“HEIMDALL OPEN THE BIFROST” - THOR (2011)
CONTENT CHAPTER 1 : EMOTIVE REALITY
CHAPTER 5 : PROJECT SYSTEM
EMOTIVE REALITY
SYSTEM OVERVIEW
ALTERNATE REALITY THEORY
STAGE 1 : IDENTIFYING TRENDIGN EVENTS AND EMOTIONAL RESPONSE
PRECEDENT 1 : MUSEUM OF FEELINGS , NEW YORK
THROUGH TWITTER (REAL TIME CLOUD DATA)
PRECEDENT 2 : LUMIERE FESTIVAL 2015, LONDON
STAGE 2 : IDENTIFYING EMOTIONAL RESPONSE ON-SITE (EMOTIVE SPACE)
PRECEDENT 3 : THE PLACE LED SKYSCREEN, BEIJING
STAGE 3 : TRANSLATING EMOTIONAL RESPONSE INTO COLOUR AND FORM
STAGE 4 : COLOUR - FORM DESIGN TEMPLATE
CHAPTER 2 : TIMES SQUARE AS THE BEATING HEART OF NEW YORK CHAPTER 6 : DESIGNING EMOTIVE REALITY TIMES SQUARE : AN EMOTIONAL PLACE LONGACRE SQUARE
4TH OF JULY
LOCATION
9/11 MEMORIAL DAY
WINTER SNOW STORM JONAS 2015
LAYERS OF TIMES SQUARE
CHAPTER 7 : EMOTIVE PLATFORM CHAPTER 3 : DESIGN OBJECTIVES STRUCTURAL CONCEPT CHAPTER 4 : MEASURING EMOTIONS
PERSPECTIVES
SECTIONAL DRAWING (1: 200)
DEFINITION OF EMOTION EMOTIONAL LAYERING METHODOLOGY
STUDY 1 : JANET CARDIFF - “CASE STUDY B”
STUDY 2 : GALVANIC SKIN RESPONSE
CHAPTER 8 : MUSEUM OF THE PRESENT
CHAPTER 1
EMOTIVE REALITY
The concept of Emotive Reality is based on two elements; Architecture and Emotion. In the norm, the built environment; the space and the architecture are elements that evoke the emotion of the users. To show that the built environment and emotion are inter-related, The Emotive Reality is a project that explores the possibility of emotion influencing the built environment. So, instead of a linear flow of architecture affecting the emotion of the users, the emotion of the users also influences the environment and the design of the space, hence creating an endless loop of symbiosis for both the elements.
ALTERNATE REALITY
In simpler terms, alternate realities are realities that exist at the same time, same context but on a different frequency, hence making it intangible and cannot be experienced in the existing reality. In theory, alternate realities can be experienced by travelling through a wormhole that is affected and produced by the leakage of similar transdimensional energy that exists in both realities. In short, to experience the alternate reality of an existing one, a sort of device or filter is needed to act as a “bridge”
“Reality is merely an illusion, albeit a very persistent one.” - ALBERT EINSTEIN
“Life is strong and fragile. It’s a paradox... It’s both things, like quantum physics: It’s a particle and a wave at the same time. It all exists all together.” - JOAN JETT
To relate back to the project elements; since emotion is an intangible element, the alternate reality of the project is the EMOTIONAL EXPERIENCE of the site; which can only be experienced by the usage of devices (Project System) that undergo several layers of methodology in identifying the transdimensional energy (Emotional Responses towards Trending Events) and translating them into virtual and physical structures, that eventually form the Emotive Reality (Alternate Reality).
In other words, the project changes the reality of the site from the existing context to another reality that symbolises the emotional experience of the context by manipulation of the virtual and physical elements.
MUSEUM OF FEELINGS by GLADE® NEW YORK A project by Glade® invites consumers to explore their emotions at The Museum of Feelings, an interactive experience built to showcase the beautiful connection between scent and emotion. Visitors will be taken on a sensory journey through the Museum, where Glade® fragrances act as the muse to inspire visitors to explore their emotions. The Museum of Feelings markets itself vaguely as “the first museum that reacts to emotions and turns them into art.” Located in a pop-up location in New York City’s financial district, the 5,300-square-foot portable building filled with sensory-titillating installations has been catching people’s attention, and not just because of its mood ringlike physical appearance in Battery Park.
Each installation invites emotional interaction. Touch, feel, play, listen, imagine and breathe. The museum was considered as the first kaleidoscope controlled by emotion such as experiencing the feeling of calm on a lavender cloud and use your own biometric data to create a MoodLens, or unique emotional selfie and match it with a perfect custom fragrance.
LUMIERE FESTIVAL 2016 LONDON
Lumiere London was the capital’s largest-ever light festival that took place from 14 to 17 January 2016. An estimated one million people came to see the free event. Produced by Artichoke and supported by the Mayor of London, the festival brought together a spectacular array of artists whose work illuminated the city. Thirty installations transformed the capital into a magical playground in King’s Cross, Leicester Square, Piccadilly, Regent Street, St James’s and Carnaby.
“1.8 LONDON“ BY JANET ELCHEMANN Soaring 180 feet above the ground between buildings at bustling Oxford Circus, the sculpture takes its name from the amount of time – 1.8 millionths of a second – by which the day was shortened when the devastating Japanese earthquake and tsunami hit in 2011. The artwork was inspired by data sets of the tsunami wave heights and represents the interconnectedness of all elements. It came to life over Oxford Circus when the public, using smartphones, interactively chose the colors and patterns of projected light.
“LES VOYAGEURS (THE TRAVELLERS)“ by CÉDRIC LE BORGNE These beautiful human forms were illuminated against the night sky. Sitting on rooftops, frozen mid-air in flight, they invited visitors to glance up and around the St James area, offering the possibility of connection between the sky and the ground, between dream and reality.
“LES LUMINÉOLES“ by PORTÉ PAR LE VENT Lit by LEDs, these brightly coloured fish danced gracefully with the elements, delighting audiences as they swooped through the air. Exotic flower lanterns were strung up between buildings. Porté par le vent take inspiration from light and the elements for their beautiful creations, transforming everyday locations into atmospheric dreamlands.
“195 PICCADILLY“ by NOVAK
Paying homage to the building’s origins as the home of the Royal Society of Watercolour Painters, this colourful animated projection was accompanied by a soundtrack composed by Ed Carter and inspired by the
classic mu-
sic that helped define whole genres of film and television.
THE PLACE SHOPPING MALL (LED SKY SCREEN) BEIJING, CHINA The gigantic LED screen suspended over a shopping mall pretty much takes the cake where massive displays are concerned. The screen consists of 5 LED screens, it’s 250 meters long and 30 meters wide, which comes to a staggering 2800 square meters of display area. It’s a real playground for Picturall Octo that runs the media content out of 22 DVI outputs as super high-resolution PRKL files at 30 frames per second.
Photo : Engineers test the sky screen before putting it into use in Xi’an, Shaanxi province, April 9, 2012.
This skyscreen is unparallelled in Asia, and in the whole world it’s equals are few. It hangs around 30 meters high between two newly built retail centers, and is designed to display media content of all sorts, such as video games, movies and even photos uploaded by mall visitors. This breath-taking piece of media display workmanship was put together by Leafun Ltd, using Picturall media server equipment.
A 250 meter x 30 meter LED screen was installed in Beijing as a centerpiece for The Place, which is a shopping mall located in the business district. The thing cost $32 million, is 80 feet above the ground, and actually 5 separate screens combined. It can play video games, live events, and visitors can even upload photos to view.
CHAPTER 2
TIMES SQUARE AS THE BEATING HEART OF NEW YORK
TIMES SQUARE : AN EMOTIONAL PLACE Times Square was considered countryside when John Jacob Astor started buying up real estate in the first half of the 19th century. By the beginning of the 20th century, the area; then known as Longacre Square, had been considerably built up, having become home to The New York Times as well as a subway stop (in that order). On April 9, 1904, the paper announced the new moniker with a bold headline: “Times Square Is the Name of City’s New Centre.’’ Three years later, in 1907, Times
A few decades later, Times Square had become the center of New York’s sin city. The theater district that had made the
owner Adoph S. Ochs lowered an illuminated ball down
area an entertainment hub was eclipsed by the seedy strips of sex shops and adult cinemas. This, along with an ev-
a pole on the roof of One Times Square in the last minute
er-growing crime problem, is part of why the Times called the area around its former home “the ‘worst’ in town” by 1960.
of the year, a tradition that endures today. It was, argu-
The slide into seediness continued through the 1970s and 1980s, eventually slowing with the election of Rudy Giuliani
ably, the first electrified advertisement in Times Square.
and an aggressive push to boost security and encourage tourists. That eventually meant those porn theaters had to close.
“Times Square has the
biggest collection of villages in the world.” - ALISTAIR COOKE
Times Square was properly “Disneyfied” by the mid-1990s. While it’s widely believed that aggressive urban planning caused the rebirth of Times Square, Times Square succeeded for reasons that had little to do with the building and condemnation schemes and everything related with the government policy that allowed the market to do its work, the way development occurs every day nationwide. By the 2000s, Times Square had been transformed into a sort of shrine to capitalism, with mansionsized signs beaming down onto pedestrian walkways that steered out-of-towners into chain stores and scared locals into staying downtown.
LOCATION
LAYERS OF TIMES SQUARE
Times Square is a major commercial
One of the world’s busiest pedestrian intersec-
intersection and neighborhood in Mid-
tions,it is also the hub of the Broadway Theat-
town Manhattan, New York City, at the
er District and a major center of the world’s
junction of Broadway and Seventh Av-
entertainment industry. Times Square is one
enue, and stretching from West 42nd
of the world’s most visited tourist attractions,
to West 47th Streets. Times Square is
drawing an estimated 50 million visitors an-
sometimes referred to as The Cross-
nually. Approximately 330,000 people pass
roads of the World, The Center of the
through Times Square daily, many of them
Universe,the heart of The Great White
tourists, while over 460,000 pedestrians walk
Way, and the “heart of the world”.
through Times Square on its busiest days.
Times Square is a busy place, and an impossibly complex piece of technology in its own right. But before bright lights and the stores and the stupid naked cowboy, it was a gathering spot, not just for Americans but for people from all over the world. While the signs don’t tell the whole story, they exist as living proof that Times Square is evolving machine, always on and always adapting to whatever the future brings.
The site can be categorized into two main layers; the physical layer and the emotional layer. The physical layer is mainly consists of the existing elements of the site such as, the buildings, billboards and the square itself, while the emotional layer explores more of its history, culture and social aspects of the site. Other than the intangible elements of the site, the billboards are also one of the main feature of the emotional layer.
1. ELEVATION STUDY - EXISTING BUILDINGS AND BILLBOARDS POSITION ANALYSIS 2. ARTIFICIAL LIGHTING (BILLBOARDS) SIMULATION
PEDESTRIAN WALKWAY VEHICULAR ROUTE SQUARE AREA
CHAPTER 3
DESIGN OBJECTIVE
The project’s aim is to point out the relation and importance of emotion within a living environment. The structure of the project somehow acts as a filter that allows the public to explore and experience the hidden reality of the context; the emotional experience of NY. In other words, it is a tool of communication for the people to understand the “real feeling” of NY as a living entity. The project is somehow resembles as the “beating heart of NY”.
CHAPTER 4
MEASURING EMOTION
EMOTION MAPPING
Emotions are not only exposed but also learned through the body. The body is not the opposite culture. Emotions are linked to a particular space that can change over the time, and the same spaces can trigger of vastly divergent emotions in various people.
Initially, an emotion measuring tool was derived intuitively in the form of series of drawings, through experience and the understanding of emotions layer. This method was derived solely without any supporting data from using any scientific device. A situ tion consists of different layers of emotional expression at a given time. These layers are then measured hypothetically in the form of graph, based on the given time and the results for each layer will be compiled into a composite drawing that will indicate multiple overlapping of emotional expressions. The final result of the composite drawing will show the similarities and differences of emotion at a specific time.
CASE STUDY JANET CARDIFF’S “THE MISSING VOICE (CASE STUDY B)” Janet Cardiff’s The Missing Voice (Case Study B) is part walking tour, part historical account, and part stream-of-consciousness narration leading you on a disorienting journey through the inner cityscape of East London.The walk lasts some 45 minutes, starting at the Whitechapel Library, through narrow alleyways into Brick Lane, past the old Jewish quarter into Spitalfields, and after pausing at the garden steps of a church, drops you off at the Liverpool Street tube station. Through this process, Cardiff establishes various realities occurring simultaneously.
“
There is a balance between not giving too much away and giving enough information ” - JANET CARDIFF
TEST 1
To test the concept of this methodology, Janet Cardiff’s
Given these layers of narration from the walk, the levels
“The Missing Voice: Case Study B” narrative walk was used
of emotions and spatial experiences involved in the walk
as the subject. At this stage, the experiment was still hy-
were studied in perspective of all those layers of narration.
pothetical. The entire walk was divided into 4 layers of
The study of the walk was broken down minute by minute.
emotional experiences; in this case, the narration layers.
The main aim of this experiment is to explore possible contributing factors that cause the levels of emotions to differ
The first layer is the physical aspect of the walk which cov-
The rise and drop of the graph represent the positive
ers the directions and observations of the walk. This layer
and negative response of the space (walk). The graphs
is denoted as the “Reality Layer”. The second layer is more
will then be overlaid in order to identify common
of an open-ended narration which involves no certain or
responses at a specific time frame or space. Based on
specific point of the story. Mostly, this narration layer is
the final graph mapping; these overlaid layers can be used
more of the protagonist’s imaginations and delusions. The
as a tool to initiate the design. For instance, initial spaces
main function of this layer of narration is to intersperse
can be designed according to the common responses
with other layers, so that the whole walk wouldn’t be mo-
to replicate or represent the emotional experiences..
notonous. The third layer is when the protagonist diverts the story line with random thoughts that don’t fit with the context of the story. This was shown when the protagonist connects to the listener and asks about the urge to disappear. The last layer is when the third person voice is mixed in. This “third voice” represents the psychological voice of the walk; which also includes the listener’s thoughts.
GALVANIC SKIN RESPONSE (GSR)
Further studies of this methodology led to the discovery of more tangible aspects of emotion. Most of the aspects of measuring emotions, such as through heartbeat rate, kinetic motions and others will response result in the form of body temperature. In general, all sort of emotion that a person experiences will literally be represented through his/her body temperature. Different temperature at differentparts of the body represents different kind of emotions. Certain emotions could be grouped together, in terms of bodily re actions. For instance, anger, fear and anxiety were each associated with increased activity in the chest area and upper body. In addition, all emotions were triggered by the sensation in the head area through absorption of information.
The lie detector; the polygraph machine was one of the earliest devices to measure and detect emotions and translate them into readable data. The polygraph machine measures and records several physiological indices such as blood pressure, pulse, respiration, and skin conductivity while the subject is asked and answers a series of questions. The idea is that the deceptive answers will produce physiological responses that can be differentiated from those associated with nondeceptive answers. In simpler terms, Polygraph testing is designed to analyze the physiological reactions of subjects.
The Galvanic Skin Response, GSR, is a device that detects the
When you experience an arousing stim-
change in electrical charges of the skin. The signals can be
ulus, like an evocative question, a star-
used to capture autonomic nerve response. In simpler terms,
tling noise, or even a disturbing thought,
the sweat glands in the skin will secrete different amount
your body generates a variety of psycho-
of sweats when experiencing different settings and situa-
physical responses. Each pulse of sweat
tions. Unlike the polygraph, GSR only detects the electrical
increases the electrical conductance of
changes in the skin hence limiting and preventing any mis-
your skin, and when this conductance
leading readings that are caused by different variables. The
is measured and tied to arousing stim-
measurement is relatively simple, and has a good repeatability
uli, with each pulse of sweat, skin re-
sponses that can be differentiated from those associated with
sistance decreases suddenly and creeps
non-deceptive answers. In simpler terms, Polygraph testing
slowly back up as the sweat evaporates.
is designed to analyze the physiological reactions of subjects.
The GSR device circuit transforms this pattern of drops and slow recoveries into sharp spikes deviating from a steady baseline. The resistance sensor itself is simply 2 metal cuffs attached around your fingers with a piece of velcro. Hypoallergenic metals used in jewelry and those less reactive with skin, such as stainless steel, are the best, but any solderable metal will work. Fingers are a good place for measuring GSR because apocrine sweat glands occur in very high concentrations on fingers and palms.
COMPONENTS 1 Arduino UNO 1 0.1uF capacitor 1 breadboard 1 10K resistor some aluminum foil a few meters of wire some Velcro tape (with one adhesive side) 3 straight breakaway headers Arduino environment Processing environment
TEST 2 By applying the GSR device into the methodology, the results ofmeasuring emotion will be more accurate and reliable. Usingthe main concept of the methodology, another experimentwas carried out using three different subjects (volunteers).In this second test, the different personality, interest and profession of the subjects will represent the different layers of emotional response. Janet Cardiff’s walk was used again as the constant variable of this experiment. The subjects will be equipped with the GSR device while they were on the walk.
SUBJECT PROFILE
Name : Nurhuari Yahya Aliases : Harry, Juan, Huari, “The First” Sex : Male Birthplace : Kuala Lumpur, Malaysia Date of BIrth : 23/02/1990 Height : 6’ 3” /192 cm Weight : 158 lbs / 72 kg Status : Divorcee Interests : Films, Travelling, Food, Music, Fashion Education : Bsc Architecture (Part 1), MArchD (Part 2) Profession : Architect, Singer General Characteristics : Self-absorbed, Narcissistic, involved in many charity. Does not mixwell with colleagues. Received several awards for contribution in the Fashion world. Started his interest in music in his 20’s but has stage fright.
Name : Munif Khan Aliases : “Q” Sex : Male Birthplace : Kashmir, Pakistan Date of BIrth : Unknown Height : 5’ 7” /172cm Weight : 149 lbs / 72 kg Status : Married Education : Bsc Architecture (Part 1), MArchD (Part 2) Profession : Graphic Designer, Agriculturist Interests : Reading, Writing, Farming, General Characteristics : Pessimist, Introvert, Doesnt like company, perfectionist, obsessed with details and precision.
Name : Faris Sukannongkol Aliases : Abe, “The Bear” Sex : Male Birthplace : Narathiwat, Thailand Date of BIrth : 14/03/1990 Height : 5’ 9” /174 cm Weight : 180lbs / 80 kg Status : Single Education : Bsc Architecture (Part 1), MArchD (Part 11) Profession : Architect, Singer, Private Investigator Interests : Films, Sex, Drinking, High Speed Car Race, Weapons, Art, Fashion General Characteristics : Womanizer, has the charm of James Bond, involved in 3 Major Weapons Design Competition, Extrovert, socially active.
The data were collected real-time using a data logger that was connected to the device. The reading of the GSR is tabulated in the form of a graph against minutes of the walk. The graph of each of the subjects is then combined in order to obtain the final results of the experiment. The same composite graph of the final outcome resulted in two analysis; Emotive-Correspondence graph and Emotive-Overlapping Graph. The Emotive- Corr spondence Graph shows the level of similarity of emotional response experienced by the subjects, whilst the Emotive-Overlapping Graph shows the mixture of emotional response experienced by them.
CHAPTER 5
PROJECT SYSTEM
STAGE 1 : IDENTIFYING TRENDING EVENTS
AND EMOTIONAL RESPONSE
The first part of identifying the general emotional response towards a specific event, is divided into two methodoly; through the a Twitter Crawling Model that identifies trending events and the analysis of real time tweets (empatweet. By applying the two methodologies, the final emotional respose will be the sum of both the method’s result.
TRENDING EVENTS
TWITTER CRAWLER MODEL A Twitter crawler is a program that collects tweets or users’ information through Twitter API matching a set of search criteria. This adaptive crawling model is based upon the simple keyword crawler but embedded with a keyword adaptation algorithm running in real time.
EMPATWEET The method analyses real-time tweets regaarding an event using not only word-by-word analysis, but also analyses through punctuations, and also related elements that are associated with the topic event. In other words, the method will conduct an analysis of the emotional response of the topic events and characterize the linguistic style in the form of emotion.
EMOTIONAL RESPONSE
STAGE 2 : IDENTIFYING EMOTIONAL RESPONSE ON SITE EMOTIVE SPACE The on site method comprises of three emotive spaces which act as exhibition spaces that are based on the topic event. Each oh the spaces will have different interactive activities that measure the emotional response. The emotive spaces are designed to resemble the element s of Times Square .
STAGE 3: TRANSLATING EMOTION INTO
COLOUR AND FORM
The next stage is to translate the final outcome of
The emotive adaptation of form is represented through the
the emotional response in the form of colour and
Emotive Modeler which was developed by Philippa Mothersill
form. The colours that are listed are based on char-
and V. Michael Bove Jr from MIT which was based on Plutch-
acteristics of related adjectives that resemble the main
ik’s wheel of emotions and translate the 8 main emotions;
emotions. This list will be a basis to generate auto-
Anticipation, Trust, Joy, Surprise, Fear, Anger, Disgust and
mated patterns that represents the general emotional
Sadness, into basic shapes of form, rhythm and volume. These
response. These custom patterns will be used as the
basic shapes, are then be translated into elements of the plat-
main visual feature in designing the emotive reality .
form which eventually form different unique configurations
The form of the shape; smooth and angular are represented through
The rhythm of an emotion will be represented by the number of movable sections
The volumetric characteristic of an emotion is
the different height intervals between moving sections of the plat-
on the platform. Emotions with small curves will involved all of the platform sec-
translated through the curve of the configura-
form. Emotions that have smooth form will have gradual slopes be-
tions , while emotions with medium curves will involved the movement of sec-
tions.Top-heavy volume is translated as an up-
tween sections with height intervals of 6 metres between sections and
tion A2, B2, C4, C5, A7. B7, A8, and B8. Emotions with big curves only involve
ward curve while a bottom heavy volume as a
emotions that have angular forms will have steeper slopes between
section A1, B1, C5, A8, and B8. The hypothesis of this theory is that, when there
downward curve of a configuration. While middle
sections with height intervals of 18 metres between the sections.
are more sections are movable, the curvier the platform configuration will be.
heavy as to be a more moderate configuration.
STAGE 4 : COLOUR - FORM DESIGN TEMPLATE
THE DESIGN TEMPLATE IS USED AS THE MAIN DESIGN TOOL FOR CREATING EMOTIVE REALITY. EACH MAIN EMOTION HAS SPECIFIC COLOURS AND FORM WHICH ARE RELATED TO THEM. AN EMOTIVE REALITY IS A COMPOSITE DESIGN THAT COMPRISES ALL OF THE ELEMENTS IN ITS SPECIFIC SECTION.
CHAPTER 5
DESIGNING EMOTIVE REALITY
4TH OF JULY GENERAL EMOTIONAL RESPONSE - JOY
9/11 MEMORIAL DAY GENERAL EMOTIONAL RESPONSE - SADNESS
WINTER STORM JONAS 2015 GENERAL EMOTIONAL RESPONSE - FEAR
CHAPTER 6
EMOTIVE PLATFORM
1.
1. SLIDING TRACK
2.
STRUCTURAL STRATEGY
2. CABLE STAYED FOLDING BRIDGE (Hรถrn Bridge)
VIEW OF THE CENTRAL SECTION OF THE PLATFORM
VIEW FROM ACCESS CORE OVERLOOKING THE PLATFORM
VIEW FROM SOUTH SIDE OF THE PLATFORM
VIEW OF THE NORTH SECTION OF THE PLATFORM
CHAPTER 8
MUSEUM OF THE PRESENT