COMMUTERS OF CUBBON PARK
Ankita Kabra Final Thesis Project 2017 (Undergraduate Professional Programme) Srishti Institute of Art, Design and Technology Bangalore - 560064 Karnataka
THESIS PROJECT 2017 PROJECT TITLE Commuters of Cubbon park STUDENT:
ANKITA KABRA
PROJECT:
Art in transit
SPONSOR:
Herman Miller
PROGRAM:
Undergraduate Professional Programme
AWARD:
Industrial arts and design practices
GUIDES:
Amitabh Kumar, Sandeep Ashwath, Sai Mulpuru
Copyrights 2016-2017
Student Document Publication (for private circulation only) All Rights Reserved
Final Thesis Project (Undergraduate Professional Programme) Srishti Institute of Art, Design and Technology Bangalore - 560064 Karnataka
No part of this document will be reproduced or transmitted in any form or by any means, electronically or mechanically, including photocopying, scanning, photography and video recording without written permission from the publishers namely Ankita Kabra and Srishti Institute of Art, Design and Technology, Bangalore. Written, edited and designed by Ankita Kabra Printed at kolorkode, Bangalore
INTELLECTUAL PROPERTY AND PLAGIARISM STATEMENT
I, ANKITA KABRA, hereby declare that the content of this student documentation and final design/artwork submission is my own original work and has not been plagiarised in full or part from previously published/designed/manufactured material or does not even contain substantial propositions of content which have been accepted for an award of any other degree or diploma of any other educational institution, except where due acknowledgement is made in this thesis project. I also declare that the intellectual content of this Thesis Project is my own original work, except to the extent that assistance from others in the project’s design and conception or in style and presentation is acknowledged and that this thesis project (or part of it) will not be submitted as assessed work in any other academic course.
COPYRIGHT STATEMENT
I, ANKITA KABRA, hereby grant Srishti Institute of Art, Design and Technology the right to archive and to make available my Thesis Project in whole or in part in the institute’s databank and website, and for non-commercial use in all forms of media, now and hereafter known, subject to the provisions of the Copyright Act.
Name: Signature: Date:
ABOUT ME
I grew up being exposed to different sorts of textile and that made me aware of the behaviour of the variety in textile. This knowledge excited me enough to challenge the traditional use of textile to evoke human behaviour in a public space. I feel fabrics are an emotion, an art, an experience. It can be preserved, sensored, reformed, recreated and valued by each and every individual, bought or handmade. Textile just don’t remain fashionable, they turn worthwile and the functionality increases in true from. I have weaved, screen printed, dyed, hand embroidered fabrics. Worked with companies designing garments for a living.I have an unquiet mind and creating art in respone to the surrounding tops my index. Looking forward to discover myself more just not in textile but also in Experimental Media Arts and other spheres.
JANUARY
FEBRUARY
MARCH
Finding purpose
Understanding the public space
understanding the Idea of Play
positioning myself in the system
Reflecting and ideating second intervention
visit to Cubbon Park area
developing concepts connecting the dots process first intervention
process second intervention
TIMELINE
APRIL
MAY
JUNE
Reflecting and ideating third intervention
Documentation
Pack up
process third intervention
ART IN TRANSIT A project, that aims to create meaningful art and design interventions in transient public spaces. A project facilitated by Srishti Institiute of Art Design and Technology, Bengaluru in colaboration with Bangalore Metro Rail Coporation (BMRC). A project that is based primarly in site-specific installation based works that will be curated. There a number of people from differnt disciplines attempting to put forth their artistic interventions in the space. As a scholarly, Art in Transit is empathetically described by a diversity of philosophies, practices and methodologies. From workmanship that communicates, interceds, enacts and includes, we investigate the full range of intervening in public space. The undertakings that are facilitated and encouraged in Art in Transit are described by a strong sense of process, intensive onsite immersion and research with a specific end goal to advise and advance the specialits’ reactions to site. By providing contextual framing to a nascent media practice we explore their idea of public space to its truest potential where the artist has a direct relationship with the audience.This approach is further nuanced by linking emergent global public art practices with the idea of space and locality. This is an antithesis to the blind imitation of styles and tendencies that often inhabit the idea of the popular. We instigate strategies wherein there is constant evolution of practice through the lens of space, as opposed to appropriation of space through art.
START WITH WHY In order to explore textile in a completely different atmosphere. To challenge myself and include mix media and public and see where the project takes me.
RESEARCH that led to the proposal
This program extends itself as a platform where various practices, pedalogies and processes centered on public art in Bangalore can converge to provide a unified vision responding to the transformation urban landscape of Bangalore. As an instructive project, we focused on building up a scope of basic practices that react to the developing interest towards the revilatization of open spaces through workmanship and outline. The developments in public art practices has made pertinence around inquires of framing and positioning oneself inside of a bigger field one of the possible routes of inquiry. This particularly interested me when trying to locate persons or locations as point markers in history, social strata and general biosphere. Personally following textile manipulation, digital media, illustraion, product making as my pursuits in college, I decided that this course gave me a platform to experiment amply with a project still remaning true to my disciplines. In the first few days we did a lot of ideation, activities and brain stormingas we pitched idea off the top of our heads. Here we established our positions and expressed the kinds of pieces and scales we planned on working. I started thinking more about the ‘idea of play’ in the metro space which would make the commuters curious and they could participate with the installion too, take pictures, enquire more about textile and its process technique if interested. I believe, we’ve seen all kinds of street art with murals, performances, metal/wood installtions, etc but not many that
includes fabric, due to its properties. But to experiment in a public space I eventaully was fine with the idea of people engaging themselves with it and finally the piece dies if it has to. Next, I looked at the metro. This was my first peek at the installation,and it certainly was eye opening. The various sections of others works were at some completion stage of their first interventions too. It was fascinating to see people reacting to the various works on the walls, on the floor, new machines in the space, activities run by students, the space was alive and this is how also an end of Festival of stories 3 in collaboration with Neralu. These this made me see the space in a literal ‘new light’. I took particular notes on the peoples’ reactions and particular spots for action. My head started workng more towards to divert commuters attention and make them enjoy the actvity or installation or involve them in the making, sticking to the idea of play in a public space. The presence of houses of justice and offices of so many government officials in training being located around this station made me wonder how to involve such commuters in activities taht would make them forget about their hectic work and during their wait for their mode of transport involve them in some fun making and color engagement, in order to learn something completely out of context yet fun and refreshing. Also, how could someone remind the old souls of their childhood days, make them feel nostalgic and innocent again.
FIRST INTERVENTION
THE FLYING BOY context
Experiencing the Art in Transit mode and experiencing something more than murals, posters, performances, etc, textile is a material that can have many experiences such as visual, feel, smell, which can be associated with different moods and memories, aspirations of individuals which comprise city as a whole. In my opinion the use of textile has been limited, though I feel it can be a medium of interaction. Cubbon park as a space for intervention and experimentation is a place that brings a working crowd as well as a leisurely crowd ranging from lawyers, students, office goers, strollers, lovers, etc. Every individual from different backgrounds have a perspective towards art and getting to communicate with them and understanding their notion of the space and our intervention would be important, challenging and interesting. Fashion passes, style remains. –Coco Chanel After 50 years on how relevant it would be with every season we see more colors collections and styles than ever before. Fashion moves faster and faster. The concept of textile hasn’t changed much in over 100 years. Textile still covers bodies, interiors and signifies social code. Fabrics are still sewn with needles and sold in stores. May be it doesn’t make sense to disrupt the 1.7 trillion dollar industry but shouldn’t there be something more progressive as the sign and style changes? There are so many people working to shape and innovate that would alter the entire concept of fabric surfaces so as to take the next big step in fabric history. People have developed digital Couture experiences, which in basic terms mean creating tissue web that are interactive and evolving.
Smart textiles are textiles that can sense and react via an active control mechanism to environmental conditions or stimuli from mechanical, thermal, chemical, electrical or magnetic sources. Smart textiles can be broken into two different categories: Aesthetic and Performance Enhancing which include fabrics that light up and fabrics that can change color. Some of these fabrics gather energy from the environment by harnessing vibrations, sound or heat, reacting to these inputs. Performance enhancing smart textiles is intended for use in athletic, extreme sports and military applications. Smart textiles are textiles that can sense and react via an active control mechanism to environmental conditions or stimuli from mechanical, thermal, chemical, electrical or magnetic sources. Smart textiles can be broken into two different categories: Aesthetic and Performance Enhancing which include fabrics that light up and fabrics that can change color. Some of these fabrics gather energy from the environment by harnessing vibrations, sound or heat, reacting to these inputs. Performance enhancing smart textiles is intended for use in athletic, extreme sports and military applications.
THE FLYING BOY my approach “The Flying Boy” as a theme I thought it would be interesting in a space like the metro station platform, where the metro bolts to the platform from one station to another. If the people couldn’t relate with the tecnique of the fabric building, they could relate with the figure and interact with it in a playful manner. The fabric cut into pieces and stapled on the strings can be moved and played with. When the metro enters the station the gush of wind moves every small piece and makes it look inviting too. The first exploration process chosen to work with is ‘Cyanotype’, ascribed as ‘blueprinting’. Cyanotype is a photographic printing process that results in a cyan-blue print also known as sun-printing. Engineers used the process in the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The procedure was discovered by the English scientist and astronomer Sir John Herschel in 1842.
THE FLYING BOY technique used in the process
Two chemicals are used in the process ammonium iron (III) citrate and potassium ferricyanide. An image turns positive when exposed to a source of ultraviolet light (such as sunlight) as a contact print through the negative or objects. The combination of UV light and the citrate reduces the iron (III) to iron (II). The result is an insoluble blue dye (ferric ferricyanide) known as Prussian blue. The extent of color change depends on the amount of UV light. After exposure, the paper/fabric turns brownish; it’s the unreacted iron solution which is rinsed off with running water. Soaking the print in hydrogen peroxide darkens the color and the water-soluble iron (III) salts are washed away, while the non-water-soluble Prussian blue remains in the paper/fabric.
RESEARCH QUESTIONS Can it be incorporated indoors and outdoors and just not remain as an art piece? Till what extent will it entertain people? Is it too expensive? Will people just not see it as a fancy product but undersatnd the fuctionality and get entertained with the impotance it consits? Is it replacing the technology that exists in different forms already? Is it sellable?
LEARNING OUTCOMES How interactive fabrics work To work with the available resources Keep the space in the mind then come up with the outcome See where the process takes me Because it’s a public space, so not ruffle any feathers with my outcome Interact with the passer bys and see how they relate with my work Take forward with the suggestions and critique of every individual as much as I can.
GALLERY
SECOND INTERVENTION
All seven days different spots were chosen to set-up. Like the:
SPOT 1 | CUBBON PARK JET ENTRANCE
COMMUTERS GIG
SPOT 1 | CUBBON PARK JET ENTRANCE
SPOT 2 | METRO STATION ENTRANCE
SPOT 3 | BEHIND THE ELEVATOR
SPOT 4 | INFORMATION COUNTER
SPOT 5 | CHINNASWAMY ENTRANCE
SPOT 6 | HOTSPOT WAITING AREA
SPOT 7 | NEAR THE TICKET ENTRANCE
SPOT 7 | TICKET ENTRANCE
COMMUTERS GIG materials used A white 1 meter cotton fabric each day 20 different colors of acrylic paint A blackboard that said: Commuters Party Music Neddle and thread Scissors
FLOWER MAKING
FINGER PAINTING
COMMUTERS GIG context
An area of focus was ‘waiting’. Those breaks in one’s day where the eye is not fixed upon anything, or guided to a purpose, but is instead allowed to wander, searching for engagement. This presented me to an idea that this was a portion of their day that they entered almost unconsciously. I thought, technically, it would best be represented as a deviation from their main ‘planned agenda’ for day and so, is a part of their mental ‘day-planner’ that is ‘random’. That is to say, they are marginally more susceptible to surprise. Add this to the propensity to stare at sections of their surroundings for (relatively) long moments and I saw potential for more interventions. This project, in a way led to back to the ‘idea of play’. Commuters interested engaged themselves in different spots as they passed by. The dates of the gig were chosen clashing with the dates of the India v/s Australia match, in order to get the city crowd. Commuters enjoyed finger painting and making flowers using running-stitch technique and cutting the edge before pulling the string and letting it take the shape.
All the people who participated in this task were asked to be a part of the ‘Commuters Party’, where they could meet all the other participants and network with them while making an art piece together guided by each other and share their experience of the activity and life and profession in general. An installation made using the colorful flowers made by the commuters were put to use in an instalation. This installation had three sensors that would make the cloud light up once a person stood under the cloud. Unaware about the sensors presence people started to dance, howl, roar, greet, jump for the cloud to light up! Trippiereasons, a page, where all my works exist, there an event was created called Commuters Party where all the participants could go and see themselves actively participating and others too. The page was updated everyday. Everyone was free to message here and keep in touch.
COMMUTERS REACTIONS
COMMUTERS PARTY
THIRD INTERVENTION
A FREE RIDE TO YOUR CHILDHOOD context
The idea of 'play' in the cubbon park metro station that involves the commuters, is what I've been exploring with. The reason being I see my self as an invader in this underground world with no sense of goal to travel. I believe all the people traveling and taking care ( guards, officials, cleaners) are giving this space a life hence, they own this space. In order to make all these people a part of my intervention is my intention as I see the space more like who makes it instead what it is made up of.
A recreated space at the metro station for the commuters in order to take a look at their childhood days. An experience of Bal Bhavan rides and the space around through the virtual reality device taken using 6 Go pro cameras is what I'm showing to the commuters. They walk on a word Hop Scotch while watching the video,which says : Are You Ready To Ride Back To Your Childhood?, Reminding them of the game one played during their childhood. Here the adult meets the new technology of today's time.
You have won! You have won!... ...A free ride back to your childhood ( the name of the new experiment)
All the people who have taken this ride a photograph is clicked and i congratulate them that they entered their quick time travel.
Is Adulthood boring? Is Adulthood stressful? What is new meaning of chilling and enjoying during the weekends now? Does amusement parks plans excite you anymore? Let's take a quick 50seconds ride back to your childhood!
Once a good amount of photographs are collected in this metro space turned into an experience based space of the childhood memories and an innocent life where there were no worries of running a livelihood. These pictures of all the people who showed active participation would be pasted opposite to the elevator, on the metal surface .
A FREE RIDE TO YOUR CHILDHOOD Equipments and location
6 hero four go pros
VR Device
location : Bal Bhavan
A FREE RIDE TO YOUR CHILDHOOD process
360 degree video of the Bal Bhavan space was taken in order to capture the space indicating childhood days
THE SETUP and the making
The 360 degree videos were stiched together on Adobe Kolor software. later the video was edited with music on Adobe Premiere CC 2015 for better play on the VR device.
276 PEOPLE IN SEVEN DAYS CLA
AIM TO BE STILL A KID AT HEART
REFLECTIVE STATEMENT A salient feature of the form is that it can revert to this very iconic single line, and this can be almost indicative of how ‘engaging’ the work is. It’s a ‘ crowd bending ‘,work which needs commuters involvement, engagement and active participation. When a visual and the activity in a public space is more commonly seen and is more easily understood by a larger populace, it will resonate with a larger number of people on a basic level. This s the cognitive fluency bias that can be tapped in order to cater to a wider audience. This means that the form and the activities needs to express a message that is precisely tailored to the moment, and what better way than to have a live set-up, something that exists in the space with which one can engage in their waiting time. It’s not intellectualized enough to demand intense scrutiny in order to be understood, felt, reacted and worked upon. When taken the example of the all the three interventions, the works may have a built in siren or alarm protocol that may be employed to turn a crowd towards itself. The sets were all positioned in the ‘hotspot’ locations and exhibited a tendency or affinity for attracting crowds. These sets just go about their ‘daily duties’, a programmed set of a natural seeming action, reacting to the set up when one passes the proximity of the space.
This participatory technique, grabbing attention, employed heavy-handedly and might at points be manipulated. For one, whilst getting attention is important, it is more important to establish one’s role in the space. This is done before the interaction itself; in fact it is decided in the first few moments of interaction between units. At this point, positions are vague and space is general, but this gets narrowed down as soon as the subject of the activity and the location is decided. Now people can make the choice of orientation and that is what I plan to take as input. Planning spots for the interventions involved studying of the Cubbon Park metro station and identifying the hot spots. Planning the activities involved analyzing and studying the commuters reactions and replies, which is why I couldn’t just stick with my specialization course and shifted to the need of the space and the technology knowledge for the commuters so busy in their mundane lifestyle.
ACKNOWLEDGEMENT I would like to take a moment to thank the people who helped me at different stages of this project. Firstly I would like to thank my facilitators Amitabh Kumar, Sandeep Ashwath and Sai Mulpuru for their support in all aspects,for the encouragement and guidance throught the project. Also for the support they provided through out course of this project. Mentors and guides, Yash Bhandari and Mr.Selvan for being weirdly supportive and affectionate for this project. I would like to thank people at the Cubbon Park Metro station for the support and warmth they provided in this project. I would like to thank all the commuters for showing so much love with active participation Srishti batchmates, faculty members with whom I had discussions about this project.
I would like to thank Nihal Singh Majithia for helping me with the editing of the video. Finally I would like to thank all the officials, guards, akkas for treating me so well. Taking care of my belongings and me like it was home. Thank you Art in Transit for this wonderful opportunity!
BIBLIOGRAPHY AND REFERENCES The Next Black :the future of clothing (documentary) IT+ Textiles (book) Artificial to hell (book) https://en.wikipedia.org/wiki/Cyanotype https://en.wikipedia.org/wiki/E-textiles http://www.espncricinfo.com/pakistan/content/story/1080193.html https://atap.google.com/jacquard/ http://fashioningtech.com/2012/05/09/smart-fabrics- conference-e- broidery-by- forster-rohner/ http://www.lumigram.com/catalog/P8_LUMINOUS_FABRIC.php
THESIS PROJECT 2017 PROJECT TITLE Commuters of Cubbon park STUDENT: ANKITA KABRA PROJECT: Art in transit SPONSOR: Herman Miller PROGRAM: Undergraduate Professional Programme AWARD: Industrial arts and design practices
Final Examination Panel COMMENTS: