Interior Design Practices 2021,
Tutor: Adam Nash
Data, Interior Design, Virtual, Moving image, ACMI, Time, Sound, Sensation
Data, time and space
I chose Acmi Data to do my project. My space is a hybrid space which is physical and virtual space.
ACMI, Film & Time:
ACMI is a museum of screen culture, the story of the moving image. In the class, Seb Chan said,
“They both elements of time and space in this, the museum is a place of physical, people need spend time in to make sense in them, they are not transaction space, they are not like going to supermarket or convenience store to buy a milk, and point it to get milk and I leave, every single visitor has no expectation they move through the museum using this to touch things."
Film, Time & Space:
Film and time also are inseparable. In the book sculpting in time, director Andrei Tarkovsky said, why do people go to the cinema? I think that what a person normally goes to the cinema for is time: for time lost or spent or not yet had. He goes there for living experience; for cinema, like no other art, widens, enhances and concentrates a person's experience and not only enhances it but makes it longer, significantly longer.
This period of time can be long or short. It can be long to tell decades of story, it can be a short, just one hour story. It can fit a universe, or it can just be a story about villages. (see Diagram.2)
Data & Parameters
In my project, I will use parameters, different senses to modulate conception and perception of space to materialize my data.
I picked 6 film works from ACMI data, based on the number of taps each work to materializa my space. My data is:
Work name, Work type, Tap Count, Public Web URl.
Into a World of Colour, Film, 13492, https://www.acmi.net.au/works/99920--colour-supercut/
2000 Australian TV miniature, Film, 16508, https://www.acmi.net.au/works/100855--die-abenteuer-des-prinzen-achmed-the-adventures-of-prince-achmed/
The Matrix, Film, 114, https://www.acmi.net.au/works/74--the-matrix/
A good eye for story, Film, 1291, https://www.acmi.net.au/works/118042--title-tbc/
Across the Universe, Film, 3, https://www.acmi.net.au/works/102357--across-the-universe/
Arrival of film, Film, 1331, https://www.acmi.net.au/works/100857--arrival-of-film-screen-exhibition-video/
In this project, I will use parameters, different sense include to mudulate Chronoception and perception of space. Materialize and display my data.
The data I choose is a very large range of data, the tap number from 3 to 16508. Common parameters are hard to cover in this range of data, but with modulate perception, such as chronoception and perception of space, it's possible to achieve that.
The data I choose is a very large range of data, the tap number from 3 to 16508. Common parameters are hard to cover in this range of data, but with modulate perception, such as chronoception and perception of space, it's possible to achieve that.
Framing: Film & Interior
I think the way interior design works is like film. Film creates many possibilities within the frame, and interior work is the same way, creating multiple specific internals through local frames. Like I mentioned, In the film, This period of time can be long or short. It's also work in the space.
"The outside is dynamic, it doesn't have natural interiority and fixed identity, Being is dynamic, it becomes stabilized through various habitual formulations, but then in terms of thought as an act of creation comes to destabilize these habits.frame generator from outside, then gives rise to framed interiority."
I will use parameters to modulatesense, drive viewers to see, smell, listen and feel specific objects, highlight specific feelings, opening them onto an ever larger series of exteriorities in a new way.
Design: Space
"Cause and effect are mutually dependent, forwards and retrospectively. Time can vanish without trace in our material world for it is a subjective, spiritual category” 5
I distributed six works and data in six spaces, each with a specific chronoception and perception of space and different dimensions in physical space.
I will set up a strict time frame in which the audience places itself.
I will set up a strict time frame in which the audience places itself.
Rules
In my design, there have 3 rules:
More tap number of work, chronoception will be slower. Less tap number of work, chronoception will be quicker.
More tap number of work, perception of space will be larger. Less tap number of work, perception of space will be smaller.
I will see the nature of data, the narrative that this work tells. Such as If this work takes on such a wide swath of history, I will design a bigger physical space.
Such as The Matrix. This work tap number is 114, the chronoception in this space will be quicker, perception of space will be smaller. The Matrix talked about centuries of history between humans and robots, I will design a large physical space.
Entrace: Into a World of Colour
- Time goes slowly (chronoception)
- Size of Physical space is bigger
- Sense of space is bigger
- Size of Physical space is bigger
- Sense of space is bigger
In the first space, work “into a world of colour” tap number is 13492, based on my rules,
It is very large compared to other data, so chronoception goes slowly.
The size of physical space will be bigger.
Sense of space will be bigger.
It is very large compared to other data, so chronoception goes slowly.
The size of physical space will be bigger.
Sense of space will be bigger.
From a visual perspective, the space is designed to be colourful. I will use different colours of light to render the various areas in the space.
The colours in this design do not have the intent to respond directly to the name of the piece, but the nature of this data inspired my design.
Because seeing is a process. To look at a thing from the left and right eye is different. An image is synthesized when the left and right eyes look at the same time. In this space, when we see the material that is light, a network that our brain is processing.
Also, Time is a precondition of matter’s emergence, When our brain records a lot of information, time slows down.
By making the room rich in information through different colos of light, people will keep generating information in this room, thus time will pass very slowly on the sensory level.
Also, the light will give people an immersive experience. James Turrell uses this idea a lot, such as The light inside, Let people meditate and wander in space, those also slow down the time.
Also, the light will give people an immersive experience. James Turrell uses this idea a lot, such as The light inside, Let people meditate and wander in space, those also slow down the time.
2000 Australian TV miniature & The matrix room
In the second area, I set up the work 2000 Australia TV Miniature and The Matrix in two separate rooms, and the two rooms side by side.
Because in these two data, 2000 Australian TV miniatures talked about domestic stories, but the number of taps is big, which is 16508. The Matrix talked about the centuries of history between humans and robots, but taps number is small that is 114.
So based on my rules, the left room (2000 Australia TV miniature) time goes slowly, the size of physical space is smaller, sense of space is bigger.
In the right room (The Matrix), And vice versa. (see Diagram.9)
I intentionally juxtaposed the two rooms in my design, because I would make the two rooms interact with each other on a sensory level.
To make time in 2000 Australia TV Miniature room going slowly, I will capture The Matrix room sound which is the viewer's footstep, and will play in the 2000’s room after modulating the capture sound.
The Matrix room is much bigger, so viewers will walk around. Also the walking is the rhythmic movement, the rhythm of sound will be more slowly. Compared to other senses, The sound needs more time to perceive, sound can meke time speed up and slow down.
The sound will modulate certain parameters in certain ways to make chronoception slowly. One can modulate to the ambient sound in a space, modulate sound less identifiably to be a musical instrument and can fill the role of an ambient sound in a space.
Also, there is another way that is using photos under to capture the 2000’s room picture or movement-image and play to The Matrix room, reduce the parameters and viewer will get more information.
In addition, the source of sound is hidden, it highlights the sound sense, the viewer will be more impressed about sound without seeing its cause, and can modify our listening.
Our senses cooperate with each other, when we stack and layer our sensor experiences of spaces become more memorable and enjoyable. Because the taps number of 2000’s is largest number, I will add another layer of sense which is scent to make time more slowly. We learned Scent is very provocative and can remind people a place, I will design many scent as installation, the scent from around the world, such as the smell of the forest, sea and city, or a lot of smell from the city, market, coffee shop or restaurant. When the viewer smell it, it can remind different memory. About lighting, I also make the boundaries blur, so that people lose the perception of physical space.
Trace the bodies of people who walk from other room, modulate to this room
- Time goes slowly (chronoception)
- Size of Physical space is bigger
- Sense of space is bigger
- Size of Physical space is bigger
- Sense of space is bigger
Compared to capture the sound from other room, In the Matrix room, it will capture the viewer body from the 2000’s room, and project to the wall.
Because the 2000’s room size is limited, people in that room will walk quickly, this leads to the rhythm of walking projection will be faster in the visual sense.
The viewer from the matrix room, what they see depends on the 2000’s room, the space produced by other room, it become a product, The matrix room become a extension of the 2000’s room.
The viewer from the matrix room, what they see depends on the 2000’s room, the space produced by other room, it become a product, The matrix room become a extension of the 2000’s room.
Like Henri Lefebvre said, everyone is controlled by social and organization, our experience from home can be extended outside space, but where we go and where we live depends on social space.
The good eye for study and Arrival of film
- Time goes Neither fast nor slow (chronoception)
- Size of Physical space is medium
- Sense of space is medium
- Size of Physical space is medium
- Sense of space is medium
Next space is The good eye for study and Arrival of film. These two work numbers are medium compared to other data. Also the narrative of the work, The good eye for study discussed the story of an Australian Tribe, Arrival of film is documentary talked about first film.
The good eye for study and Arrival of film
Compared to other rooms that chronoception is very fast and very slow, I design these two spaces as medium. And Compare planet and private size, the level of these two rooms will be mixed level, like village and community.
In this space, the design focuses on the interaction between one's body and space. It will be the algorithmic generation of narrative scenarios and inhabited by users. The viewer becomes a director and editor. This challenges the traditional camera lens with its framing and perspectival constraints.
Viewers can work together and co-produce space. people carry the old memories from previous space. The perception of time will generate from each other, and space belongs to everyone.
Across the Universe room
- Time goes fastest (chronoception)
- Size of Physical space is bigger
- Sense of space is bigger
- Size of Physical space is bigger
- Sense of space is bigger
Without preparation, the encounter is pale.
In the last space, the work is across the universe and the tap number is 3, the sense of time will speed up. In this room, I will connect two spaces, two sides of people will meet.
The encounter occurs at the moment. It was while waiting for the story to happen that the time was seen, and this space is for happen.
