Animals in Action Diploma Project at Srishti school of Art, Design & Technology Documentation Book by Ananya Singh
Acknowledgements I would like to express my sincerest gratitude towards my facilitators; Anupama Arun, Padmini Nagaraja and Pitamber Polsani for guiding me from start to end. This project reinstated my love towards ethology and ecology. It made me realize the dire need for the improvement of the welfare of the Animal kingdom in Zoos across India. I would like to extend my thanking to Mr. Sajoo at the Visvesvaraya Industrial and Technological Museum, Bangalore for welcoming us into the Mechanical workshop and its team. I am deeply appreciative of the knowledge and light that Mr. Vijayan shed into this project. Lastly, my family and friends for all the love, support and encouragement.
Contents Intent Part one: Ponder to pen Part two: Moment to memory Part three: Fact to fiction Epilogue
Intent The world is changing and we are constantly adapting to it. We require a practice that is robust, an amalgamation of appreciation and awareness. To play and ploy with the need of the present, along with implications it draws in time. Thus to alter the way the world is perceived, presently. The beauty of great design is to educate, to encourage, getting people to think. My intent is not to change the world; it’s to trigger thought. Then the mind does its magic. And as Temple Grandin rightfully said, “The world needs all kinds of minds”. Earlier I was of the notion that Design, is solving complex problems and representing them simply. Aesthetics, an aid to effective communication. From the problem solver, the designer evolved as a detective. To unravel and travel, if the wonders of the world were seen as a mystery, a designer with sensory apparatus delves deeper into its stories.
8
As creative communicators, we articulate the absurdities of life, keeping our senses nimble. I like to let my medium be determined by message. It flows in with function first, then form follows. Floating in philosophical ponderings I write illustratively, to give birth to ideas.
Ananya Singh Two thousand fourteen, Bangalore, India
9
One:
Ponder to Pen
is a visual spectrum of Animal behaviour, peeking into the imagination of the practices & way of living in the animal kingdom.
Brief Position Proposal Embark Enquire Observe Context Concept Ethogram Zoo
14
figure01: Illustrative ideas of what the artefact should depict.
Brief Do zoos reflect how we view nature? How can innovative design ideas enhance and transform public perception of and interaction with zoos and the natural world? How can zoos be imagined as ‘arks’ that help preserve wildlife and conserve biodiversity?
Position The zoo as a space surprises me, where experiences are unique, unknown and unlike those that we most often encounter. Interactions interspersed with the wonder and splendor of a multitude of species that inhabit and share our world. There are associations that we delineate on seeing the behavior of animals, similarities we embrace, and distinctions we draw. A bird has wings to soar and nests for homes. A human on the other hand has legs to wander. We need to stretch and strum boundaries to evoke resonance. Can appreciation breathe into all that respires in our eclectic ecosystem?
15
Proposal
16
An Ethogram is an objective inventory of behaviors and actions exhibited by animals. I hope to translate these events and states into a visual medium accompanied with a kinetic exhibit, to build a clearer comprehension. To inculcate a habit of stopping and looking at animals in action.
Moment to memory is a kinetic installation, created with a strong desire for the zoo animal to transcend from static to alive. And for the zoo visitor to pause, play, look, interact, observe the animal, to look at it again .
Can the behavior of an animal (non-human) induce a transformative experience in the behavior of another animal (human) from oblivion to observation?
Fact to Fiction is a visual spectrum of Animal behaviour, peeking into the imagination of the practices & way of living in the animal kingdom.
figure02: A mindmap of the nascent proposition.
17
Embark Until our trip to Bannerghatta Biological Park, Bangalore I had no memories of zoo visits. Being an ardent animal lover, it felt morally wrong to captivate animals.
18
After strolling in I discovered how thrilling it was to experience so many animals I had only read about in books, or seen on screens.
figure03: Whilst walking in the Bannerghatta zoo, I drew.
19
20
Enquire figure04: Plan of action to study and observe species in Mysore zoo.
21
22
figure05: A peek into July’s schedule. figure06: An excerpt from a journal on coming back from Mysore.
Observe For our trip to Sri Chamarajendra Zoological Gardens I decided to be more objective and approach the zoo with an open mind. At Mysore, I spent most of time observing and jotting, recording frequencies short duration actions e.g. jumping into water, flying to a perch, as well as longer duration activities e.g. sleeping. I switched between five enclosure in a span of five hours that I was there.
I also noted the habitat design and enrichment opportunities. I was especially intrigued by watching the Hornbill toss its food up with its beak, & that moment is what has shaped this project. I noticed that most people don’t stop for more than 2-3 minutes at an enclosure. They do not have any inclination to observe animals. They do not read any information.
figure07: Five hours were spent observing animals and birds in this part of the zoo.
23
24
figure08: An ethogram of Sauras cranes at Mysore zoo.
25
26
figure09: An ethogram of Java sparrows at Mysore zoo.
27
28
figure10: An ethogram of Hornbills at Mysore zoo.
29
30
figure11: An ethogram of Tawny eagles at Mysore zoo.
31
32
figure12: An ethogram of Owls at Mysore zoo.
33
34
figure13: A context map of initial notions of the city, zoos and the wild.
35
Context After the trip to Mysore I noticed how each bird had a distinctive way of eating food, preening, flapping, communicating. I was intrigued when I began to look at the animal as an individual as opposed to looking at them as a collective, a set of species.
36
At Bandhipur Tiger Reserve, it was a task to spot and see animals through the camouflage. In zoos we have them right infront of us so why not take a closer look? I wanted people to make an effort to pause and discover these qualities that each living being has.
37
Concept After studying the associations, habits, abilities, perceptions, aspirations, behaviours and rhythms, I started thinking about how one could emulate and endure an animal present in the zoo.
38
I wanted ethograms to evolve from one medium to another. First expressed with visual vocabulary, translated into a kinetic exhibit that embodies an unique peculiar action of the animal.
39
40
41
42
43
44
45
46
47
48
49
Ethograms The first visit at National Zoological Park, New Delhi led me to the idea of encouraging ethograms in zoos. For people to easily & identifiably be able to observe animal behavior with interest to eventually interact more with the animal.
50
The Hippopotamus, Hoolock gibbon, Giraffe, Gharial and Great Indian Hornbill became my protagonists.Then began the arduos task of observating animals in action in zoos and research on their habits as well as habitats.
figure14: A cognitive map of my walk, from the second visit at Delhi zoo.
51
52
figure15: Giraffe enclosure at Delhi zoo.
53
54
figure16: Hornbill enclosure at Delhi zoo.
55
56
figure17: Hippopotamus enclosure at Delhi zoo.
57
58
figure18: Hoolock Gibbon enclosure at Delhi zoo.
59
60
figure19: Gharial enclosure at Delhi zoo.
61
Zoo I now knew that I wanted to design for those who were willing to know what happens behind bars, closer to the mind of the animal.
62
figure20: A timeline of the evolution of zoos over years.
63
Two: 64
65
Fact to Fiction
is a visual spectrum of Animal behaviour, peeking into the imagination of the practices & way of living in the animal kingdom.
Giraffe Hornbill Hippopotamus Hoolock Gibbon Gharial
68
figure21: 12 hours in a day, she yanks leaves with her long prehensile tongue, feeding on the bottom parts of trees. Chewing cud, she gets all the nutrition from plants.
figure22: Vulnerable while drinking water, she spreads her legs, cranes her neck at an awkward angle and bends down. Her elastic blood vessels prevent brain damage.
69
70
figure23: When giving birth she drops her baby 5 feet off the ground while standing to protect it. 6 feet-5 inches tall, an acrobat on stilts he starts walking in 5–30 minutes.
figure24: He walks with his hindlimb coming up, followed right away by the forelimb on the same side. While galloping, rear and front are in unison.
71
72
figure25: Dozes for 30 minutes with feet tucked in, head rested on his hindquarters. Wakes up to a sideway necking battle blow, by an unexpected visitor.
figure26: His skin secretes chemicals to repel insects, his tail, a fly flapper. An ox pecker sits and pecks ticks with her beak while he licks his face with his tongue.
73
74
figure27: A cavity in a tree is covered with a wall of droppings, food pulp and mud. A hole is made, one that is big enough for him to feed the mother and children.
figure28:He brings food to prove his worth to her, during courtship they perch close. At night, he roosts on the lower outer branch for protection.
75
76
figure29: After dawn, he preens his wings, to then search for food in family groups.
figure30: Arboreal in nature, his wing flap sounds like the hiss of a loud steam engine.
77
78
figure31: He’s the only bird with the atlas and axis of the neck vertrabrae fused together to provide for a stable platform for carrying the bill.
figure32: This gives him the ability to toss and throw food to the back of the throat with a jerk of the head, as the tongue is too short to manipulate it.
79
80
figure33: Early morning she opens her mouth wide to signal fish who readily eat parasites. An ox pecker perches on her tooth to clean.
figure34: During the afternoon, she yawns to intimidate with a showcase of long canine teeth. She can open her mouth 105 degrees due to a hinge located at the back.
81
82
figure35: Asleep, she automatically breathes in and out of water.
figure36: Submerged, the nostrils and ears fold to prevent water from entering. As she wakes up, her eyes, ears and nose surface above water.
83
84
figure37: After birth, the first thing her baby learns is to swim up to catch air. He is now a part of a large polygamous community.
figure38: His round barrel shaped body moves gracefully as the membranes between his toes turn the feet into flippers. The fat beneath his skin keeps him afloat.
85
86
figure39: Trotting on land, he attracts females by using his tail to spray feces.
figure40: Nocturnal in nature, he grazes grass at night eating almost 35 kgs and prepares to spend another 16 hours of the day in water.
87
88
figure41: A musical mammal, he sings distinct duets to attract mates to socially live in family groups.
figure42: Showing sexual dimorphism, his fur is black while hers is copper tan.
89
90
figure43: An acrobat of the forest, he brachiates using fingers as hooks on tree tops rarely with his foot on the ground. Spends most days on top of branches swinging.
figure44: Leaping across distances through air, in between he bipedals, outstreching his long arms wide open to maintain equilibrium while walking.
91
92
figure45: A frugivore, 65 percent of the day he forages and for 35 percent he feeds.
figure46: Takes breaks, dips leaves into water and sips while dangling off branches.
93
94
figure47: As a baby, he clung tightly to his mother’s waist, remained there for months. To reinforce bonds between individuals, they groom one another.
figure48: A mask like face, he communicates with expressions and body postures.
95
96
figure49: The mother digs a hole in sand to lay eggs. After incubation at a warmer temperature, he burrows out.
figure50: With a bulbous ghara on his nose, he produces bubbles during courtship. It enhances vocal communication by acting as a resonator.
97
98
figure51: He slides on his belly on land, due to weak short legs. In water, a flattened muscular tail, and webbed feet propel his streamined body while searching for prey.
figure52: He moves his narrow snout quick enough to interlock fish with his sharp pierching teeth. He also stuns them underwater with a jaw clap.
99
100
figure53: He frequently basks in the sun to increase body temperature, while gaping to dissipate excess heat.
101
Three
Moment to Memory is a kinetic installation, created with a strong desire for the zoo animal to transcend from static to alive. And for the zoo visitor to pause, play, look, interact, observe the animal, to look at it again
Movement Giraffe {Behaviour Action Conception} Hornbill {Behaviour Action Conception} Hippopotamus {Behaviour Action Conception}
106
figure54: An attempt to comprehend simple motion.
Movement It was time for me to figure out how to make things move with mechanisms. I studied functions of cams, levers, pulleys and gears. At this point in the project, I went to Vishveshvarya Mueseum, Bangalore to get inspiration and fortunately got the opportunity to develop ideas in their mechanical workshop with the team.
figure55: Initial ideation of animals in action.
107
108
figure56: Sketch of mechanism to represent a giraffe drinking water.
Behaviour Vulnerable while drinking water, Giraffes spread their legs, crane the neck at an awkward angle and bend down. Their elastic blood vessels prevent brain damage. This is the moment & movement I wanted to capture for the Giraffe.
109
Action 110
figure57: Automaton exploring the giraffe in its environment.
111
Conception 112
figure58: Front, back and side view of a giraffe drinking water.
figure59: Anatomy study.
113
114
figure60: Prototype one, constructed with lego parts, pulleys and a rubberband.
115
116
figure61: Mechanisms.
figure62: Measurements.
117
118
figure63: Further development of the mechanism.
119
120
figure64: Prototype two, constructed with sunboard, pins, nuts bolts, screws springload, thread and rubberband.
121
122
figure65: Proportions in place.
123
124
figure66: Development.
125
126
figure67: Assembly.
127
128
129
130
131
132
figure68: Protoype three, constructed with sunboard, acrylic, metal, nuts, bolts, screws spring load, ball bearings and thread.
133
134
figure69: Giraffe textured with thread.
135
136
figure70: Sketch of mechanism to represent a hornbill feeding.
Behaviour The only bird with the atlas and axis of the neck vertrabrae fused together to provide for a stable platform for carrying the bill. This gives the ability to toss and throw food to the back of the throat with a jerk of the head, as the tongue is too short to manipulate fruits etc. This is the moment & movement I wanted to capture for the Hornbill.
137
Action 138
figure71: Automaton exploring the hornbill in its environment.
139
Conception 140
figure71: Prototype, constructed with a steel scissor, metal ball, thread and sunboard.
141
142
figure73: Sketch of mechanism to represent a hippo yawning.
Behaviour They yawn to intimidate, a showcase of long canine teeth. The mouth opens 105 degrees due to a hinge located at the back. This is the moment & movement I wanted to capture for the Hippo.
143
Action 144
figure74: Automaton exploring the hippo in its environment.
145
Conception 146
figure75: Prototype, constructed with ivory paper and mount board.
147
Epilogue To reimagine a zoo, we need to start by cultivating and celebrating the art and science of observing animals. There is a plethora of people & a paucity of patience. It starts with looking beyond ourselves, realizing that everything around is alive and grows with us. Our environment is alike, yet how we perceive is worlds apart. Our vocabulary is unalike thus; observation is key, not verbal communication. The biggest question in this project for me was - how could we enhance the human- animal relationship? There needs to be a shift from looking at the specie as a cluster to treating them as individuals. Each with its own unique quirk that this work is trying to capture. In future I hope the zoo doesn’t feel like an old age home. Compensation for loss of habitat as there was not enough space at ‘home’. Is the zoo the inter-mediate transient space between the civilized and wild, and can captivity and conservation truly go hand in hand?
148
149