The microprocessors are connected to infrared sensors, capturing the surrounding infrastructural flows, defining the frequency and amplitude of the rotation. According to this set up, each impulse is transmitted from one panel to the other, describing visual waves running from one side of the installation to the other, and then bouncing back while progressively loosing oscillation. All these principles relate the ‘micro-events’ happening in the area to a unified play of light, colours and sounds directly derived from the rhythm of the city flows.

As such, the installation proposes an urban sign having as subject the ‘urban’ and as message to be a catalyst of urbanity via the transcription of urban flows in a contemporary play of kinetics, lights and sound.

Publications Visualisation

Maps for design reflection

Together with co-authors Kim Halskov and Rune Nielsen, I have recently had the paper Maps for design reflection accepted for the journal Artifact. I will make a version of the paper available here as soon as it is officially published.

This paper introduces, applies, and discusses a set of design artefacts called maps for design reflection, intended to support design researchers in capturing, analysing, and reflecting upon design processes. The maps focus on reflection with respect to the role of sources of inspiration and design materials in the emergence and transformation of design ideas. The paper revolves around a specific case, the design of media façades – i.e. displays that are an integrated part of a building’s façade – as part of the development of material for a bid in an architectural competition for a new modern art museum in Warsaw, Poland.
We present and discuss three types of maps, namely overview maps, strand maps, and focal maps. They differ in scope as well as application: overview maps outline the entire design process and are intended for reflection upon the general trends and developments in the project, particularly with regards to the numerous concepts and materials brought into play; strand maps trace a specific design concept through its life-cycle in the design process and are intended primarily for reflection upon the transformations the concept undergoes and the various ways in which it is represented; finally, focal maps capture specific design moves and experiments and are intended for guided description of and reflection upon relevance, rationale and insights tied to these experiments.

Dalsgaard, P., Halskov, K., Nielsen, R. 2009, “Maps for design reflection”, accepted for publication in Artifact, Routledge.