Mirror – A Space for Social and Spatial Interactions by Joakim Breitenstein

Mirror

A Space for Social and Spatial Interactions

Image © Yu Shen (left side image) & Emma Vepsä (right side image), “Happy End?” artwork on the wall by Jani Leinonen

Mirror

A Space for Social and Spatial Interactions

Diploma Work 17th November, 2014 Author: Joakim Breitenstein, Aalto University School of Arts, Design and Architecture, Department of Architecture Supervisor: Mikko Heikkinen, Professor, Basics and Theory of Architecture, Aalto University School of Arts, Design and Architecture, Department of Architecture Advisor/instructor: Kalevi Ekman, Professor, Integrated Product Development, Aalto University School of Engineering, Department of Engineering Design and Production This diploma work contains this booklet (Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions) and 3 presentation boards.

Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

Contents Sammandrag Abstract 1. Introduction

7 9 11

2. Theoretical Background

3. Project Review

1.1 Content and Structure of This Diploma Work 1.2 Background 1.3 Project Birth 1.4 Project Goals 1.5 Actions Made in Order to Achieve Goals 1.6 Reference Projects, Previous and Contemporary Research in the Field, Differentiation and Theoretical Part 2.1 Personal Starting Points 2.2 Reference Projects 2.3 Previous and Contemporary Research in the Field 2.4 What Makes the Mirror Unique? 3.1 Research Problem 3.2 Process Overview 3.3 January 2011–February 2011: Idea 3.4 March 2011: Fruther Development of Idea 3.5 April 2011–November 2011: Concept Development 3.6 December 2011–March 2012: Prototype Development 3.7 April 2012–July 2012: Project on Hold 3.8 August 2012–April 2013: Prototype Development 3.9 April 2012–June 2013: Realization development 3.10 June 2013–August 2013: Realization

4. Results and Further Development

193

5. Summary

201

Glossary Sources Thank You

209 211 215

4.1 Results for Project as a Whole 4.2 Results for Architecture 4.3 Results for Engineering 4.4 Results for Project Management 4.5 Results for User-Centered Design 4.6 Key Learnings 4.7 Further Development of the Mirror Initiative 5.1 Introduction 5.2 Theoretical Background 5.3 Project Review 5.4 Results and Further Development

Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

Sammandrag Med Mirror-projektet har jag utforskat ett sätt på hur digital teknologi kan inverka på uppfattningen om nutidsar kitektur. Vad är ett fysiskt utrymme byggt av digitala ytor? Vilka möjligheter skapar dessa digitala ytor och ändrar de på vår uppfattning om fysiskt utrymme? Hurdana fysiska strukturer måste skapas för att dessa digitala ytor kan vara en sömlös del av vår fysiska omgivning? Dessa är frågor som har utforskats i Mirror-projektet och detta diplomarbete. Helhetsmålsättningen för Mirror-projektet var att testa konceptet för två identiska, tredimensionella fysiska utrymmen som i realtid reflekterar varandras audiovisuella omgivningar. Därför var projektets huvudmålsättning att producera en fysisk realisering av iden i skala 1:1 så att mänskor kunde uppleva detta utrymme. Målet var också att dokumentera processen så att mänskor kan få en uppfattning om vad det krävs för att förverkliga idén. Dessutom hade projektet ele ment från åtminstone 4 områden som hade sina egna specifika mål och som alla kan värderas i sin egen rätt. Dessa områden är arkitektur, ingenjörsvetenskap, projektledning och användarcentrerad design. Från början till slutet av projektet användes disciplinerad projektledning för att nå projektets helhetsmålsättning. Dessutom gjordes specifika åtgärder för att nå de specifika målen för arkitektur, ingenjörsvetenskap, projektledning och användarcentrerad design. Arbetets teoridel innehåller mina personliga utgångspunkter för att arbeta med temat, en genomgång av tidigare liknande projekt, en granskning på relevant akademisk forskning relaterat till ämnet samt insikter på varför Mirror-projektet är unikt i relation till föregående liknande projekt och relevant akademisk forskning relaterat till ämnet. Arbetets huvudsakliga del är projektåterblicken som detaljerat presenterar hur projektet utvecklades från idé-, koncept- och prototypskeden till slutliga realiseringen för Helsingfors konstmuseums Happy End? -utställning sommaren 2013. Huvudmålsättningen att skapa en realisering av Mirror-idén i skala 1:1 blev uppnådd. De specifika målsättningarna blev för det mesta uppnådda även om vissa av dem inte blev uppnådda. Förutom skapandet av Mirror-realiseringen var resultatet av projektet 5 lärdomar: 1. använd informationsmodeller, 2. kommunicera mycket och klart, 3. disciplinerad projektledning lönar sig, 4. testa allting på förhand, 5. engagera mänskor på rätt sätt. Nyckelord: användarcentrerad design, arkitektur, arkitekturinstallation, audivisuell arkitektur, delat förmedlande utrymme, digital arkitektur, digital revolution, digitalt förbättrat utrymme, fjärrnärvaro, förmedlande interaktion, förmedlande närvaro, förmedlande utrymme, hybridutrymme, interaktiv installation, medianärvaro, mediautrymme, närvarodesign, närvaroforskning, projektledning, rumslig montage, telekollaboration, telepresens, tvärvetenskaplig, videokonfe rens, videovägg, virtuellt utrymme

Mirror – A Space for Social and Spatial Interactions

Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

Abstract Through the Mirror project I have explored one way on how digital technology can affect the perception of contemporary architecture. What is a physical space built out of digital surfaces? What possibilities do these digital surfaces create and do they change the perception of physical space? What kind of physical structures needs to be created in order for these digital surfaces to be a seamless part of our physical environment? These are questions that have been explored in the Mirror project and this diploma work. The Mirror project as a whole aimed to test the concept of two identical three-dimensional physical spaces that reflect each others audiovisual environments in real time. Therefore the main goal for the project was to produce a physical 1:1 scale realization of the idea in order for people to be able to experience this new kind of space. Furthermore the goal was to document the process so that people can get an understanding about what it takes to take an idea like this to realization. In addition to the overall goal this project had elements from at least 4 fields that had their own specific goals and that can all be evaluated in their own right. These fields are Architecture, Engineering, Project Management and User-Centered Design. From beginning to end, disciplined project management was used to reach the goals of the project as a whole. In addition specific measures were taken to reach the specific goals of Architecture, Engineering, Project Management and User-Centered Design. The theoretical part of this work includes my personal starting points for working with the theme, a review of previous similar projects, a review of relevant academic research in the field and finally, insights on why the Mirror project is unique in relation to previous similar projects and academic research in the field. The main part of this work is the project review where I present, in a detailed way, how the project evolved from idea, concept and prototyping stages to final realization for Helsinki Art Museumâ&#x20AC;&#x2122;s Happy End exhibition in summer 2013. The main goal of creating the 1:1 realization of the Mirror idea was reached. The more specific goals were also mostly reached even if there were some specific goals that were not reached. The outcome, in addition to creating the Mirror realization, was 5 personal key learnings: 1. use information models, 2. communicate a lot and be clear, 3. disciplined project management pays off, 4. test everything beforehand, 5. engage in the right ways. Keywords: architectural installation, architecture, audiovisual architecture, digital architecture, digital revolution, digitally enhanced space, hybrid space, interactive installation, media space, mediated interaction, mediated presence, mediated space, multidisciplinary, transdisciplinary, presence design, presence research, project management, remote presence, shared mediated space, spatial montage, telecollaboration, telepresence, user-centered design, video conferencing, video wall, virtual space

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

1. Introduction

1.1 Content and Structure of This Diploma Work This works aims to present the Mirror project from idea to realization and furthermore evaluate the outcomes of the realization. Part 1, “Introduction”, is a general overview of how the project started and its theoretical background. This part also presents the goals for this project and what was done to achieve them. Part 2, “Theoretical Background”, maps out my personal motivations for doing this project as well as previous similar projects and research in the field. Based on this I also try to communicate what is, in my opinion, unique with the Mirror project in relation to things that have already been done. Part 3, “Project Review”, is a chronological project presentation which aims to present each project stage in an as clear way as possible. Part 4, “Results and Further Development”, aims to map out how the goals for the project were achieved and how they could be explored further. Finally part 5, “Summary”, aims to give an overview of the project and its results.

“The Digital Revolution, also called the Third Industrial Revolution, is the change from analog, mechanical, and electronic technology to digital technology which began anywhere from the late 1950s to the late 1970s with the adoption and

1.2 Background The roots of this work can be traced back to the beginning of the Digital Revolution which, according to Wikipedia, means the change from analog, mechanical and electronic technologies to digital technologies such as digital computers, digital record keeping, digital computing and digital communication. The Digital Revolution is considered to have started sometime between the late 1950’s and the late 1970’s and it is still ongoing.1 As a result of the Digital Revolution, digital technologies have become an essential part of our everyday lives, both in private and working environments. They are transforming more or less every industry and it is therefore natural that the field of architecture also transforms from the effect of the Digital Revolution. The Mirror project is one manifestation on how the Digital Revolution can change architecture, and more precisely, how it will result in new kinds of social and spatial interactions.

proliferation of digital computers and digital record keeping that continues

1 http://en.wikipedia.org/wiki/Digital_Revolution

Mirror – A Space for Social and Spatial Interactions

to the present day.” – Wikipedia

Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

This work is structured in five main sections: 1. Introduction, 2. Theoretical Background, 3. Project Review, 4. Results and Further Development and 5. Summary.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

1.3 Project Birth The frequent exposure to video content in today’s media environment as well as my academic background surely had an impact on me coming up with the project which started from random idea sketches in my sketchbook back in January 2011. The sketches evolved to a concept of two remotely located physical objects that would be connected to each other through a live video stream. I was lucky to get an opportunity to pitch the idea at the D² pitching competition organized by The Promotion Centre for Audiovisual Culture AVEK in Helsinki in February, 2011. From there I got a €2,500 grant for further developing the idea and this can be seen as an important impulse for the project to start evolving.

1.4 Project Goals The project required expertise from different fields and thus the goals are divided in five categories: Project as a Whole, Architecture, Engineering, Project Management and User-Centered Design. The goals for each category are presented below. GOALS FOR PROJECT AS A WHOLE

The Mirror project aims to test the concept of two identical three-dimensional physical spaces that reflect each others audiovisual environments in real time. Therefore the main goal for the project was to produce a physical 1:1 scale realization of the idea in order for people to be able to experience this new kind of space. Furthermore the goal was to document the process so that people can get an understanding about what it takes to take an idea like this to realization. It is also important to point out that this project entity has elements from at least four fields that can all be evaluated in their own right. These fields are Architecture, Engineering, Project Management and User-Centered Design. Following are presented respective goals for each field separately.

The idea of the Mirror came about while drawing random sketches in my sketchbook in January 2011.

GOALS FOR ARCHITECTURE

I feel that the initial spark for the project lies in the field of architecture. The project began from architectural sketches and the end result was an architectural object.

Mirror – A Space for Social and Spatial Interactions

The Mirror makes it possible for people to encounter another physical environment and the people in it thanks to the reflecting surfaces which produce an immediate spatial experience. The surfaces act both as transmitters and receivers. Finnish break dancers on Senate Square in Helsinki are able to dance to the tunes of Japanese street artists in osaka in real time!

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

This might be natural as I, the author and main responsible person for realizing the project, am an architect. The goals for the architecture part of the project were: •

• •

•

To create a unique architectural piece that speculates: “What kind of physical spaces can be created with the help of digital surfaces?” To create a recognizable architectural object To create an architectural object big enough for a full grown person to fit inside and accessible for people using wheelchairs and similar assistance tools To create an architectural object that has enough three-dimensionality in order for it to distinguish itself from a flat video wall

GOALS FOR ENGINEERING

Like most architectural projects, also the Mirror project required engineering in order to be successful. The engineering part included mechanical, electrical and digital engineering issues that needed to be solved. The goals for the engineering part of the project were: •

• •

To ensure that the bearing structure was capable of supporting displays on the Mirror object’s walls and roofs as well as even ‘hanging’ from the roof inside the object, which was located in public space for three months during summer 2013 To ensure that all electrical fixtures fitted inside the structure without overheating To ensure that the live video connection between the two Mirror objects worked well

GOALS FOR PROJECT MANAGEMENT

Disciplined project management was crucial in order for the project to be successful. Coordinating between product development, fundraising, timetable, different stakeholders and marketing were factors that needed constant attention and updating throughout the whole process. The goals for the project management part of the project were:

• •

To deliver a functioning product to be benefitted from by different stakeholders within timetable and budget To generate significant visibility for the project in various mass and specialized media as well as a large and active follower base in social media

GOALS FOR USER-CENTERED DESIGN

User-centered design was applied in order to ensure that the end users were taken into consideration when designing the realization. The goals for the user-centered design part of the project were: •

To ensure that the needs, wants and limitations of the end users were taken into consideration

However, the project is an entity and therefore I hope that the project would primarily be evaluated as an entity including all four elements and only secondly from the one-sided perspective of the above mentioned fields. My estimate is that approximately 50% of time spent on the project went to project management and approximately 17% to architecture, engineering and user-centered design each.

1.5 Actions Made in Order to Achieve Goals ACTIONS MADE FOR REACHING GOALS FOR PROJECT AS A WHOLE

From beginning to the end, a project presentation was used to keep track of the project as a whole. This project presentation evolved with the project through idea, concept and realization stages and, depending on the project stage, it usually included topics like idea, technical realization, project lifespan, timetable, funding, stakeholders and team. ACTIONS MADE TO REACH ARCHITECTURAL GOALS

A variety of projects similar to the Mirror were reviewed in order to avoid repeating things that already have been done. These reviews supported the goal of the Mirror being a unique architectural piece and therefore, valuable to the architectural community.

Mirror – A Space for Social and Spatial Interactions

A series of studies concerning the form and size of the object was made in order to evaluate the recognizableness of the Mirror objects and to support the goals of making the Mirror big enough for a full grown person to fit inside as well as threedimensional enough to distinguish itself from a flat video wall. ACTIONS MADE TO REACH ENGINEERING GOALS

Once it was clear what kind of display technology would be used for the realization, the team could start designing the structure. The structural capabilities of both the bearing structure and the displays had to be checked so that it would be safe to erect the installation in public space. It was also crucial that the live video connection was of high quality and worked well uninterrupted for long periods of time. For the bearing structure this was done by letting one of the team members, Student of Mechanical Engineering Peyman Fathi, calculate the structural loads and also, letting Aalto University Professor of Building Structures, Hannu Hirsi, evaluate the structure. For the electrical fixtures this was done by consulting Harri Kainulainen – Head of Division at sponsoring company Kaukomarkkinat / Creation Crew. Harri is an experienced professional in the field of audiovisual installations and could provide us with reliable advice on how to use the audiovisual technology in a safe manner. For the high quality live video solutions this was done with the help of sponsoring company Cisco Systems Finland. Cisco’s Collaboration Sales representative Janne Suominen made sure that required technology was provided to the project’s disposal within the budget limitations. Cisco’s System Architect Timo Jolkin helped the team by providing draft diagrams on how to connect the live video equipment with other audiovisual technology and the internet as well as comprehensive consultations on various issues related to designing both the technical realization of the live video as well as the user experience of the finished realization. ACTIONS MADE TO REACH PROJECT MANAGEMENT GOALS

The key to delivering a functioning product to be benefitted by different stakeholders within timetable and budget was to manage all relevant project components (product development, fundraising, timetable and stakeholder management) constantly both separately and as an entity. This was done, like earlier mentioned, with the help of a project presentation which was constantly updated as the project evolved.

Product development was, since the beginning of the project, based on an information model which contained detailed 3D information on all building components. This was made in order to see the economical effects of changes in the design in an as efficient way as possible. Furthermore the information model was a base for creating visualizations to be presented to various stakeholders during different project stages. The fundraising was tightly tied to product development throughout the project even if there was a shift in dynamics somewhere along the way. In the early stages fundraising was based on product development as potential funders needed concrete plans on how the Mirror could be realized and how much money it would require. However, as the project proceeded, the product development started to be based on the fundraising. This was because the final budget started to take form and the project team had to find a way to deliver the project within the existing budget, which was far from the budgets laid out in the early stages. Therefore the budget had to be constantly revised as the product developed and as the project received funding. The project applied for funding or comparable support such as sponsorships from at least 77 public and private organizations. The applications were both official applications such as applying for grants from state funded institutions but also unofficial applications such as contacting private companies directly to ask for support. Like all other project aspects, also the timetable was under constant revision as the dynamics between the project and different stakeholders changed. The timetable was also directly tied to the budget as the successful delivery of the project required coordinating between when to receive funding and when to acquire materials for building the installation. The Mirror project was a collaborative effort between 8 stakeholders. The most important aspect in coordinating between different stakeholders proved to be communications. Constantly checking in on different stakeholder situations and making sure that everyone understood what needed to be done when helped the project team in reaching its goals as the risk of misunderstandings decreased. A combination of physical meetings, phone calls, emails, social media and cloud sharing tools was used to maintain the communications for the project. A part of reaching the stakeholder management goals was to find valuable reuse for the Mirror after the exhibition at Helsinki Art Museum so that the project would be benefitted from as much as possible also after the exhibition.

Mirror – A Space for Social and Spatial Interactions

The project as a whole was a combination of architecture, engineering, user-centered design and project management efforts. My estimate is that approximately 50% of time spent on the project went to project management and approximately 17% to architecture, engineering and user-centered design each.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Project Management 50%

Architecture 17%

User-Centered Design 17% Engineering 17%

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

A “Plan for Media Coverage” was made in order to generate significant visibility for the project in various mass and specialized media as well as attract a large and active follower base in social media. The plan was divided in three stages: “PreExhibition Phase”, “Exhibition Phase” and “Post-Exhibition Phase”. The purpose of the plan was to convince sponsors that the project had potential in getting significant media coverage. ACTIONS MADE TO REACH USER-CENTERED DESIGN GOALS

The project was developed with two kind of end users in mind – institutional end users who maintain the installation during exhibitions and similar occasions as well as common end users who only experience the Mirror without having to know how to maintain the installation. The institutional end users were consulted along the process by using the earlier mentioned communication methods. In addition, a “Prototypes Review” event was organized where common end users, as well as institutional end users, had the chance to get familiar with the project and different Mirror versions during the product development stage. The end users had the chance to test two comparable prototypes and give feedback for further development. This feedback was analyzed and utilized when the project team made decisions for developing the final product.

1.6 Reference Projects, Previous and Contemporary Research in the Field, Differentiation and Theoretical Part A variety of similar projects to the Mirror have been realized since the early days of the Digital Revolution and there are several examples of network based applications that create interactions between people in different environments. There are also pieces that are close to the Mirror because of their physical appearance or basic idea even if they are not realized with the help of digital networks. A random selection of these projects are presented in this work and I want to point out that this work is not an effort to map out all of them. Telecollaborative art pioneers Kit Galloway and Sherrie Rabinowitz were among the first to experiment with combining telecommunications and visual art. Their

work ‘Hole in Space’ from 1980 is an important benchmark project for the Mirror as it is one of the first, if not the first, projects to realize large scale live video connection in a public space.2 There are a variety of projects that follow the legacy of ‘Hole in Space’ in being interactive telecommunication installations located in public spaces – or at least designed to be so. ‘Tholos’ (Germany/Europe, 2008), ‘Meeting Poster’ (The Netherlands, 2008), ‘Ourboros’ (Japan/the world, 2008), ‘Mermaid Exchange – Remote’ (Denmark and China, 2010), ‘Urban Echo’ (The Netherlands, 2011) and ‘Hello Europe!’ (Belgium/Europe, 2013) are all related to ‘Hole in Space’ as they are live video screens in public space that aim for social and sometimes spatial interaction between remote locations. Then there are projects that are more focused on the contextuality and content of the art object itself. These projects might not be as technology intensive and straight forward as the ‘Hole in Space’ descendants but they share qualities with the Mirror project in terms of visual appearance and/or artistic content. Examples of this kind of projects are ‘My Mirror House’ (Ekkehard Altenburger, 1996), ‘Zon-Mai’ (Gilles Delmas, 2007), ‘Being Together (Family)’ (John Clang, 2010) and ‘White Box’ (Avanto Architects, 2012). Another category for reference projects are corporate implementations of similar ideas. ‘The Invisible Drive’ (Mercedes-Benz UK Ltd., 2012) and ‘Small World Machines’ (Coca Cola, 2013) are projects that either connect remote spaces and the people in them or play with the perception of space with the help of digital technology. The Mirror project is closely related to all of the above mentioned projects but it also differentiates from them in certain ways. The previously mentioned projects focuses either on social and sometimes spatial interaction through a two-dimensional display or ‘window’ or alternatively on being an art piece with some kind of social or visual contextuality that is relevant to the Mirror project. The Mirror project in a way combines these two approaches by being an experiment on social and spatial interaction but at the same time underlining the importance of the object itself and why it looks like it does. In addition to the above mentioned reference projects there is relevant academic research that deals, like the Mirror project, with the issues of expanding the concept of ‘mediated space’ from being ‘screens’ and ‘windows’, to being more compre2 http://www.ecafe.com/getty/HIS/

Mirror – A Space for Social and Spatial Interactions

hensive mediated spaces where people can experience the space by moving freely and without being forced to look on a limited ‘screen’ or a ‘window’. Before finishing the written part of this thesis, I was lucky to be introduced to Charlie Gullström and her doctoral thesis on ‘Presence Design – Mediated Spaces Extending Architecture’ by Marko Turpeinen – professor and chairholder in Media Technology at The Royal Institute of Technology (KTH) as well as director of EIT ICT Labs Helsinki node. Charlie Gullström, PhD, Architect SAR/MSA, is a University Lecturer at KTH School of Architecture. She combines research with teaching and is in charge of the research group ‘KTH Smart Spaces’.3 Gullström’s thesis was an important theoretical benchmark for me, as it opened up previous research and projects that I was not familiar with from before. Through Gullström’s thesis I got familiar with the term ‘mediated space’. Gullström often talks about contemporary mediated space as a space which enables ‘remote presence’ and interactions with other people through the physical space and by “using video and media technology as design components.”4 Gullström’s thesis also introduced me to the writings of Richard Grusin. Grusin is an American new media scholar and author currently serving as Professor of English and Director of the Center for 21st Century Studies at the University of Wisconsin–Milwaukee.5 Grusin’s perception on mediated space is one which states that “mediated space today is neither natural, mechanical nor simulacral, but virtual – distributed through premediated networked links and nodes rather than occupying a homogeneous, continuous three-dimensional space.”6 The Mirror project is also about mediated space but unlike Gullström’s work and Grusin’s approach, the Mirror has strong emphasis on the physical object through which mediated space is created and not so much on the processes and networks through which mediated space is created. With this I mean the visual and three-dimensional qualities of the physical object explained earlier in the introduction under ‘Goals for Architecture’. ‘Mediatecture’ by architect Christoph Kronhagel from 2010 is also a relevant reference. It deals with the concept of ‘mediatecture’, which according to Kronhagel is 3 https://www.kth.se/profile/charlieg/ 4 Gulllström, 2010, p.3–8

an opportunity to “encode our urban structures in ways which are flexible and can be adapted at short notice”. The work deals with media facades as something that has immediate “visual prominence” but also as something that has “…a great influence over the design of our built environment yet which [aspects] are not so directly part of the visible media landscape”.7 Another theoretical reference for this work is Anthony Dunne’s and Fiona Raby’s ‘Speculative Everything’ from 2013. They state that today’s designers often focus on solving peoples problems instead of trying to change peoples values, beliefs, attitudes and behaviors. For them “…there are other possibilities for design: one is to use design as a means of speculating how things could be – speculative design”.8 The Mirror represents Dunne’s and Raby’s view of a speculative design that, instead of solving a known problem, showcases ideas and questions about how contemporary and future architecture could be when it merges with digital technology. This work does not go deeply into the research made by Gullström and Grusin, nor into the work of Kronhagel and Dunne&Raby or the reference projects, more than by recognizing their existence and the main themes they deal with as an inspiration and reference to the written part of this work. This is because this work is primarily focused on the reviewing the Mirror project from a holistic perspective and what comes to theory, my personal views on architecture and its possibilities in the contemporary world as I see it. This work is personal and aims for presenting what I have thought and done when working with the Mirror project. This work does not aim to cover as much as possible about similar projects and research done within the same area in other places. I do of course recognize that other people in the field are experimenting with the same issues and this is the reason why I have looked into what others have done in the same field – both recently and on a longer time span. This ‘checking up’ with previous and contemporary actions in the field aims to show that architecture has already been affected by the Digital Revolution and will probably be even more so in the future. I hope that this work will primarily be considered as an experimental architectural project and secondly as a research project.

5 http://en.wikipedia.org/wiki/Richard_Grusin 6 http://www.domusweb.it/en/op-ed/2014/03/27/inhabiting_mediatedspace.html (also published in Domus

7 Kronhagel, 2010, Foreword

977 / Feb, 2014)

8 Dunne&Raby, 2013, p. 2

Mirror – A Space for Social and Spatial Interactions

Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

2. Theoretical Background

2.2 Reference Projects A variety of similar projects to the Mirror have been realized since the early days of the Digital Revolution and there are several examples of network based applications that create interactions between people in different environments. The development of technology has obviously driven creative minds to explore how it can support the creation on new interactive spaces where people and sometimes spaces interact in new ways. There are also pieces that are close to the Mirror because of their physical appearance or basic idea even if they are not realized with the help of digital networks. A random selection of these projects are presented in the following section. I want to point out that this is a random selection and not an effort to map out all of them.

‘Videoplace’ was an artificial reality laboratory established by Myron Krueger in the mid-1970’s.

Image source: YouTube: A Hole in Space LA-NY, 1980 -- the mother of all video chats

My passion is to create architectural projects that make a difference. In order for architecture to make a difference, it needs to, in my view, utilize the potential of its contemporary world in the best possible way. Today’s world is heavily influenced by digital technology. Therefore I see that digital technology already has and continues to, in an increasing way, to influence the creation of architecture. Through the Mirror project I have explored one way on how digital technology can affect the perception of contemporary architecture. What is a physical space built out of digital surfaces? What possibilities do these digital surfaces create and do they change the perception of physical space? What kind of physical structures needs to be created in order for these digital surfaces to be a seamless part of our physical environment? These are all questions that have been explored in the Mirror project and this diploma work. The Mirror project had a theoretical starting point but equally important, for me, was the creation of a 1:1 scale physical prototype to explore the idea. A 1:1 scale prototype was a natural way to explore the subject because it creates a connection between the previously mentioned theoretical aspects and the real world. The Mirror project explores theoretical aspects of a new, digitally influenced architecture by building physical prototypes of a theoretical idea.

Image source: YouTube: Myron Krueger - Videoplace, Responsive Environment, 1972-1990s

2.1 Personal Starting Points

‘Hole in Space’, a large scale live video call between Los Angeles and New York by Kit Galloway and Sherrie Rabinowitz in 1980.

Mirror – A Space for Social and Spatial Interactions

Image source: www.altenburger.co.uk – Public Sculpture – Mirror House

‘Mirror House’, a temporary installation

on the Isle of

Tyree, Scotland, by Ekkehard

Altenburger in 1996.

VIDEOPLACE, 1972–1990’S9

American computer artist Myron Krueger’s ‘Videoplace’ starting from the mid1970’s is a relevant benchmark for the Mirror project. ‘Videoplace’ was an artificial reality laboratory with the idea of creating “…an artificial reality that surrounded the users, and responded to their movements and actions, without being encumbered by the use of goggles or gloves.”10 HOLE IN SPACE, 1980

‘Hole in Space’ was a work by artists Kit Galloway and Sherrie Rabinowitz from 1980 that has, among others, been called ‘the mother of all video chats’, ‘telecollaborative installation’ and ‘public communication sculpture’. It was a large scale public live video phone call between Los Angeles and New York, running with a satellite link, through which people could interact with each other across the American continent in real time. The immediate reactions of the ones who experienced the work show that “size and bandwidth matter in communicating presence and emotion”.11 I see ‘Hole in Space’ as an important benchmark for the Mirror project as it is, to my knowledge, the first public installation of its kind.

Image source: images.gizmag.com/gallery_lrg/2573_02

The ‘Tholos’ project from

2006 had a similar idea to

the Mirror project but was never realized.

MIRROR HOUSE, 1996

‘Mirror House’ was a temporary installation on the Isle of Tyree, Scotland, by Ekkehard Altenburger in 1996.12 The 1.5*1.5*2 meter sculpture comprised of glass mirrors on a steel structure and it reflected the surrounding natural setting and thus blended the object with its surroundings in a capturing way.13 ‘Mirror House’ is a relevant reference to the Mirror project mainly because its similar physical appearance and its basic idea of a physical object reflecting its environment. THOLOS, 2006

The idea of the ‘Tholos’ project by AT Inventure Forschung & Entwicklung GmbH was to “…enable and promote individual contact between people of different cul9 https://www.youtube.com/watch?v=dmmxVA5xhuo 10 http://en.wikipedia.org/wiki/Videoplace 11 https://www.youtube.com/watch?v=QSMVtE1QjaU 12 http://www.altenburger.co.uk/altenburger.co.uk/Public_Sculpt_mirror_house.html 13 http://www.mymodernmet.com/profiles/blogs/ekkehard-altenburger-mirror-house

Mirror – A Space for Social and Spatial Interactions

ZON-MAI, 2007

MEETING POSTER, 2008

OURBOROS, 2008

Ourboros is an ambitious idea by Alvaro Cassinelli on connecting the world through a tunnel of videoconferencing cameras and projectors. Cassinelli states that “The 14 http://www.tholos-systems.com/?story=17 15 http://www.zon-mai.com/en/the-zon-mai/at_home_elsewhere.html

Image source: www.k2.t.u-tokyo.ac.jp/members/ alvaro/Ouroboros/linzSetup3

The aim for the ‘Meeting Poster’ is to “…increase the chance of strangers interacting with each other”. Web cams and displays were installed in public space in order to “…encourage strangers to meet through curiosity”. The work was done by OddOne for the Dutch Design Week in 2008.16 The ‘Meeting Poster’ project is similar to the Mirror as it shares the idea of encouraging strangers to interact with each other in public space.

Image source: Vimeo: Meeting Poster

‘Zon-Mai’ is a multimedia installation by Gilles Delmas form 2007 in which he confronted 21 artists the notion of “home”. The artists were from different countries and all of them had, at some point in life, dealt with the issue of migration and displacement. The artists then did, by dancing, express their approach to the subject and then these dances were projected on the house-like structure.15 The most apparent connection between ‘Zon-Mai’ and the Mirror project is the visual appearance of a house-like structure with digital imagery on top of it. However, on some level there are similarities between the works also when going into themes such as simultaneous presence in remote locations.

Image source: www.zon-mai.com/assets/images/ zm-roubaix

tures by linking the world’s largest cities with each other.” It consisted of several cylindrical installations located in big cities and cultural locations around the world. These installations had displays for walls and these displays were supposed to show a high quality live video stream from the other locations, in real time.14 The ‘Tholos’ project shares the idea of connecting remote places to each other in real time with the Mirror project, and likewise, through a more three-dimensional structure than ‘Hole in Space’ in order to get a more holistic spatial experience. However, I have not come across evidence of ‘Tholos’ ever exceeding the idea stage.

16 http://vimeo.com/4325639

Mirror – A Space for Social and Spatial Interactions

‘Zon-Mai’ by Gilles Delmas from 2007 deals with themes such as migration and dislocation.

‘Meeting Poster’ by OddOne

from 2008 tries to “…increase the chance of strangers

interacting with each other”.

‘Ourboros’ by Alvaro Cassinelli from 2006 – an idea about

a closed telepresence loop around the world.

Image source: johnclang.com/artwork/ beingtogether

‘Being Together (Family)’ by John Clang from 2010 uses

video phone calls to connect a family that has been

dismembered through time and space.

body of Ouroboros is both a virtual space for inter-personal communication and a (networked) land-art monument: a world-scale rosary composed of living beads of people and places.”17 Ourboros plays with the same idea as the Mirror in its aim to connect remote places simultaneously and also including spatial interaction as a relevant feature. BEING TOGETHER (FAMILY), 2010

Image source: http://www.icom-cc.org/forums/ viewtopic.php?f=24&t=153 http://www.icom-cc. org/forums/viewtopic.php?f=24&t=153

between Copenhagen and

A recurring theme in New York based, Singapore born artist John Clang’s work is “…the fascination with the expressions of time and space and how we negotiate our human existences within these two dimensions”. His work ‘Being Together (Family)’, from 2010, explores “… how families, dis(membered) through time and space, can be re(membered) and made whole again through the use of a third space…”. This ‘third space’, for him, is a video phone call which helps him connect with his family back in Singapore.18 ‘Being Together (Family)’ deals, like the Mirror project, with the issue of connecting people who are located in different locations with the help of video phone calls.

live video stream of the

MERMAID EXCHANGE – REMOTE, 2010

Ai Weiei created a

meaningful connection

Shanghai by showing a Little Mermaid statute, which was temporarily relocated to Shanghai.

Image source: http://www.lustlab.net/ images/abri-denbosch-weiland.jpg

‘Urban Echo’ was based on a similar idea as the

‘Mirror Poster’ project – to

connect physical locations by installing “billboard

In ‘Mermaid Exchange – Remote’, from 2010, Ai Weiwei created a live video connection between the usual location for the ‘Little Mermaid’ statue in Copenhagen, Denmark and the Danish pavilion at the Expo 2010 in Shanghai, where the statue was taken during the world fair.19 Weiwei connected Copenhagen and Shanghai, and complemented the Danish world fair project and the temporary relocation of the ‘Little Mermaid’ statue in a way that is relevant to the Mirror project because, like the Mirror, it created a meaningful connection between two places with the help of a live video stream. URBAN ECHO, 2010

In a way similar to ‘Meeting Poster’, ‘Urban Echo’ by LUSTlab from 2010, connects different urban locations with digital displays, or “billboard screens”, that are installed in public spaces. The authors state that “Now that we are familiar

screens” in public spaces. 17 http://www.k2.t.u-tokyo.ac.jp/members/alvaro/Ouroboros/ 18 http://johnclang.com/artwork/beingtogether.html 19 http://www.icom-cc.org/forums/viewtopic.php?f=24&t=153

Mirror – A Space for Social and Spatial Interactions

Image source: www.mfa.fi/files/mfa/Light%20 Houses/0019IlariJarvinen..jpg

with being connected digitally, the physicality of our interactions becomes important again.” and that “It [Urban Echo] extends space beyond our once concrete parameters.”20 The ‘Urban Echo’ project is relevant to the Mirror as it shares the idea of encouraging strangers to interact with each other in public space. WHITE BOX, 2012

THE INVISIBLE DRIVE, 2012

In order to promote their energy efficient F-Cell car, Mercedes Benz covered one side of the car with LED displays and assembled a camera on the other side to shoot video footage which they then displayed on the LED display in real time. This way an illusion of an ‘invisible car’ was created in order to symbolize its light emissions.22 This approach is similar to the Mirror project as it also makes material ‘invisible’ by covering it with a display that shows live video footage on something else.

Coca Cola used vending machines to try and unite the people of India and Pakistan by adding live video displays on the sides of the machines. A person in New Delhi, India who came to by a drink could see another person in Lahore, Pakistan do20 http://www.lustlab.net/ 21 http://www.mfa.fi/19 22 http://www.dailymail.co.uk/sciencetech/article-2110184/Invisible-Mercedes-Scientists-use-LEDs-cameracreate-invisible-car.html

Image source: c.fastcompany.net/multisite_ files/cocreate/imagecache/slideshow_large/ slideshow/2013/05/1683001-slide-1920how-coca-cola-used-vending-machines-tounite-the-people-of-india-and-pakistan

SMALL WORLD MACHINES, 2013

Image source: i.dailymail.co.uk/i/ pix/2012/03/04/article-012076F82000005DC-451_634x332

‘White Box’ by Avanto Architects in 2012 was a small scale architectural installation where two identical 600*600*600mm white boxes, one in Kamppi Shopping Center Helsinki, Finland and one at the Biennale in Venice, Italy, were connected to each other through a live video stream. The authors describe that “suddenly you are in contact with a random person from a different country and background” and that “there is a joy of discovery as you understand the moment”.21 This project is similar to the Mirror project because it emphasizes, besides the social connection, the physical object as a connector but also as an architectural object in itself.

Mirror – A Space for Social and Spatial Interactions

‘White Box’ by

Avanto Architects

from 2012 consists of two remotely

located identical

white boxes that are connected to each

other through a live video stream.

Mercedes Benz created an ‘invisible car’ by

covering it with a LED display that show live video footage from a

camera located on the other side of the car.

Coca Cola used

vending machines equipped with live video displays to try to unite the

people of India and Pakistan.

Image source: Vimeo: Hello Europe!

by means of

ing the same thing. Jantos Tulloch, Coca Cola’s global creative director stated that “When the machines came on, there was just this really powerful energy--laughter, smiles, cheers,” and that “People were waving frantically to each other because the idea of this type of seamless, live interaction is so unusual.”23 Coca Cola implements the same idea than the Mirror, to connect people in remote places with the help of a live video stream, and utilizes it in their marketing.

communication.”

HELLO EUROPE!, 2013

Hello Europe!

from 2013 had the aim “…to create direct contact

between Europeans large-scale

Image source: YouTube: Douglas Engelbart, The Mother of All Demos (1/9)

‘Augmentation Research

Center’ founder

‘Hello Europe!’ had the aim “…to create direct contact between Europeans by means of large-scale communication.” This would have been done by placing large viewing screens at central locations in large European cities and for two weeks, they would have been connected to each other through live video connections. “Viewers standing in front of one screen can see and hear people standing in front of another screen.” and “…public spaces will be virtually merged into one”.24 Like many of the previously mentioned projects, and the Mirror project, also this project aims to connect people in remote public spaces through a live video stream.

Douglas Engelbart

demonstrating the live video shared screen

innovation at Stanford

2.3 Previous and Contemporary Research in the Field

Gullström (2010) from

The academic research and work that has been taken as a reference for this project can be divided in two categories. Firstly the kind of academic research that focuses on mediated space and its possibilities. Secondly there is a more speculative approach that explores the role of the designer as a person who creates questions and speculates about our future instead of creating straightforward solutions to existing problems. The Mirror project is related to both categories and following is presented some examples of research from the two above mentioned categories. The early days of research done in the field of mediated space can be traced back to the late 1960’s when Architecture Machine Group, a new research group which later developed into the MIT Media Laboratory, was operating in Cambridge,

Technology KTH in

23 http://www.fastcocreate.com/1683001/how-coca-cola-used-vending-machines-to-try-and-unite-the-

Research Institute in

Menlo Park, California in 1968.

Theme related research by Claus Jørgen and Schibsted Knudsen

(2004) (left) and Charlie Royal Institute of Stockholm.

people-of-india-and-pakistan#1 24 https://www.facebook.com/HelloEurope1/info?ref=page_internal

Mirror – A Space for Social and Spatial Interactions

Image source: YouTube: MyPosition: Sparking Civic Discourse by a Public Interactive Poll Visualization

USA. Around the same time Douglas Engelbart, an electrical engineer employed at the Stanford Research Institute SRI Menlo Park in California, founded the ‘Augmentation Research Center’. These communities were the first to prototype solutions such as computer supported spaces and collaboration through live video and audio link.25 Other communities and projects that have, according to Gullström, influenced the development of mediated space from the 1980’s until present day are Zerox PARC (a research and development company in Palo Alto, California), MIT Media Labs ‘Tangible Bits’ group, the ‘TeleCollaboration: US West Advanced Technologies’ project, ‘VideoWindow’ (a large video display with live audio between two floors of a research lab), ‘Cruiser’ (interaction between researchers’ offices), ‘CAVECAT’ (remote collaboration based on the Xerox EuroPARC’s RAVE system), Bruce Blumberg’s ‘ALIVE System’ and Paris based design studio HeHe’s ‘Mirrorspace’, which uses remote communication to create a sense of shared space.26 When exploring more recent developments, I have especially come across two communities in Europe, where projects similar and research related to the Mirror have been made lately. These communities are the Royal Institute of Technology KTH in Stockholm and the Quality and Usability Lab, Telekom Innovation Laboratories at TU Berlin. At least two doctoral theses relevant to the Mirror project have been made at KTH since 2004. The first is ‘Presence Production’ by Claus Jørgen and Schibsted Knudsen from 2004. This main goal for the thesis was “…to investigate the factors determining the production of a sense of presence and reality in video mediated communication” and it concludes, among other things, that “Knowledge about physical and extended spaces and bodies and of the shifting of attention between these is important in presence production.” and that “Well planned design of physical and virtual spaces enhances the sense of presence.”27 Then there is the already mentioned ‘Presence Design – Mediated Spaces Extending Architecture’ by architect Charle Gullström from 2010, which firstly “applies the concepts of virtual and mediated space to architecture”, secondly “outlines presence

MyPosition: Sparking Civic Discourse by

a Public Interactive

Poll Visualization’ by Telekom Innovation Laboratories at TU Berlin from 2014.

Screenfinity: Extending the Perception Area of Content on Very Large Public Displays Constantin Schmidt1

1,2 ¨ J¨org Muller

Figure 1. (A) Recently, very large public displays are being installed, like this digital display of 80m length ((c) Deutsche Telekom). This could enable Screenfinity: Extending the Perception Area of Content on Very Large Public Displays passers-by to read considerable amounts of content while walking. (B) We propose a model for the perception area of content to analyze content legibility on public displays and three techniques (Zoom, Rotate, Translate) to increase the perception area. (C) Screenfinity is a display that tracks users and from aims to reading enhance the use in three-dimensional space. uses these2013 techniques to enable while walking. A lab of and public a field studydigital show that displays experts and novices can read while walking, while many novices stop to engage in extensive technology exploration behavior.

ABSTRACT

26 Gullström, 2010, p. 124–125

Author Keywords

Image source: YouTube: Interaktives Display - Digitales Schaufenster powererd by T-Labs (Prototyp Bundesliga)

25 Gullström, 2010, p. 115–116

We propose and validate a model of the perception area of content on public displays in order to predict from where users can read. From this model, we derive Screenfinity, a technique to rotate, translate, and zoom content in order to enable reading while passing by very large displays. Screenfinity is comfortable to read when close, supports different content for different users, does not waste screen real estate and allows expert passers-by to read content while walking. A laboratory study shows that expert users are able to perceive content when it moves. A field study evaluates the effect of Screenfinity on novice users in an ecologically valid setting. We find (1) first time users can read content without slowing down or stopping; (2) Passers-by stopping did so to explore the technology. Users explore the interaction, the limits of the system, manipulate the technology, and look behind the screen.

27 Claus, Knudsen, 2004, Abstract

Large public displays; perception area; visual acuity ACM Classification Keywords

H.5.m. Information Interfaces and Presentation (e.g. HCI): Miscellaneous

Gilles Bailly1

1 Quality and Usability Lab, Telekom Innovation Laboratories, TU Berlin 2 University of the Arts, Berlin Image source: Screenfinity: Extending the Perception Area of Content on Very Large Public Displays, 2013

INTRODUCTION

Mirror – A Space for Social and Spatial Interactions

Traditional posters or digital displays are often designed to enable content to be read while passing-by, and thus display

relatively few words [2]. However, recently very large public displays are being installed. For example, Figure 1 (A) shows a display of 80m length. This could enable passers-by to perceive significant amounts of content while walking. Expert users could for example pass by the same display in a subway station every day. At the beginning of the display, they could Interaktives select among the top five newspaper articles (e.g., by touching the screen, performingDisplay mid-air gestures or using a profile - Digitales on their mobile phone). On their walk to the subway, they powered could then read the articleSchaufenster without slowing down. However, just making the large(Prototyp alone is not suffibyscreens T-Labs cient. For instance, just rendering the content very large makes reading less comfortable when close to thefrom display as TelekomCloud)’ it forces users to make head movements. Conversely repeat2012 explores the from far ing the content does not solve readability of content away, and it may be difficult for passers-by to read continu‘mirror’ effect. ously while switching from one repetition of content to the next. Additionally, both solutions (1) do not allow different users to see different contents and (2) waste the entire screen space, even if users are close.

We propose a model of the perception area - the area where passers-by can read a piece of content - in order to analyze the readability of content for passing-by scenarios. Our model is based on the visual acuity of humans and predicts from where users can read content, and how much content they can read depending on their trajectory. From this model, we derive Screenfinity, a system to present content to passing-by users of very large displays. We report on two user studies to evaluate Screenfinity for

‘Mediatecture’ by

Christoph Kronhagel from 2010.

‘Speculative Everything’ by Anthony Dunne and Fiona Raby from 2013.

design as a transdisciplinary aesthetic practice and discusses the potential contribution of architects to a currently heterogeneous research field “ and finally “argues that remote presence through the proposed synthesis of architectural and technical design creates a significantly expanded potential for knowledge sharing across time and space”.28 These theses are the closest research that I have come across to the Mirror project as they focus, like the Mirror project, on exploring new possibilities for physical space with the help of live video telepresence. Then there is the research made at Quality and Usability Lab, Telekom Innovation Laboratories at TU Berlin which, like the Mirror project, focuses on exploring what kind of possibilities there are for digitally supported spatial objects located in public spaces. Three relevant projects from here are presented below. ‘MyPosition: Sparking Civic Discourse by a Public Interactive Poll Visualization’ from 2014 explores, like the Mirror project, how a public display can facilitate opportunistic and engaging actions from bypassers.29 ‘Screenfinity: Extending the Perception Area of Content on Very Large Public Displays’ from 2013 aims to enhance the possibilities of public displays by taking into account peoples movements in three-dimensional physical space.30 ‘Interaktives Display - Digitales Schaufenster powered by T-Labs (Prototyp TelekomCloud)’ from 2012 explores, among other effects, how people interact to a mirror like interactive display in public space.31 The research done at KTH and TU Berlin is relevant to the Mirror project because it explores, like the Mirror project, how telecommunication and interactive display surfaces in public space affect peoples behavior. There is, however, things that make the Mirror project stand out of this research and that will be presented in the next section. Then there are the previously mentioned ‘Mediatecture’ by Christoph Kronhagel from 2010 and ‘Speculative Everything’ by Anthony Dunne and Fiona Raby from 2013 that provide academic work on what speculative design and mediatecture could be. 28 Gullström, 2010, Abstract 29 Walkanova, Walter et al., 2014, Abstract 30 Schmidt, Müller et al.,, 2013, Abstract 31 https://www.youtube.com/watch?v=yzWoPerNolo

Mirror – A Space for Social and Spatial Interactions

2.4 What Makes the Mirror Unique? A videophone, a videoconferencing system or interactive media projects such as Hole in Space (New York, Los Angeles, 1980) by Kit Galloway and Sherri Rabinowitz could all be described as digital/multidimensional windows, that is to say, flat screens. A window is something one looks through in order to experience what is behind it. The Mirror project is, however, unique because of it’s three-dimensional spatiality. The Mirror is, as its name suggests, a mirror – not a screen or a window. Like the traditional mirror, the Mirror creates its value from its own unique characteristics – the ability to reflect its surroundings. The Mirror is a digital/multidimensional mirror one looks upon in order to experience what is in front of it and what relation it has to the reflecting surface and the surrounding environment. When the Mirror is experienced knowing that there is an identical counterpart in the other end one can look on it as a spatial object, a three-dimensional mirror, and understand the unique spatial possibilities it has to offer. In addition to human interaction the Mirror enhances spatial interaction. Because the Mirror is a three-dimensional space in itself it has the potential to utilize the full potential of a multidimensional mirror. It is important to underline the aspect of physical three-dimensional space in order to distinguish the Mirror from conventional video walls. This is achieved by creating a house-like structure, which clearly has a roof and walls as well as an inside and outside space. Videophones have been known since the 19th century and they are an everyday matter for many people all over the world today. The Mirror uses the same technological principle as the videophone but extends its potential to create new kind of interactive experiences that are enhanced by spatiality. For example the infinite reflection effect, which is generated inside the Mirror, contributes to making the Mirror a baffling experience. Videoconferencing solutions try to create authentic situations for holistic human interaction between physically remote environments. The Mirror also tries to enable holistic human interaction between physically remote environments but in addition to human interaction the Mirror offers a new kind of spatial interaction that makes the surrounding environment equally important for creating an experience for the user. Ever since the late 1960´s the potential of digital technology as an interactive medium started to take form in the public art scene. Pioneers such as Myron Krueger, Kit Galloway and Sherri Rabinowitz played key roles in creating perceptions of what interactive digital art can be. The Mirror updates previous interactive media projects to three-dimensional spatiality and makes it possible to experience space, time and interaction in new ways.

It is important to underline the aspect of physical three-dimensional space in order to distinguish the Mirror from conventional video walls. This is achieved by creating a house-like structure, which clearly has a roof and walls as well as an

Mirror – A Space for Social and Spatial Interactions

inside and outside space.

The Mirror differs from a two-dimensional

video phone by being a three-dimensional video phone object.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

The Mirror differs from a video conferencing system by considering spatial interaction to be as important as social interaction.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

The Mirror differs from previous interactive media projects by, again, its threedimensionality.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

3. Project Review

Agreement to present the Mirror at Helsinki Art Museum’s Happy End? exhibition in autumn 2013.

Mirror Modular 001A - Cottage - Cameras A 2×16 = 32 ~45 inch displays 2×8 = 16 cameras (microphone included) 2×4 = 8 Speakers Hardware for data transfer Software for data transfer Building material Pros: • Spatial object with spatial depth • Covers almost 180 degrees vertical view Cons: • Video image is cropped to approx. 4:3 even though camera records 16:9 • Needs a lot of cameras + computing

MIRROR MODULAR T H E M O D U L A R S T R U C T U R E M A K E S I T P O S S I B L E TO A S S E M B L E T H E M I R R O R I N E N D L E S S WAY S .

Changes in Helsinki Art Museum’s exhibition schedule.

Idea

Subject/Time

2011 1

2012 4

2013 8

1. Product development

2. Acquirement of collaborators (ADMINISTRATIVE)

3. Acquirement of collaborators (TECHNICAL)

4. Administrative development

5. Production / Programming

6. The Mirror in action

7. World Design Capital Helsinki in action

8. Post placement / Further development

2013

2012

2011

On hold © Joksu / Joakim Breitenstein, 2012

Concept and product development

Concept and product development Prototyping

2015

2014 Mirror on display at Helsinki Art Museum and Helsinki University Library

? Mirror at Aalto University

3.1 Research Problem In this project the research problem can be described as: “What is the optimal way to realize the theoretical Mirror idea with available resources?” WDC 2012 HELSINKI – OHJELMAEHDOTUS

3.2 Process Overview

PEILI U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA ,

The Mirror project was a 30+ month project with many dimensions. It included concept and product development, fundraising, acquiring collaborators from both the public and the private sectors, forming a team, making prototypes, developing a final product and finally presenting it to the public. Because of the fact that the Mirror project has so many overlapping dimensions, it is a challenge to divide the project in clear process segments that would be distinguished from each other. Therefore the presentation of the process is based on time based divisioning, where certain time periods provide a framework for re-examining the process. This approach is also chosen because it supports the aspect of Mirror being a holistic venture that aims for taking the theoretical idea into practice and thus focusing on a time based schedule where certain goals are being laid out in order to achieve them at a certain point in time. Approximately 130 Mirror project presentations were made in order to support project development. The presentations were, at first, made in order to communicate about the idea to potential sponsors and funders. Later the presentations also became an important communication tool for the Mirror Project Team and other stakeholders. The project process is divided in time based segments as follows: • • • • • • • • •

January 2011–February 2011: Idea March 2011: Further Development of Idea April 2011–November 2011: Concept Development December 2011–March 2012: Prototype Development April 2012–July 2012: Project on Hold August 2012–April 2013: Prototype Development April 2012–June 2013: Realization Development June 2013–August 2013: Realization August 2013–onwards: Evaluating Results and Further Development

U U D E N L A I S TA T I L A L L I S U U T TA J A U U D E N L A I S TA A J A L L I S U U T TA D I G I TA A L I S E N T I E D O N V Ä L I T Y K S E N AV U L L A .

The first Mirror project presentation.

Mirror by Joksu + Mirror Project Team – Tila sosiaaliselle ja tilalliselle interaktiolle

The (so far) last Mirror project presentation.

Mirror – A Space for Social and Spatial Interactions

LIITE 1: WDC 2012 HELSINKI – OHJELMAEHDOTUS

WDC 2012 HELSINKI – OHJELMAEHDOTUS

WDC HELSINKI 2012 – OHJELMAEHDOTUS PEILI

PEILI

J A U U D E N L A I S TA A J A L L I S U U T TA

D I G I TA A L I S E N T E K N I I K A N J A

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U U D E N L A I S TA T I L A L L I S U U T TA

U U D E N L A I S TA A J A L L I S U U T TA

PEILI

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA ,

U U D E N L A I S TA T I L A L L I S U U T TA J A

U U D E N L A I S TA T I L A L L I S U U T TA J A U U D E N L A I S TA A J A L L I S U U T TA

PEILI

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA ,

D I G I TA A L I S E N T I E D O N V Ä L I T Y K S E N AV U L L A .

U U D E N L A I S TA T I L A L L I S U U T TA

PEILI

WDC 2012 HELSINKI – OHJELMAEHDOTUS

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA , U U D E N L A I S TA T I L A L L I S U U T TA

J A U U D E N L A I S TA A J A L L I S U U T TA

D I G I TA A L I S E N T I E D O N V Ä L I T Y K S E N AV U L L A .

PEILI U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA , U U D E N L A I S TA T I L A L L I S U U T TA

PEILI

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA ,

PEILI

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA ,

U U D E N L A I S TA T I L A L L I S U U T TA

MIRROR

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA ,

U U D E N L A I S TA T I L A L L I S U U T TA J A U U D E N L A I S TA A J A L L I S U U T TA

J A U U D E N L A I S TA A J A L L I S U U T TA

D I G I TA A L I S E N T I E D O N V Ä L I T Y K S E N AV U L L A .

PEILI

MIRROR

A n e w k i n d o f s pA c e

U U D E N L A I S TA T I L A L L I S U U T TA

J A U U D E N L A I S TA A J A L L I S U U T TA D I G I TA A L I S E N T I E D O N V Ä L I T Y K S E N AV U L L A .

U U d e n l a i s ta v U o r o va i k U t t e i s U U t ta ,

A n e w k i n d o f s pA c e

A new kind of time

A new kind of interAction

U U d e n l a i s ta t i l a l l i s U U t ta j a U U d e n l a i s ta a j a l l i s U U t ta d i g i ta a l i s e n t i e d o n v ä l i t y k s e n av U l l a .

J A U U D E N L A I S TA A J A L L I S U U T TA

D I G I TA A L I S E N T I E D O N V Ä L I T Y K S E N AV U L L A .

T I E D O N V Ä L I T Y K S E N AV U L L A .

D I G I TA A L I S E N T I E D O N V Ä L I T Y K S E N AV U L L A .

2 7 . 3 . 2 0 11

NIILO HELANDERIN SÄÄTIÖ

D i g i D e m o - av u s t u s h a k e m u k s e n L i i t e :

A puRAHAHAk E mukSEN L I I TE NRO. 1 - pROjE kTI ESI TTELy PEILI

u u D E N L A I N E N D O k u m E N T T I E L O k u vA N m u O T O ,

A new kind of time

j O S S A u u D E N L A I N E N v u O R O vA I k u T T E I S u u S ,

A new kind of interAction

U U d e n l a i s ta v U o r o va i k U t t e i s U U t ta ,

A n e w k i n d o f s pA c e

u u D e n L a i s ta t i L a L L i s u u t ta j a u u D e n L a i s ta a j a L L i s u u t ta

PEILI

MIRROR

PEILI

u u D e n L a i s ta v u o r o va i k u t t e i s u u t ta ,

D i g i ta a L i s e n t i e D o n v ä L i t y k s e n av u L L a .

U U d e n l a i s ta t i l a l l i s U U t ta

j a U U d e n l a i s ta a j a l l i s U U t ta

MIRROR

PEILI

A n e w k i n d o f s pA c e

U U d e n l a i s ta v U o r o va i k U t t e i s U U t ta ,

A new kind of time

U U d e n l a i s ta t i l a l l i s U U t ta

A new kind of interAction

d i g i ta a l i s e n t i e d o n v ä l i t y k s e n av U l l a .

uuDENLAINEN TILALLISuuS

MIRROR

A n e w k i n d o f s pA c e

MIRROR

A n e w k i n d o f s pA c e

A new kind of time

j a U U d e n l a i s ta a j a l l i s U U t ta d i g i ta a l i s e n t i e d o n v ä l i t y k s e n av U l l a .

A new kind of interAction

p r o J e c t r e V i e w, m Ay 2 5 2 0 11

MIRROR A n e w k i n d o f s pA c e

A new kind of time

A n e w k i n d o f s pA c e

A new kind of time

A new kind of interAction

p r o J e c t r e V i e w, m Ay 2 5 2 0 11

A new kind of time

A new kind of time t i l a n n e k at s a U s 2 . 5 . 2 0 11

D I g I TA A L I S E N T I E D O N v Ä L I T y k S E N Av u L L A .

A n e w k i n d o f s pA c e

MIRROR

A new kind of time

A new kind of interAction

p r o J e c t r e V i e w, m Ay 2 5 2 0 11

A n e w k i n d o f s pA c e A new kind of interAction

p r o J e c t r e V i e w, m Ay 3 2 0 11

j A u u D E N L A I N E N A j A L L I S u u S k O H TA AvAT

A new kind of interAction

t i l a n n e k at s a U s 2 2 . 5 . 2 0 11

WDC 2012 heLsinki

p r o J e c t r e V i e w, m Ay 2 5 2 0 11

p r o J e c t p r e s e n tAt i o n , m Ay 2 6 2 0 11

Päivitetty ohjeLmaehDotus WDC 2012 HELSINkI pÄIvITETTy OHjELmAEHDOTuS

PEILI MIRROR

MIRROR

A n e w k i n d o f s pA c e

MIRROR

A n e w k i n d o f s pA c e

A new kind of time

U U d e n l a i s ta v U o r o va i k U t t e i s U U t ta ,

MIRROR

A n e w k i n d o f s pA c e

A new kind of time

U U d e n l a i s ta t i l a l l i s U U t ta ja U U d e n l a i s ta aja l l i s U U t ta

A n e w k i n d o f s pA c e

A new kind of time

A new kind of interAction

p r o J e c t r e V i e w, m Ay 2 5 2 0 11

p r o J e c t p r e s e n tAt i o n , m Ay 2 6 2 0 11

p r o J e c t r e v i e w, m Ay 2 6 2 0 11

PEILI

U U d e n l a i s ta v U o r o va i k U t t e i s U U t ta ,

d i g i taa l i s e n t i e d o n v ä l i t y k s e n av U l l a . L I I T E : T Y Ö S U U N N I T E L M A / P ro j E k T I E S I T T E LY, 2 6 . 5 . 2 0 11

l i i t e o n e n g l a n n i k i e l i n e n , k o s k a s a m aa p o h jaa k ä y t e t ä ä n p r o j e k t i n

MIRROR

l i i t e o n e n g l a n n i k i e l i n e n , k o s k a s a m aa p o h jaa k ä y t e t ä ä n p r o j e k t i n

e s i t t e l e m i s e e n m a h d o l l i s i l l e k a n s a i n v ä l i s i l l e y h t e i s t y ö k U m p pa n e i l l e .

t y ö s U U n n i t e l m aa n s i s ä lt y y m y ö s s U o m e n k i e l i n e n o s U U s , k o s k a k y s e i s e n

o s U U d e n v i i t e a s i a k i r jat o vat s U o m e n k i e l i s i ä .

PEILI

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA ,

U U d e n l a i s ta t i l a l l i s U U t ta ja U U d e n l a i s ta aja l l i s U U t ta

d i g i taa l i s e n t i e d o n v ä l i t y k s e n av U l l a . L I I T E : T Y Ö S U U N N I T E L M A / P ro j E k T I E S I T T E LY, 2 6 . 5 . 2 0 11

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA ,

U U D E N L A I S TA T I L A L L I S U U T TA A n e w k i n d o f s pA c e A new kind of time

A n e w k i n d o f s pA c e

A new kind of time

A n e w k i n d o f s pA c e

A new kind of time

A n e w k i n d o f s pA c e

A new kind of time

A new kind of interAction

p r o J e c t r e V i e w, J u n e 9 , 2 0 11

Apurahahakemus Koneen Säätiölle, 23.9.2011.

Hakemus apurahan saamiseksi Aalto University International Relationsilta, 28.10.2011.

Hakemus DigiDemo-avustuksen saamiseksi Audiovisuaalisen kulttuurin edistämiskeskukselta AVEKilta, 28.10.2011.

Apurahahakemus Suomen Kulttuurirahastolle, 28.10.2011.

Hakemus erityisavustuksen saamiseksi Taiteen keskustoimikunnalta, 28.10.2011.

PEILI

U U D E N L A I S TA T I L A L L I S U U T TA

J A U U D E N L A I S TA A J A L L I S U U T TA

A new kind of time

A new kind of interAction

p r o J e c t r e V i e w, J u n e 9 , 2 0 11

J A U U D E N L A I S TA A J A L L I S U U T TA

D I G I TA A L I S E N T I E D O N V Ä L I T Y K S E N AV U L L A .

P R O J E K T I E S I T T E LY, 2 0 . 6 . 2 0 11

E S I T T E LY O N E N G L A N N I K I E L I N E N , K O S K A S A M A A P O H J A A K Ä Y T E T Ä Ä N P R O J E K T I N

E S I T T E L E M I S E E N M A H D O L L I S I L L E K A N S A I N V Ä L I S I L L E Y H T E I S T Y Ö K U M P PA N E I L L E .

All content in this presentation may be published only by permission of the copyright holders.

Loppuselvitys DigiDemo-avustuksen käytöstä AVEKille, 2.11.2011.

PEILI U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA ,

MIRROR

U U D E N L A I S TA T I L A L L I S U U T TA

MIRROR

J A U U D E N L A I S TA A J A L L I S U U T TA D I G I TA A L I S E N T I E D O N V Ä L I T Y K S E N AV U L L A .

A NEW KIND OF TIME

A N E W K I N D O F S PA C E

A NEW KIND OF INTERACTION

P R O J E K T I E S I T T E LY, 4 . 8 . 2 0 11 E S I T T E LY M AT E R I A A L I O N E N G L A N N I K I E L I N E N , J O T TA S A M A M AT E R I A A L I V O I D A A N

P R O J E C T P R E S E N TAT I O N , A U G U S T 4 , 2 0 11

L Ä H E T T Ä Ä M A H D O L L I S I L L E K A N S A I N V Ä L I S I L L E Y H T E I S T Y Ö K U M P PA N E I L L E .

A N E W K I N D O F S PA C E

A NEW KIND OF TIME

A NEW KIND OF INTERACTION

Project presentation, August 29, 2011

MIRROR

PEILI

MIRROR

A N E W K I N D O F S PA C E

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA U U D E N L A I S TA T I L A L L I S U U T TA U U D E N L A I S TA A J A L L I S U U T TA

Liite 1/4: Englanninkielinen työsuunnitelma + kustannusarvio

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A N E W K I N D O F S PA C E A NEW KIND OF TIME

Project presentation, October 24, 2011 Introduction in Finnish included

Sisältää suomenkielisen tiivistelmän.

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U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA

U U D E N L A I S TA T I L A L L I S U U T TA

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA

U U D E N L A I S TA T I L A L L I S U U T TA

U U D E N L A I S TA A J A L L I S U U T TA

Liite 1: Englanninkielinen työsuunnitelma (sisältää kustannusarvion ja rahoitussuunnitelman)

Sisältää suomenkielisen johdannon.

All content in this presentation may be published only by permission of the copyright holders.

Ansökan om bidrag från Svenska kulturfonden, 30.11.2011.

A NEW KIND OF INTERACTION A N E W K I N D O F S PA C E

U U D E N L A I S TA T I L A L L I S U U T TA

U U D E N L A I S TA A J A L L I S U U T TA

Liite 1/5: Englanninkielinen työsuunnitelma (sisältää kustannusarvion ja rahoitussuunnitelman)

Sisältää suomenkielisen johdannon.

MIRROR

PEILI U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA

U U D E N L A I S TA T I L A L L I S U U T TA

U U D E N L A I S TA A J A L L I S U U T TA

Liite 1/6: Englanninkielinen työsuunnitelma (sisältää kustannusarvion ja rahoitussuunnitelman)

All content in this presentation may be published only by permission of the copyright holders. Application for grant to Aalto University Media Factory Open Call, November 30, 2011.

Hakemus Mediataiteen kohdeapurahan saamiseksi Audiovisuaalisen kulttuurin edistämiskeskukselta AVEKilta, 17.11.2011.

All content in this presentation may be published only by permission of the copyright holders.

A NEW KIND OF INTERACTION

A NEW KIND OF TIME

U U D E N L A I S TA A J A L L I S U U T TA

Liite 1/3: Englanninkielinen työ-/konseptisuunnitelma (sisältää kustannusarvion ja rahoitussuunnitelman)

Project Presentation – November 2, 2011

HUOM! Tämä esitys on vastaava, kuin AVEKille 31.10 lähetetty demohankkeen toteuttamista varten haettu DigiDemoavustushakemuksen liite. Esitys sisältää suomenkielisen johdannon.

Introduction in Finnish included.

Hakemus CreaDemo-avustuksen saamiseksi AVEKilta.

All content in this presentation may be published only by permission of the copyright holders.

Tämän esityksen saa julkaista ainoastaan tekijänoikeuksien hallitsijoiden luvalla.

PEILI

MIRROR

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA

A NEW KIND OF INTERACTION

U U D E N L A I S TA T I L A L L I S U U T TA

A N E W K I N D O F S PA C E

MIRROR

A NEW KIND OF INTERACTION

A N E W K I N D O F S PA C E

SPEGELN E N N Y S L A G S V Ä X E LV E R K A N

Teletransporter.net, Teletransporter.net the approach

PEILI

A NEW KIND OF INTERACTION A N E W K I N D O F S PA C E

A NEW KIND OF TIME

A N E W K I N D O F S PA C E A NEW KIND OF TIME

ETT NYTT TIDSPERSPEKTIV

Project Presentation – November 17, 2011

Attachment 1/6: Project Plan (includes budget and plan for funding)

Bilaga 1/5: Projektplan på engelska (innehåller budget och finansieringsplan)

Introduction in Swedish included.

Inledning på svenska inkluderad.

Introduction in Finnish included.

U U D E N L A I S TA A J A L L I S U U T TA

A NEW KIND OF TIME

MIRROR

MIRROR A NEW KIND OF INTERACTION

EN NY SLAGS RUMSLIGHET

A NEW KIND OF TIME

MIRROR

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA U U D E N L A I S TA T I L A L L I S U U T TA

- Video glasses - Dome - Multiple screens - Projection - Curvy screens

Teletransporter.net portal

U U D E N L A I S TA A J A L L I S U U T TA © JO A K IM B R E IT E N S T E IN , 2 0 11 – 2 0 1 2

Liite 1/5: Englanninkielinen työsuunnitelma (sisältää kustannusarvion ja rahoitussuunnitelman)

Immersive display

360° content creation - Pictures - Loop or live video - Graphical (art, CAD, 3D etc.)

Sisältää suomenkielisen johdannon.

MIRROR

PEILI

A NEW KIND OF INTERACTION

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA

A N E W K I N D O F S PA C E

Traveller

MIRROR

A N E W K I N D O F S PA C E

A NEW KIND OF TIME

U U D E N L A I S TA A J A L L I S U U T TA

A NEW KIND OF TIME

Project Presentation – Jan 13, 2012

Liite 1/8: Englanninkielinen projektiesittely – 15.1.2012 (sisältää kustannusarvion ja rahoitussuunnitelman)

Proposal for Collaborative Project with the Solomon R. Guggenheim Foundation

Introduction in Finnish included.

Sisältää suomenkielisen johdannon.

Project Presentation – February 8, 2012

- Choses the destination

Meeting – Possible Collaboration – Jan 4, 2012

Introduction in Finnish included.

A NEW KIND OF INTERACTION

U U D E N L A I S TA T I L A L L I S U U T TA

A NEW KIND OF TIME

Project Presentation – Jan 11, 2012

Project Presentation – December 18, 2011 Ehdotus teknisten laitteiden hankkimiseksi – 23.12.2011

Project Presentation – November 14, 2011

MIRROR A NEW KIND OF INTERACTION

- Content management - Key management - Transaction handling - Advertising mgmt - Statistics - SoME aspects

Confidential 2011 © Lasse Korvala

All content in this presentation may be published only by permission of the copyright holders.

MIRROR

A NEW KIND OF INTERACTION

A N E W K I N D O F S PA C E

PEILI

U U D E N L A I S TA T I L A L L I S U U T TA

A N E W K I N D O F S PA C E

A NEW KIND OF TIME

Project Presentation – February 8, 2012

All content in this presentation may be published only by permission of the copyright holders.

Apurahahakemus Suomen kulttuurirahastolle 8.2.2012

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA U U D E N L A I S TA A J A L L I S U U T TA

Liite 1: Englanninkielinen työsuunnitelma

Ansökan om understöd från Oskar Öflunds Stiftelse – 8.2.2012

All content in this presentation may be published only by permission of the copyright holders.

Apurahahakemus Taideteollisen korkeakoulun tukisäätiölle 23.2.2012

PEILI

MIRROR

SPEGELN

MIRROR

A NEW KIND OF INTERACTION

E N N Y S L A G S V Ä X E LV E R K A N

A NEW KIND OF INTERACTION

A N E W K I N D O F S PA C E

EN NY SLAGS RUMSLIGHET

A N E W K I N D O F S PA C E

A NEW KIND OF TIME

EN NY SLAGS TID

A NEW KIND OF TIME

Proposal for Collaboration with NEC – February 15, 2012

Bilaga 1/6: Projektplan på engelska

Camera Angle Study – Feb 23, 2012

U U D E N L A I S TA V U O R O VA I K U T T E I S U U T TA U U D E N L A I S TA T I L A L L I S U U T TA U U D E N L A I S TA A J A L L I S U U T TA

Liite 1: Englanninkielinen työsuunnitelma (sisältää kustannussuunnitelman)

Mirror by J o k s u

All content in this presentation may be published only by permission of the copyright holders.

ING ED IN DEVELOP ENT?… ENVIRONM INTEREST OUR PHYSICAL

All content in this presentation may be published only by permission of the copyright holders.

…DIGIT

Image by Joakim Breitenstein

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S NNO LUO LLE ISE 26.8 ULA AIN I RI K ÄKS TÄV NÄH

All content in this presentation may be published only by permission of the copyright holders.

MIRROR A NEW KIND OF INTERACTION A N E W K I N D O F S PA C E

All content in this presentation may be published only by permission of the copyright holders.

MIRROR

A NEW KIND OF INTERACTION

A N E W K I N D O F S PA C E

A NEW KIND OF TIME

All content in this presentation may be published only by permission of the copyright holders.

MIRROR A NEW KIND OF INTERACTION

A N E W K I N D O F S PA C E

All content in this presentation may be published only by permission of the copyright holders.

MIRROR A NEW KIND OF INTERACTION

A N E W K I N D O F S PA C E

A NEW KIND OF TIME

Project Presentation – Mar 12, 2012

Mirror – Project Presentation – May 23, 2012

Mirror by J o k s u

Mirror by J o k s u / Joakim Breitenstein

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Mirror Modular 001B – Mar 6, 2012

Привет!

All content in this presentation may be published only by permission of the copyright holders.

Terve! Terve!

ALLY!

Привет!

The Mirror Project at The State Tretyakov Gallery?

HAR

The prestigious State Tretyakov Gallery has, together with Helsinki Art Museum, the possibility to include the Mirror project in its activities.

Hello! The Mirror project is looking for collaborators in the fields of audiovisual production and programming.

MIRROR

A NEW KIND OF INTERACTION

A N E W K I N D O F S PA C E

A NEW KIND OF TIME

Mirror – Project Presentation – August 29, 2012

Mirror by J o k s u / Joakim Breitenstein

All content in this presentation may be published only by permission of the copyright holders.

MIRROR

What’s the fuzz about? The Mirror – A multidisciplinary project now looking for collaborators that have interest in exploring the possibilities of physical space in a digital age. The project is developed together with Aalto Media Factory and Kaukomarkkinat Ltd / Creation Crew. It will be presented as a part of the Happy End? exhibition at Helsinki Art Museum in summer 2013.

A NEW KIND OF INTERACTION

Why should I care? Because together as a team we have the possibility to create something genuinely new and exciting. The project has been rewarded with funding from The Promotion Centre for Audiovisual Culture in Finland (AVEK), Oskar Öflund Foundation and Aalto University. We have an idea, a time and place to realize it and some funding – let’s talk and see what we can do together!

A N E W K I N D O F S PA C E A NEW KIND OF TIME

Who should I contact? The project is run by architecture student Joakim Breitenstein, who is more than happy to tell you more about it. The ambition is to form an interdisciplinary team whose work benefits as many as possible. Hope to hear from you!

Mirror – Project Presentation – August 29, 2012 Joakim Breitenstein | www.joakimbreitenstein.com

What is the Mirror Project? The Mirror is a new kind of physical space which uses digital communication as its medium. It consists of two identical spatial bodies that are connected to each other through videophone technology. Through the Mirror people can experience a new kind of interaction, a new kind of spatiality and a new kind of time. The Mirror is a cultural–technological–functional project which explores the possibilities of physical space in a digital age. The project is realized by Joksu / Joakim Breitenstein together with Helsinki Art Museum, Aalto University and Kaukomarkkinat Ltd / Creation Crew. The project has been rewarded with funding from The Promotion Centre for Audiovisual Culture in Finland (AVEK), Aalto University and Oskar Öflund Foundation. What can the Mirror Project bring to The State Tretyakov Gallery? With the Mirror it is possible to connect two significant cultural institutions, The Sate Tretyakov Gallery and Helsinki Art Museum, in a new and inspiring way. A visitor at the Tretyakov Gallery is able to speak to and see a visitor at the Helsinki Art Museum in real time! The visitors are also able to experience the spaces of both museums! More information? Detailed information about the project is available in the newest project presentation, Mirror Project Presentation - August 29, 2012. Please ask for the presentation from Joakim Breitenstein or your contact at Helsinki Art Museum. The Mirror project team looks forward to discuss possibilities for further collaboration with The State Tretyakov Gallery.

Mirror

MIRROR

Mirror

A new kind of interaction

A NEW KIND OF INTERACTION

A new kind of interaction

A new kind of space

A N E W K I N D O F S PA C E

A new kind of time

A N E W K I N D O F S PA C E

A NEW KIND OF TIME

A new kind of space

A NEW KIND OF TIME

MIRROR A NEW KIND OF INTERACTION

A new kind of space

A new kind of time

A N E W K I N D O F S PA C E

A new kind of time

A NEW KIND OF TIME

Project Presentation | December 27, 2012 Mirror – Locations for Other Spatial Body – January 4, 2012

Mirror | Project Presentation | January 10, 2013

Plan for Media Coverage | February 14, 2013

Mirror | Project Presentation | Short Version | January 23, 2013

Plan for Media Coverage | February 19, 2013

Mirror | Project Presentation | Short Version | January 23, 2013

Student of architecture at Aalto University, Shool of Arts, Design and Architecture Phone: +358 40 518 2518 Mirror by J o k s u / Joakim Breitenstein | 2012 | joakim.breitenstein@gmail.com | +358 40 518 2518

Email: joakim.breitenstein ( a ) gmail.com

Mirror by J o k s u / Joakim Breitenstein

All content in this presentation may be published only by permission of the copyright holders.

Mirror

A new kind of interaction

A new kind of space

A new kind of time

All content in this presentation may be published only by permission of the copyright holders.

Mirror

A space for social and spatial interaction.

Mirror Prototypes Review + Afterparty

Prototypes Presentation

A new kind of time Mirror | Project Presentation | Full Version | March 10, 2013 | © Joksu + Mirror Project Team

Mirror in Helsinki Art Museum Store | March 3, 2013

Mirror | Mirror in Helsinki Art Museum Store | March 3, 2013 | © Joksu + Mirror Project Team

Mirror | Project Presentation | Full Version | March 10, 2013 | © Joksu + Mirror Project Team

5 April, 2013

11 April, 2013

Mirror Prototypes Review + Afterparty | Prototypes Presentation | 5 April, 2013 | © Joksu + Mirror Project Team

Mirror Prototypes Presentation | 11 April, 2013 | © Joksu + Mirror Project Team

Mirror Prototypes Feedback 13 April, 2013

Mirror in Helsinki Art Museum Store | March 3, 2013

Mirror | Mirror in Helsinki Art Museum Store | March 3, 2013 | © Joksu + Mirror Project Team

Mirror – A space for social and spatial interaction by Joksu + Mirror Project Team

All content in this presentation may be published only by permission of the copyright holders.

All content in this presentation may be used and/or published only by permission of the copyright holders.

Mirror Prototype 1 Finishing Versions

Muotoonleikatut teräsliitospalat

Mirror | Project Presentation | Full Version | March 10, 2013 | © Joksu + Mirror Project Team

Mirror Prototypes Feedback Collected | 13 April, 2013 | © Joksu + Mirror Project Team

Mirror – A space for social and spatial interaction by Joksu + Mirror Project Team

All content in this presentation may be published only by permission of the copyright holders.

All content in this presentation may be used and/or published only by permission of the copyright holders.

Mirror Prototype 1 Finishing Versions

Mirror Sound Design Concept

Mirror Attachment of Displays

Mirror – Tarjouspyyntö akryylilevyistä

Tarjouspyyntö muotoonleikatusta metallista

Mirror

Mirror © Joksu / Mirror Project Team, 2013

Mirror | Project Presentation | January 10, 2013 | © Joksu / Mirror Project Team

Mirror | Project Presentation | Short Version | January 23, 2013 | © Joksu / Mirror Project Team

Mirror | Plan for Media Coverage | February 14, 2013 | © Joksu / Mirror Project Team

Mirror | Plan for Media Coverage | February 19, 2013 | © Joksu / Mirror Project Team

Mirror | Project Presentation | Short Version | January 23, 2013 | © Joksu / Mirror Project Team

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Mirror Prototypes Feedback Documented

Mirror Prototype 1 with 55-inch Displays

Mirror Versions for Realization

Mirror Connection Diagrams

Mirror Project Team Workshop

14 April, 2013

15 April, 2013

Mirror Prototypes Feedback Documented | 14 April, 2013 | © Joksu + Mirror Project Team

Mirror Prototype 1 with 55-inch Displays | 15 April, 2013 | © Joksu + Mirror Project Team

15 April, 2013 1

Mirror Prototype 1 with 55-inch Displays | 15 April, 2013 | © Joksu + Mirror Project Team

24 April, 2013 1

Mirror Versions for Realization | 24 April, 2013 | © Joksu + Mirror Project Team

24 April, 2013

26 April, 2013

Mirror Connection Diagrams | 24 April, 2013 | © Joksu + Mirror Project Team

Mirror Project Team Workshop | 26 April, 2013 | © Joksu + Mirror Project Team

Mirror – A space for social and spatial interaction by Joksu + Mirror Project Team

All content in this presentation may be used and/or published only by permission of the copyright holders.

Mirror Realization for Happy End? Exhibition

Mirror Live Video/Animation Operating Principle

Mirror Draft for Cable Diagram

Mirror Realization for Happy End? Exhibition

Mirror Draft for Cable Diagram

Mirror Realization for Happy End? Exhibition

Mirror – A space for social and spatial interaction by Joksu + Mirror Project Team

Mirror

28 April, 2013

20.5.2013

28 April, 2013

3 May, 2013

6.5.2013

6 May, 2013

8 May, 2013

9 May, 2013

17 May, 2013

19 May, 2013

17 May, 2013

Mirror Prototype 1 Finishing Versions | 28 April, 2013 | © Joksu + Mirror Project Team

Mirror – Muotoonleikatut teräsliitospalat | 20.5.2013 | © Joksu + Mirror Project Team

Mirror Prototype 1 Finishing Versions | 28 April, 2013 | © Joksu + Mirror Project Team

Mirror Sound Design Concept | 28 April, 2013 | © Joksu + Mirror Project Team

Mirror Attachment of Displays | 3 May, 2013 | © Joksu + Mirror Project Team

Mirror – Tarjouspyyntö akryylilevyistä | 6.5.2013 | © Joksu + Mirror Project Team

Mirror – Tarjouspyyntö muotoonleikatusta metallista | 6.5.2013 | © Joksu + Mirror Project Team

Mirror Realization for Happy End? Exhibition | 6 May, 2013 | © Joksu + Mirror Project Team

Mirror Live Video/Animaiton Operating Principle | 8 May, 2013 | © Joksu + Mirror Project Team

Mirror Draft for Cable Diagram | 9 May, 2013 | © Joksu + Mirror Project Team

Mirror Realization for Happy End? Exhibition | 17 May, 2013 | © Joksu + Mirror Project Team

Mirror Draft for Cable Diagram | 19 May, 2013 | © Joksu + Mirror Project Team

Mirror Realization for Happy End? Exhibition | 17 May, 2013 | © Joksu + Mirror Project Team

Mirror – A space for social and spatial interaction by Joksu + Mirror Project Team

All content in this presentation may be used and/or published only by permission of the copyright holders.

Mirror Live Video/Animation Modes

Mirror Realization for Happy End? Exhibition

Mirror – Lasipeililevyt

Mirror – Presentation of Technical Realization

Mirror – A space for social and spatial interaction by Joksu + Mirror Project Team

20 May, 2013

10.6.2013

19 July, 2013

Mirror Live Video/Animaiton Modes | 20 May, 2013 | © Joksu + Mirror Project Team

Mirror Realization for Happy End? Exhibition | 20 May, 2013 | © Joksu + Mirror Project Team

Mirror – Lasipeililevyt | 10.6.2013 | © Joksu + Mirror Project Team

Mirror – Presentation of Technical Realization | 19 July, 2013 | © Joksu + Mirror Project Team

Mirror by Joksu + Mirror Project Team – Tila sosiaaliselle ja tilalliselle interaktiolle

Mirror – Esitys keskustakirjastoryhmälle

Mirror – A space for social and spatial interaction by Joksu + Mirror Project Team Mirror – A space for social and spatial interaction by Joksu + Mirror Project Team

Mirror Project Presentation 22 July, 2013

14.8.2013

Mirror Further Development Ideas for Cisco 22 August, 2013

Mirror by Joksu + Mirror Project Team – Tila sosiaaliselle ja tilalliselle interaktiolle

All content in this presentation may be used and/or published only by permission of the copyright holders.

Mirror – Presentation of Technical Realization 19 July, 2013 Mirror – Presentation of Technical Realization | 19 July, 2013 | © Joksu + Mirror Project Team

Approximately 130 Mirror project presentations were made to support project development.

Mirror – A Space for Social and Spatial Interactions

3.3 January 2011–February 2011: Idea As mentioned in the introduction, the Mirror project started when I was making random sketches in my sketchbook back in January 2011. After drawing a random three-dimensional space I thought what if that space would be built out of displays. And what if those displays would show live video from some other location. Gradually I started to develop the idea of two identical spatial objects that could be looked upon as mirrors that reflect each others audiovisual environment in real time. I realized that by using digital displays as building material it is possible to create physical spaces with new kinds of spatial and communicational possibilities. Using services like Skype as well as the constant exposure to digital displays in my everyday environment had surely an important impact on me coming up with the idea. I am also sure that my background in studying and working in the field of architecture had an impact on me playing with ideas on how to create new kinds of physical spaces with the help of digital technology. For a while I did no big efforts to take my idea towards realization but after I saw an advertisement for a pitching competition where the organizer sought ideas for creating new kinds of content to be displayed on digital devices, I thought that it could fit my idea. So I presented the idea at the D² pitching competition organized by The Promotion Centre for Audiovisual Culture AVEK in Helsinki in February, 2011. The jury got inspired by the idea and gave me a €2,500 grant for further developing the idea. AVEK eventually turned out to be the biggest financial supporter throughout the project.

Mirror – A Space for Social and Spatial Interactions

The idea of the Mirror came about while drawing random sketches in my sketch book in January 2011. Then I

presented the idea at a the D² pitching competition, organized by The Promotion Centre for Audiovisual

Culture AVEK in Helsinki in February, 2011, by visualizing a Helsinki–Osaka use case for the idea.

Mirror – A Space for Social and Spatial Interactions

IDEA DIAGRAMS

Imagine two identical spatial bodies.

Imagine that the spatial bodies are located in two different and physically separated environments.

Imagine all the surfaces of the spatial bodies to be mirrors that reflect both light and sound.

Imagine then that the spatial body in the orange environment

reflects that what the one in the blue environment experiences and

vice versa so, that the spatial body in the blue environment reflects that what the one in the orange environment experiences.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

USE CASE EXAMPLES

Railway Station – Airport

School Centre in Sudan – School Centre in Finland

Two urban nodal points share their audiovisuality, their spatiality

The students have access to immediate social and spatial

and their temporality. The spatial body causes attention and

connection with their colleagues on the other side of the world.

Parallel Clubbing

Senate Square, Helsinki – Osaka, Japan

The clubbers expand their experiences to a parallel

new and social way. Two completely different public environments

rouses interest as an environmental enricher.

Helsinki – Cape Town

reality which, in this case, is real.

The Mirror makes it possible to experience space and time in a

Mirror – A Space for Social and Spatial Interactions

complete each other like never before.

3.4 March 2011: Fruther Development of Idea During the early stage development I started working on a project presentation which I could send to potential collaborators. In this presentation I aimed for presenting, in an as clear way as possible, the idea and how the idea could be realized in a realistic way. For this I made idea diagrams that communicated the basic idea and also how the idea could be implemented in different environments. In addition I made an operational diagram which communicated how the idea could be realized from a technical point of view. The early stage presentations also included a portrayal of the end user target group, a plan on how to form a project team, a plan on how to ensure a sustainable lifespan for the project as well as first versions of timetable and budget. The first presentations also featured “Frequently Asked Questions” in order to identify possible question marks and challenges for the project. The first project presentation was made for the World Design Capital Helsinki 2012 (WDC 2012) organization. I applied for funding and an official ‘WDC 2012’ status for the project. The WDC 2012 organization gave the project the status of an official WDC 2012 project but they did not grant the project with any funding. During the early stages of the project I first contacted cultural institutions because the goals for the project were cultural. By the end of March 2011, I had been able to get a preliminary agreement with Helsinki Art Museum, that they were interested to collaborate and exhibit the Mirror project in one of their exhibitions. Potential sponsors were also contacted in the early stage. The aim was to find technology companies who would want to support the project with their products.

e s i m e r k k i 8 : TA I D E M U s E O j a s T O C k M A n n , H E L s I n k I

Art Museum – Stockmann Department Store

v ä L i t ö n y h t e y s o s t o s Pa r at i i s i i n h a a s ta a k ä v i j ä n a j at t e L e m a a n k u L u t tava a y h t e i s k u n ta a .

The exhibition visitor can communicate with shoppers in real time. © j oakim Br eiten stein , 2011

The Mirror was rewarded with the status of an

official World Design Capital Helsinki 2012 project.

Mirror – A Space for Social and Spatial Interactions

ÂŠ JoAkim Breitenstein, 2011

Operational diagram for technical realization from early stage presentation.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

WDC 2012 HELSINKI, PEILI-PROJEKTI, ALUSTAVA AIKATAULULUONNOS 11.2.2011

2 0 11 1

2012 8

2013 8

1. Tuotekehitys

2. Yhteistyökumppanien hankkiminen HALLINNOLLISET

3. Yhteistyökumppanien hankkiminen LAITEHANKINNAT

4. Markkinointi SIJOITUSPAIKKOJEN HANKKIMINEN

5. Tuotanto / ohjelmointi

6. Peili käytössä - WDC2012 Helsinki MAHDOLLISUUS PITÄÄ ULKOTILASSA

7. Jälkisijoittaminen / jatkotoimet

First version of project timetable.

Mirror – A Space for Social and Spatial Interactions

WDC 2012 HELSINKI, PEILI-PROJEKTI, ALUSTAVA BUDJETTILUONNOS 11.2.2011

Aihe

1-3 2011

4-6 2011

7-9 2011

10-12 2011

1-3 2012

4-6 2012

7-9 2012

10-12 2012

1-3 2013

4-6 2013

7-9 2013

10-12 2013

Yhteensä

LAITEHANKINNAT (lahjoitukset?) HUOM! luvut perustuvat laitevalmistajien, palveluntuottajien ja ohjelmanlaatijan markkinahinta-arvioihin, eivätkä ne sisällä arvonlisäveroa. Kameratekniikka

-8000

Näyttötekniikka

-64000

Äänentoistotekniikka

-1600

Äänentallennustekniikka

-1600

Tietoliikenneyhteydet

-2000

-8000

Rakennusmateriaalit

-6000

Energiankulutus

-660

-2640

Muut

Yhteensä

-75200

-6000

-2660

-91840

OHJELMANLAATIJAN ARVIO

LAITEVALMISTAJAN / PALVELUNTARJOAJAN ARVIO

MUUT (ulkopuolinen rahoitus) HUOM! luvut perustuvat ohjelmanlaatijan arvioihin. Tuotekehitys

-1500

-3000

Budjetointi

-2000

Visuaalinen ilme

-1000

Markkinointi

-1000

-3000

Ohjelmointi

-2000

Rakentaminen

-4000

Käyttöajan logistiikka

-5600

-600

-5600

-600

-12400

Käyttöajan valvonta

-16000

-32000

Käyttöaikana kokoaminen

-1000

-4000

Projektinjohto

-4500

-3000

-4500

-21000

Käyttöajan sijoittamistulot

Julkisen tilan vuokrat

Jälkisijoitus/jälleenmyynti

45000

Muut

Yhteensä

-3500

-4500

-11500

-11100

-22100

-25600

-6100

45000

-39400

First version of project budget.

Mirror – A Space for Social and Spatial Interactions

3.5 April 2011–November 2011: Concept Development After developing the idea, AVEK rewarded the project with a €4,000 grant for further developing the concept. During this stage the collaboration with Helsinki Art Museum, the main spatial and administrative collaborator for the project, was confirmed. One of their then upcoming exhibitions, ‘Happy End?’, proved to be a suitable event to exhibit the Mirror. A partnership with Aalto University was also agreed. The partnership included €5,000 funding from Vice President Martti Raevaara, who is known for developing the use of ICT in learning and teaching contexts32 as well as €2,000 funding from Aalto University Design Factory, “…a 3,000 m² working environment enabling creative work, knowledge sharing and experience exchange”33, located at Aalto University Otaniemi campus. In addition the partnership aimed at finding reuse for the Mirror after the exhibition at Helsinki Art Museum. During this stage, the product development included various studies on the technical realization as well as the size and form of the Mirror objects. In addition I explored similar projects that had already been done and founded my company Joksu in order to be able to apply for realization grant from AVEK. (AVEK hands out grants for realizing demo projects but the applicants must be registered communities such as a limited company or a sole trader.)

Helsinki Art Museum wanted to exhibit the Mirror in their then upcoming ‘Happy End’ exhibition.

Aalto University was among the first collaborators for the project.

32 http://www.aalto.fi/en/about/organization/management/ 33 http://www.aaltodesignfactory.fi/about/space/

I founded my company Joksu in October 2011 in

order to manage the money traffic for the project.

Mirror – A Space for Social and Spatial Interactions

ÂŠ j oa k im B r e ite n s te in , 2011

Section from concept development stage show how the audiovisual information is transferred between the two Mirror objects.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Plan from concept development stage.

Section and side view from concept development stage.

Top view from concept development stage.

Section and side view from concept development stage.

Mirror – A Space for Social and Spatial Interactions

Different versions of technical realization from concept

development stage. The variations are based on different

amount of displays as well as different display technology used.

Mirror – A Space for Social and Spatial Interactions

ÂŠ J o Ak i m B re i t e ns t e i n, 2011

The Mirror idea is not bound to any specific form or size. Different forms were presented in order to underline this issue. Here is presented form and size variations that are comparable to a play house.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

ÂŠ J o Ak i m B re i t e ns t e i n, 2011

Here is presented form and size variations that are comparable to a holiday cottage.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

ÂŠ J o Ak i m B re i t e ns t e i n, 2011

Here is presented form and size variations that are comparable to a single family house.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

ÂŠ J o Ak i m B re i t e ns t e i n, 2011

Here is presented form and size variations that are comparable to an apartment building.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

A visualization shows how Helsinki Art Museum (left) could be connected with Helsinki Railway Station (right) in real time.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Concept diagram about what happens inside the Mirror. The inside surfaces show what the identical counterpart sees, a human in front of a display that shows a human in front of a display that shows a human in front of a display and so on. An double infinite mirror effect is created.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

ORIG

INAL

IMAG

E©

ART

LLIL

Concept diagram about how the Mirror could be used at Aalto University after the exhibition at Helsinki Art Museum. Aalto’s future campus in Otaniemi (left) and Aalto’s Töölö campus would get a unique meeting place which makes it possible for new kinds of interaction within the campus.

Mirror – A Space for Social and Spatial Interactions

FIRST DETAILED PRODUCT DESIGN FROM CONCEPT DEVELOPMENT STAGE, VERSION ‘A1’

THE MIRROR-A1

P O L E S A C T S A S F O U N D AT I O N

A SUPPORTING BEAM RESTS

THE BEARING STRUCTURE IS

P L AT E L I K E C O M P O N E N T S

C A M E R A S A R E AT TA C H E D T O

F O R VA R Y I N G S U R FA C E S .

ON THE POLES.

AT TA C H E D T O T H E

STIFFENS THE STRUCTURE.

THE STRUCTURE.

SUPPORTING BEAM.

Poles acts as foundation for varying surfaces.

Supporting beams rests on

The bearing structure is

the poles.

Plate like components

attached to the supporting

Cameras are attached to the

stiffens the structure.

beam.

structure.

THE MIRROR-A1

D I S P L AY S A R E AT TA C H E D T O

PRINCIPLE FOR POWER AND

T H E R E M A I N I N G P L AT E L I K E

… T O S U P P O R T T H E D I S P L AY S

THE ENDS ARE FINISHED WITH

T H E S T I F F E N I N G P L AT E S .

NETWORK CONNECTIONS.

C O M P O N E N T S A R E AT TA C H E D …

ON THE OTHER SIDE.

BOARDS.

A L O C K E D B O X C O N TA I N S R E Q U I R E D H A R D WA R E E T C .

Displays are attached to the stiffening plates.

Principle for power and

The remaining plate like

network connections.

components are attached…

A locked box contains

…to support the displays on the other side.

The ends are finished with boards.

required hardware etc. THE MIRROR-A1

THE MIRROR-A1

THE SEAMS FROM WHICH THE

PEOPLE ARE NOW ABLE TO

M AT E R I A L S A R E C H O S E N T O

I N T E G R AT E D G R A P H I C S

CAMERAS LOOK OUT ARE

MAKE UP THEIR OWN

SUPPORT THE IDEA OF THE

E X P L A I N S T H E P R O J E C T.

F I N I S H E D W I T H M AT C H I N G

EXPERIENCE OF THE MIRROR.

MIRROR.

M AT E R I A L .

The seams from which

People are now able

Materials are chosen to

finished with matching

experience of the mirror.

mirror.

the cameras look out are material.

to make up their own

support the idea of the

Mirror – A Space for Social and Spatial Interactions

Integrated graphics explains the project.

THE MIRROR-A1

PLAN

E L E VAT I O N

Plan from concept development stage, version ‘A1’.

Side view from concept development stage, version ‘A1’.

THE MIRROR-A1

SECTION

E L E VAT I O N

Section from concept development stage, version ‘A1’.

Side view from concept development stage, version ‘A1’.

Mirror – A Space for Social and Spatial Interactions

M AT E R I A L R E Q U I R E M E N T S F O R T H E SOLUTION PRESENTED IN THE P R E V I O U S V I S U A L I Z AT I O N S (THE MIRROR-A1): 2×36

72 ~45-inch displays

2×8

16 cameras

2×4

8 Microphones

2×4

8 Speakers Hardware for data transfer Software for data transfer Building material for structure

Material requirement calculation from concept development stage, version ‘A1’.

Mirror – A Space for Social and Spatial Interactions

M AT E R I A L R E Q U I R E M E N T S F O R THE MIRROR-A2: 2×18

36 ~45-inch displays

2×8

16 cameras

2×4

8 Microphones

2×4

8 Speakers Hardware for data transfer Software for data transfer Building material for structure Note! Cameras will be reorganized on the outer edges of the screens. Same structural principle as A1.

Material requirement calculation from concept development stage, version ‘A2’.

Mirror – A Space for Social and Spatial Interactions

M AT E R I A L R E Q U I R E M E N T S F O R THE MIRROR-B1: 2×14

28 ~55-inch displays

2×8

14 cameras

2×4

8 Microphones

2×4

8 Speakers Hardware for data transfer Software for data transfer Building material for structure Note! Required hardware etc. are placed inside the structure (dashed line). Same structural principle as A1.

Material requirement calculation from concept development stage, version ‘B1’.

Mirror – A Space for Social and Spatial Interactions

RK? NEW YO

P CA

N? W SEOUL? TO BILB

AO?

T H E M I R R O R I S A TA N G I B L E A P P E A R A N C E O F A N I N TA N G I B L E O B J E C T I V E !

Idea for taking the other Mirror object to another country and making it a part of Helsinki’s Guggenheim initiative.

Mirror – A Space for Social and Spatial Interactions

W O R L D D E S I G N C A P I TA L H E L S I N K I 2 0 1 2 H A S T H E P O S S I B I L I T Y T O M A K E U S E O F T H E P O T E N T I A L T H AT T H E M I R R O R H O L D S A S A T O O L F O R G L O B A L C O M M U N I C AT I O N .

ÂŠ JOA K IM B R E ITE N S TE IN , 2011

Idea for taking the other Mirror to another country and making it a symbol for the World Design Capital program.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

2011

MIRROR - TIMETABLE - updated 20111130

Subject/Time

2012 8

2013 8

1. Product development

2. Acquirement of collaborators (ADMINISTRATIVE)

3. Acquirement of collaborators (TECHNICAL)

4. Administrative development

5. Production / Programming

6. The Mirror in action

7. World Design Capital Helsinki in action

8. Post placement / Further development

Project timetable during concept development stage.

Mirror – A Space for Social and Spatial Interactions

FUNDING THAT IS APPLIED FOR PARTLY FROM SWEDISH CULTURAL FOUNDATION IN FINLAND

THE MIRROR, BUDGET, NOVEMBER 30, 2011, CURRENCY € Subject/Time

1-3 2011

4-6 2011

7-9 2011

10-12 2011

1-3 2012

4-6 2012

7-9 2012

10-12 2012

1-3 2013

4-6 2013

7-9 2013

10-12 2013

Total

1. TECHNICAL APPLIANCES AND OTHER MATERIAL (Covered by sponsors and grants) EXPENSES – The amounts are based on a realization of the A1-version and they are estimates by product manufacturers, service providers and the author. The amounts does not include VAT. 0

-4000

72 x Displays ~45-inch

-86400

8 x Speakers

16 x Cameras + Lenses

-400

8 x Microphones

-800

Network connections

-5000

Building materials

-5450

Programming

-3750

Software/Hardware

-5000

Total

-91600

-14200

-5000

-110800

ASSURED INCOMES Aalto University / Design Factory

2000

Aalto University / Martti Raevaara / TVT

5000

2000 5000

Total

7000

2. ADMINISTRATIVE AND SPATIAL EXPENSES (Covered by Helsinki City Art Museum) EXPENSES – The amounts are estimates by the author. Visual identity

-1000

Marketing

-1000

-2000

Logistics during active project

0 0

-3000

Maintenance during active project

-1000

Surveillance during active project

-3000

Energy consumption

-1000

Construction

-3000

Logistics during construction

-1000

Total

-1000

-5000

-1000

-8000

-15000

ASSURED INCOMES Helsinki Art Museum

15000

Total

15000

3. AUTHORS OWN RISK (Covered by grants) EXPENSES – The amounts are compensation for work made for the project and they are based on estimated working hours. Product development / Design

-1312,5

-6562,5

Project management

-1312,5

-2625

-14437,5

-2625

-21000

2500

4000

Total ASSURED INCOMES AVEK

6500

Total

6500

Project budget during concept development stage.

Mirror – A Space for Social and Spatial Interactions

M I R R O R – C A L C U L AT I O N S F O R O V E R A L L F U N D I N G MIRROR - A1 VERSION - CALCULATIONS FOR OVERALL FUNDING

PART 1 IN BUDGET - TECHNICAL APPLIANCES AND OTHER MATERIAL 25% Swedish Cultural Foundation in Finland

0,25 x 110800€

27700€

25% Other grant (Kone Foundation / Finnish Cultural Foundation / Arts Council of Finland / AVEK)

0,25 x 110800€

27700€

25% Aalto University

0,25 x 110800€

27700€

25% Corporate sponsor

0,25 x 110800€

27700€

TOTAL

110800€

PART 2 IN BUDGET - ADMINISTRATIVE AND SPATIAL EXPENSES 100% Helsinki Art Museum

1,00 x 15000€

TOTAL

15000€

PART 3 IN BUDGET - AUTHORS OWN RISK, 12 MONHTS, JANUARY 2012 – DECEMBER 2012 Input that equals part-time job = 50% of 1750€/month = 875€/month Grant is applied for 12 months = 875€ x 12 = 10500€ 50% Swedish Cultural Foundation in Finland

0,50 x 10500€

5250€

50% Other grant (Kone Foundation / Finnish Cultural Foundation / AVEK)

0,50 x 10500€

5250€

TOTAL

10500€

Funding plan during concept development stage.

Mirror – A Space for Social and Spatial Interactions

The Mirror – project status / possible collaborators and funding / November 30, 2011 Organisation

Kind of collaboration

Date of first contact

Applied for

Status

The Promotion Centre for Audiovisual Culture (AVEK)

Funding for development of idea

February 2, 2011

2500€

Received 2500€

Samsung

Supply of technical appliances

February 8, 2011

Sponsorship – tech. app.

Pending

World Design Capital Helsinki 2012

Coordinative

February 11, 2011

Collaboration

Accepted

World Design Capital Helsinki 2012

Funding for project realization

February 11, 2011

19000€ / 51000€

Declined

Helsinki Art Museum

Spatial / administrative

February 20, 2011

Collaboration

Accepted

Aalto University WDC 2012 Team

Coordinative

February 20, 2011

Collaboration

Accepted

Huippu Design Management

Coordinative

March 1, 2011

Collaboration

Pending

Greta ja William Lehtinen Foundation

Funding for authors own risk

March 9, 2011

12000€

Declined

Panasonic

Supply of technical appliances

March 22, 2011

Sponsorship – tech. app.

Pending

Sony

Supply of technical appliances

March 22, 2011

Sponsorship – tech. app.

Pending

The Promotion Centre for Audiovisual Culture (AVEK)

Funding for authors own risk

March 29, 2011

5000€

Received 4000€

Niilo Helander Foundation

Funding for authors own risk

March 29, 2011

13600€

Declined

Niilo Helander Foundation

Funding for technical appliances...

March 29, 2011

20800€

Declined

Nokia

Supply of technical appliances

May 26, 2011

Sponsorship – tech. app.

Declined

Philips

Supply of technical appliances

May 27, 2011

Sponsorship – tech. app.

Declined

Jenny and Antti Wihuri Foundation

Funding for technical appliances...

May 31, 2011

29600€

Declined

Jenny and Antti Wihuri Foundation

Funding for authors own risk

May 31, 2011

10400€

Declined

Mitsubishi

Supply of technical appliances

June 9, 2011

Sponsorship – tech. app.

Pending

Supply of technical appliances

June 9, 2011

Sponsorship – tech. app.

Pending

Aalto University

Retaining the Mirror after exhibition

June 20, 2011

Maintenance

Accepted

Nebula

Supply of network connections

September 6, 2011

Sponsorship – network conn.

Pending

Kone Foundation

Funding for authors own risk

September 30, 2011

6300€

Pending

Kone Foundation

Funding for technical appliances...

September 30, 2011

27700€

Pending

Finnish Cultural Foundation

Funding for authors own risk

October 31, 2011

5250€

Pending

Finnish Cultural Foundation

Funding for technical appliances...

October 31, 2011

27700€

Pending

Arts Council in Finland

Funding for technical appliances...

October 31, 2011

27700€

Pending

The Promotion Centre for Audiovisual Culture (AVEK)

Funding for technical appliances...

October 31, 2011

27700€

Pending

Aalto University

Funding for technical appliances...

Autumn, 2011

27700€

Pending

Aalto University / Martti Raevaara / TVT

Funding for technical appliances...

Autumn, 2011

No specific sum

Assured 5000€

Aalto University / Design Factory

Funding for technical appliances...

September 15, 2011

9233€

Assured 2000€

Aalto Univeristy / International Relations

Funding for technical appliances...

October 31, 2011

9233€

Declined

Aalto University / Learning Center / Aalto Hub

Funding for technical appliances...

November 17, 2011

10350€

Pending

Aalto University / Media Factory Open Call

Funding for technical appliances...

November 30, 2011

10350€

Pending

International Council of Societies of Industrial Design (ICSID)

Coordinative

November 14, 2011

Collaboration

Pending

Cape Town Partnership

Spatial / administrative

November 14, 2011

Collaboration

Pending

The Promotion Centre for Audiovisual Culture (AVEK)

Funding for authors own risk

November 17, 2011

5250€

Pending

NEC

Supply of technical appliances

November 17, 2011

Sponsorship – tech. app.

Pending

Swedish Cultural Foundation in Finland

Funding for technical appliances...

November 30, 2011

27700€

Pending

Swedish Cultural Foundation in Finland

Funding for authors own risk

November 30, 2011

5250€

Pending

Record of applied funds and collaborations during concept development stage.

Mirror – A Space for Social and Spatial Interactions

3.6 December 2011–March 2012: Prototype Development

Concept images for finding the optimal

After developing the concept for almost 6 months, AVEK rewarded the project with a €20,000 grant for project realization. The product plan was developed and new collaborators was acquired during the first prototype development stage. Finding an optimal solution for implementing the Mirror idea within the limitations of existing display and camera technologies as well as the project budget proved itself challenging. Even if the realization grant from AVEK secured some kind realization, I soon noticed that a realization with the €110,000 budget was not realistic. Therefore the product development had to be taken in to a direction that made it possible to realize the idea with a significantly smaller budget. During the first prototype development stage I worked further on the product design by making different versions on how to make the technical realization. This included exploring how the idea could be realized with an as little amount of displays and cameras as possible in order to optimize the realization with the budget.

solution to realize the Mirror with a limited budget.

3.7 April 2012–July 2012: Project on Hold Helsinki Art Museum’s exhibition programme got an unexpected change in spring 2012, when a water damage at one of their premises caused a timetable delay in the whole exhibition schedule. The original plan was to present the Mirror at the Happy End? exhibition opening in Fall 2012, but because of the water damage the opening was rescheduled to summer 2013. This delay resulted in a break from project development lasting from late spring until late summer 2012.

Mirror – A Space for Social and Spatial Interactions

PRODUCT DESIGN FROM FIRST PROTOTYPE DEVELOPMENT STAGE, VERSION ‘MODULAR 001’.

MIRROR MODULAR 001

THE BEARING STRUCTURE

CAMERAS (INCLUDES

D I S P L AY S A R E AT TA C H E D O N

R E S T S O N W H E E L S T H AT A C T

MICROPHONE) AND SPEAKERS

T H E I N S TA L L AT I O N B O A R D S .

A S F O U N D AT I O N F O R B E A R I N G

A R E AT TA C H E D O N T H E

STRUCTURE.

I N S TA L L AT I O N B O A R D S .

Products:

Products: Generic ~45 inch Display

Hilti MQ Structural System

HD Webcam

Industrial Wheels

Speaker

Installation Board

The bearing structure rests on wheels that act as foundation for bearing structure.

Cameras (includes microphone) and speakers are attached on the installation boards.

Displays are attached on the installation boards.

MIRROR MODULAR 001

A LOCKABLE CONTROLLING

THE SEAMS AND THE VISIBLE

F I N I S H I N G M AT E R I A L S A R E

BOX IS CONNECTED TO THE

STRUCTURE ARE FINISHED WITH

CHOSEN TO SUPPORT THE

S PAT I A L O B J E C T V I A P R O -

PERFORATED SHEET MATERIAL IN

IDEA OF THE MIRROR.

TECTED WIRE CONNECTION.

ORDER TO SECURE VENTILATION

I N F O R M AT I O N G R A P H I C S

INSIDE STRUCTURE.

EXPLAINS THE PROJECT AND

Products:

I T ’ S C O L L A B O R AT O R S .

Lap Top Computers

Products:

Electric Wire

Perforated Sheet Material

Plywood

A lockable controlling box is connected to the spatial object via protected wire connection.

The seams and the visible structure are finished

Finishing materials are chosen to support the

secure ventilation inside structure.

the project and it’s collaborators.

with perforated sheet material in order to

Mirror – A Space for Social and Spatial Interactions

idea of the mirror. Information graphics explains

MIRROR MODULAR 001

PLAN

E L E VAT I O N

Plan from concept development stage, version ‘Modular 001’.

Side view from concept development stage, version ‘Modular 001’.

MIRROR MODULAR 001

SECTION

E L E VAT I O N

Section from concept development stage, version ‘Modular 001’.

Side view from concept development stage, version ‘Modular 001’.

Mirror – A Space for Social and Spatial Interactions

MIRROR MODULAR 001 M AT E R I A L R E Q U I R E M E N T S 2×16

32 ~45 inch displays

2×8

16 cameras (microphone included)

2×4

8 speakers Hardware for data transfer Software for data transfer Building material

Material requirement calculation from concept development stage, version ‘Modular 001’.

Mirror – A Space for Social and Spatial Interactions

MIRROR MODULAR 002 M AT E R I A L R E Q U I R E M E N T S : 2×8 =

16 ~45 inch displays

2×8

16 cameras (microphone included)

2×4

8 Speakers Hardware for data transfer Software for data transfer Building material

Material requirement calculation from concept development stage, version ‘Modular 002’.

Mirror – A Space for Social and Spatial Interactions

MIRROR A2 M AT E R I A L R E Q U I R E M E N T S : 2×18

36 ~45-inch displays

2×8

16 cameras (microphone included)

2×4

8 Speakers Hardware for data transfer Software for data transfer Building material Note! Cameras will be reorganized on the outer edges of the screens.

Material requirement calculation from concept development stage, version ‘A2’.

Mirror – A Space for Social and Spatial Interactions

MIRROR MODULAR T H E M O D U L A R S T R U C T U R E M A K E S I T P O S S I B L E TO A S S E M B L E T H E M I R R O R I N E N D L E S S WAY S .

ÂŠ Joksu / Joakim Breitenstein, 2012

The modular approach aimed for flexibility when using the Mirror at different occasions.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

MIRROR – TEAM

Helsinki Art Museum

Aalto University

WDC 2012 Helsinki

€

Corporate Sponsors

Joksu – Joakim Breitenstein © Joksu / Joakim Breitenstein, 2012

Project stakeholders during first prototype development stage.

Mirror – A Space for Social and Spatial Interactions

Mirror Modular 001A - Cottage - Cameras A

2×16 = 32 ~45 inch displays

2×8 = 16 cameras (microphone included)

2×4 = 8 Speakers

Hardware for data transfer

Software for data transfer

Building material

Pros:

• Spatial object with spatial depth

• Covers almost 180 degrees vertical view

Cons:

• Video image is cropped to approx. 4:3 even

though camera records 16:9

• Needs a lot of cameras + computing

Camera angle study, version ‘Modular 001A, 8 cameras’.

Mirror Modular 001A - Cottage - Cameras B

2×16 = 32 ~45 inch displays

2×4 = 8 cameras (microphone included)

2×4 = 8 Speakers

Hardware for data transfer

Software for data transfer

Building material

Pros:

• Spatial object with spatial depth

• 16:9 video image used to full potential

• less cameras, less computing

Cons:

• leaves a lot of area uncovered

• video image will be split in the middle with a

big seam

Camera angle study, version ‘Modular 001A, 4 cameras’.

big seam

Camera angle study, version ‘Modular 001A, 4 cameras’.

Mirror – A Space for Social and Spatial Interactions

Mirror Modular 006A - Pyramid - Cameras A

2×16 = 32 ~45 inch displays

2×4 = 8 cameras (microphone included)

2×4 = 8 Speakers

Hardware for data transfer

Software for data transfer

Building material

Pros:

• 16:9 video image used to full potential

• less cameras, less computing

Cons:

• leaves a lot of area uncovered

• inside space narrow and small

• strange structure has to be lifted up in order

to get enough room for people to go inside

• should be resting directly on floor to look

good

• not good with 45-inch displays because so

small

Camera angle study, version ‘Modular 006A, 4 cameras’.

Mirror Modular 001B - Cottage Narrow

NOTE! Anchoring to ground needs to be

redesigned!

2×8 = 16 ~45 inch displays

2×8 = 16 cameras (microphone included)

2×4 = 8 Speakers

Hardware for data transfer

Software for data transfer

Building material

Pros:

• 16:9 video image used to full potential

• less displays - cheaper

• light weight

• no seams in middle of image

• covers a lot of area

Cons:

• many cameras, a lot of computing

• narrow space - less spatialit

• more like a gate than a space

• requires structural stiffeners on the ground

Camera angle study, version ‘Modular 001B, 8 cameras’.

Mirror – A Space for Social and Spatial Interactions

The Mirror version ‘Modular 001’ located at Tennispalatsi main entrance.

Mirror – A Space for Social and Spatial Interactions

3.8 August 2012–April 2013: Prototype Development By the end of the summer 2012, the timetable for Helsinki Art Museum’s exhibition was confirmed and I continued the project development. This marked the start for an intensive period pf project development that would last until summer 2013 when the exhibition opened. During this stage, I formed a multidisciplinary team which had the capability to build the prototypes. Until now I had developed the concept alone but I was no longer capable of doing everything by myself. I made a flyer and reached out to my networks in order to get interested people to join the project. This proved itself productive and I got two persons to join through my recruitment efforts. Nina Martin, designer and animator as well as Sororush Moradi, design engineer, showed their interest and after meeting with them we agreed to start working as a team. Rajeev Siewnath, an IT all-rounder and multimedia designer who I knew from before, also joined the team. At a later stage our team was complemented with Peyman Fathi, mechanical engineer who I was introduced to through Soroush and Scott Mac McGregor, sound designer who I was introduced to through Nina. We ended up being a 6 person team who collaborated to reach our common goal which was to realize the Mirror idea. The team needed a working space where we could develop prototypes and store our equipment. This space was kindly provided to us by Startup Sauna, “…a meeting point for aspiring entrepreneurs in Northern Europe.” Startup Sauna is located at the Aalto University campus and “The 1.500 square meter industry hall is open for everybody to work in – no membership or previous ties to Startup Sauna are required.”34 At this time I also started making efforts to reach media coverage by publishing the Mirror Facebook page and by making the “Plan for Media Coverage”. During this time I also acquired additional collaborators for the project. Helsinki University Library became, like Helsinki Art Museum, an administrative and spatial collaborator for the project. The other Mirror object was to be located at the then new, architecturally significant Helsinki University Main Library in Kaisaniemi. Kaukomarkkinat / Creation Crew also joined the Mirror team. Creation Crew is a service concept that provides innovative ideas, quality products, content produc-

The Mirror Project Team had a lockable space at Startup Sauna for making the prototypes and storing the technology that was needed to build the project.

The main hall at Startup Sauna was used for casual team 34 http://startupsauna.com/about/

work.

Mirror – A Space for Social and Spatial Interactions

THE MIRROR PROJECT TEAM

Joakim Breitenstein Architect, Project Manager

Peyman Fathi Mechanical Engineer

Scott Mac McGregor Sound Designer

Nina Martin Designer, Animator

Soroush Moradi Design Engineer

Rajeev Siewnath IT, Mutlimedia Designer

Joakim has worked with the Mirror project since the beginning with a focus on design and project development. He has over five years of experience from various design fields including graphic design and architecture. Joakim graduated from Aalto University in 2012 with a BSc (Hons) in Architecture and he is now studying for his Master’s degree in Architecture at the same school. Joakim is founder of the Joksu company and his skills include architectural design as well as project management.

Peyman, the most recent member of our team, will work with the mechanical engineering part of the project. He studied mechanical engineering at KIAU University between 2008-2011. There he also won the prize of best society of engineers. He is now a senior student of mechanical engineering at HAMK University of Applied Sciences. His skills include experience in different materials and structures as well as CAD and tutoring.

Scott has several years of experience of designing and mixing sound as well as composing. He graduated from the University of Huddersfield in 2011 with a BA (Hons) in Music Production & Sound Recording. Scott is now studying for his Master’s degree at Aalto University. His skills include a broad technical and theoretical knowledge of creating sound and he has contributed in several film and game projects for both main stream and marginal media.

Nina works as a designer across disciplines and she specializes in design for social impact, human-centered design and design for social innovations. Nina graduated from the University of Huddersfield in 2011 with a BA (Hons) in Digital Film & Visual Effects Production and she is now a Master student at Aalto University Media Lab. Her skills include design for all 3D modeling, texturing, film production, editing and VFX.

Soroush has worked with designing and evaluating structures for the aviation industry. He has BSc in Industrial Product Design and MSc in Automotive Engineering and his previous team work achievements include a third prize in the Aalto Gift competition with a design for a portable aerial photography device. Soroush’s skills include industrial design, design optimization and digital rendering.

Rajeev has several years of working experience in IT and multimedia. He graduated with a bachelor’s degree in Art and Technology, Interaction Design at the The Utrecht School of the Arts and he is now studying for his Master’s degree in New Media at Aalto University. He has worked for several companies in the field such as OGD, HVMP Internet Marketing and TTA International. Rajeev is an IT / multimedia allrounder with a knowledge of several programming languages.

Mirror – A Space for Social and Spatial Interactions

All content in this presentation may be published only by permission of the copyright holders.

Introduction This plan is laid out in order to set up a media coverage plan for the Mirror project. This plan helps collaborators to estimate what kind of media coverage they would get when being involved in the Mirror project. In addition, with the help of this plan, the Mirror Project Team is able to execute it’s own goals regarding media coverage.

Mirror

NOTE! All information in this plan is to be regarded as a plan / aim and not as a promise. We can not make promises about visibility in newspapers and

A new kind of interaction

such media as that is beyond our control. However, we will do our very best to

A new kind of space

ensure maximum visibility for all collaborators.

A new kind of time

Plan for Media Coverage | February 19, 2013

Mirror | Plan for Media Coverage | February 19, 2013 | © Joksu / Mirror Project Team

Pre-exhibition Phase (Spring 2013)

Mirror | Plan for Media Coverage | February 19, 2013 | © Joksu / Mirror Project Team

The collaborators will be visible in the prototyping space which, in turn, will be visible in social media such as Facebook.

Mass Media

Specialized Media

Social Media

Goals

• To create knowledge about the

• To create an active follower base for

project among journalists.

Collaborator logo

the project and general enthusiasm about the project before the exhibition.

How to reach goals

• To get new collaborators and funders.

• Utilizing WDC Helsinki’s, Helsinki

• 1000 “likes” on Facebook by exhibition

Art Museum’s and Aalto University’s

communication professionals and

asking them to promote the project

opening. How to reach goals • Creating a Facebook page.

with bulletins etc.

with bulletins etc. • Creating a Facebook page for the

• Creating a Facebook page for the

project and informing journalists

about the upcoming project.

• Regular updating about prototyping process on the page. • Making the prototyping space so that it is the visual background for documenting the prototyping. • Involving followers in the project by organizing an event for fans and stakeholders at Startup Sauna in late March / early April.

Mirror | Plan for Media Coverage | February 19, 2013 | © Joksu / Mirror Project Team

Visibility Timeline During the exhibition the collaborators will be visible on the Mirror object which will be on display in public city spaces. One alternative to organize the visibility is to break the video stream at chosen times and display collaborator’s logos on the Mirror surfaces.

Post-exhibition / Autumn 2013

Pre-exhibition / Spring 2013

• mass media • specialized media • social media • Aalto University campus • other possible spaces

• social media • fan / stakeholder event

Most of the time the Mirror objects will display the video image or

At chosen times the collaborators will be displayed on the Mirror

other visual material that corresponds to the Mirror idea.

surfaces.

NEW SP NEWS APE PAPE R NEWSPAPER R

NOTE! This image is one alternative for organizing the visibility

Exhibition / Summer 2013

of the collaborators. The final style and time of visibility will be

• mass media • specialized media • social media • public city spaces

developed in collaboration with all collaborators. The location for the other spatial body is still to be decided.

Mirror | Plan for Media Coverage | February 19, 2013 | © Joksu / Mirror Project Team

This just is just text text to to fill to fill space the space the fill the space This space . This . This is just . This This . This just is just text is just text is is just to fill to fillisthe text to fill text just text the space. space. text the to to toThis fill space. space. fill is the fill the This This This is just the space This is just is just is just text toThis text space text fill isthe space. . text just text to to fill . fill the space. just text Thistoisfill the space.the to fill This is just to fill the space. This text the space. is just text space. This to fill the is just text to fill the This is just space. text to fill the space.

Mirror | Plan for Media Coverage | February 19, 2013 | © Joksu / Mirror Project Team

A “Plan for Media Coverage” was laid out in order to convince

sponsors about the potential that the project had for getting media The Mirror Facebook page was the main public marketing channel for the project.

coverage.

Mirror – A Space for Social and Spatial Interactions

ing, planning, installations, marketing etc. in the field of “Digital Design Solutions” and operates under Kaukomarkkinat Ltd, a company that specializes in three areas: improving energy efficiency, boosting operational efficiency in the process industry and supplying professional electronics for communications and safety. Creation Crew provided the Mirror project with professional consulting and technology. The team needed to be mobile and a van was needed to transport building materials between different locations such as raw material shop, team working space, architectural workshop and exhibition venue. This was made possible by Mercedes-Benz CharterWay, “…an experienced provider of services, and mobility in the service, procurement and management of Mercedes-Benz commercial vehicles.”35, who provided us with a van during the prototype and realization development stages. The Mirror needed high quality live video connections in order to realize the idea. This was provided by Cisco, “…an American multinational corporation headquartered in San Jose, California, that designs, manufactures, and sells networking equipment.”36 Cisco’s Finnish department provided the project with needed equipment but equally important was their active participation in the development process. Cisco’s sponsorship was supported by Cygate, a “…provider of secure network and data center solutions in the Nordic countries.”37 Cygate collaborated with Cisco to find an optimal set of video conferencing equipment to be used in the project. As the realization was physical, the project needed material for the bearing structure. This was provided by Ruukki, “… a Finnish company, headquartered in Helsinki, which manufactures and supplies metal-based components and systems to the construction and engineering industries.”38 Ruukki supported the project by providing to us hollow structural steel beams from which we built the bearing structure. The Mirror project collaborated with Anima Boutique, a creative production house which helps “…brands and businesses tell stories and connect with their

AVEK was the biggest funder throughout the project.

Cisco provided the project with high

quality video conferencing equipment and technical consultation.

35 http://www.charterway.com/content/charterway/mpc/mpc_charterway_website/en/start/charterway_/

Kaukomarkkinat / Creation Crew

home/business.flash.html#_int_charterway_:home:core-navi:business

provided the project with professional

36 http://en.wikipedia.org/wiki/Cisco_Systems

consulting and technology.

37 http://www.cygate.fi/en/welcome 38 http://en.wikipedia.org/wiki/Rautaruukki

Mirror – A Space for Social and Spatial Interactions

Aalto University provided the project

Cygate, together with Cisco, provided

administrative support.

conferencing equipment.

with funding, working space and

Mercedes-Benz CharterWay Rent provided the project with a van during the prototype and

the project with high quality video

Ruukki provided the project with building

Helsinki University Library was, together with Helsinki Art Museum, a spatial and administrative collaborator.

Anima Boutique provided the project

material for the bearing structure.

with an animation which was displayed

Helsinki Art Museum was a funder of

World Design Capital Helsinki 2012 gave

Oskar Öflund Foundation was one of the

administrative partner.

2012” status and were an authoritary

realization development stages.

the project and the main spatial and

the project an official “WDC Helsinki

on the Mirror.

project’s funders.

partner.

Mirror – A Space for Social and Spatial Interactions

2011

Mirror / Timetable / Updated March 7, 2013

Subject/Time

2012 8

2013 8

1. Product development

2. Acquirement of collaborators (ADMINISTRATIVE)

3. Acquirement of collaborators (TECHNICAL)

4. Administrative development

5. Prototyping / Production / Programming

6. The Mirror presented in the Happy End? exhibition

7. World Design Capital Helsinki 2012

8. The Mirror in use at Aalto University

Mirror | Project Presentation | Full Version | March 10, 2013 | ÂŠ Joksu + Mirror Project Team

Project timetable during prototype development stage.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Prototyping Timetable The development of the prototypes will be organized as flexible team work which will be fit in to each team members personal schedule. This timetable will be a basic structure for our team work but it is bound to change as the personal schedules of each team member are also bound to change. However, Joakim, who is the responsible team member and project manager, has reserved the displayed quantity of days/half-days for working With the Mirror project. Therefore this timetable is a realistic representation of the prototyping timetable.

Mirror / Project Team / Working Plan and Timetable for Prototyping / Updated March 10, 2013

Important meeting / review / event

Team workshop at project working space

Person / Time

Team member available for project development

Team member preoccupied with other commitments

January 2013

February 2013

First Meeting

Team Workshop

Meeting at Koskelo

March 2013

Team Workshop

Review

Team Workshop

2nd Prototype Ready

Material for Prototypes

Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

Joakim

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

Peyman

Scott

Nina

Soroush

Rajeev

Person / Time

April 2013

Public Review of Prototypes

Team Workshop

May 2013

Team Workshop

June 2013

Review

Team Workshop

Happy End? Exhibition Opens

Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su

Joakim

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

Peyman

Scott

Nina

Soroush

Rajeev

Mirror | Project Presentation | Full Version | March 10, 2013 | © Joksu + Mirror Project Team

Detailed timetable for prototype development stage.

Mirror – A Space for Social and Spatial Interactions

Mirror / Budget / March 10, 2013 / Currency € Subject/Time

1-3 2011

4-6 2011

7-9 2011

10-12 2011

1-3 2012

4-6 2012

7-9 2012

10-12 2012

1-3 2013

4-6 2013

7-9 2013

10-12 2013

Total

1. TECHNICAL APPLIANCES AND OTHER MATERIAL (Covered by sponsors and grants) EXPENSES – The amounts are based on a realization of the Modular 001 version and they are estimates by product manufacturers, service providers and the author. The amounts does not include VAT. 32 x Displays ~45-inch

-36000

16 x HD Webcams + Microphone

-1600

8 x Speakers

-200

Electric Wire

-170

Building materials

-3030

-1000

-2000

Network Connections

-200

-3000

Programming

-2000

Software/Hardware

-4000

Total

-48000

-2000

-50000

ASSURED INCOMES Aalto University / Design Factory

2000

Aalto University / Martti Raevaara / TVT

5000

AVEK

20000

Creation Crew

5000

Total

32000

2. ADMINISTRATIVE AND SPATIAL EXPENSES (Covered by Helsinki City Art Museum) EXPENSES – The amounts are estimates by the author. Visual identity

-1000

Marketing

-2000

Logistics during active project

-3000

Maintenance during active project

-1000

Surveillance during active project

-3000

Energy consumption

-1000

Construction

-3000

Logistics during construction

-1000

Total

-15000

ASSURED INCOMES Helsinki Art Museum

15000

15000 15000

Total 3. TEAMS OWN RISK (Previously authors own risk, covered by grants) EXPENSES – The amounts are compensation for work made for the project and they are based on estimated working hours. Joakim: Product development / Design

-1312,5

Joakim: Project management

-1312,5

-10500

-5250

-7875

-13125

-2625

-5250

-7875

-34125

2500

4000

6 person team work Total

-10500

ASSURED INCOMES AVEK Oskar Öflunds Stiftelse

6500 3000

Total

Mirror | Project Presentation | Full Version | March 10, 2013 | © Joksu + Mirror Project Team

Project budget during prototype development stage.

3000 9500

Mirror – A Space for Social and Spatial Interactions

Costs for Pt. 1 in Budget for Realizing the Mirror Modular 001 NOTE! The prizes are listed retail prizes without VAT and they do not include discounts or sponsorships unless otherwise stated.

AUDIOVISUAL EQUIPMENT Displays

32 ~45-inch screens á 1125 €

Cameras

16 HD webcams (microphone included) á 100 €

36000 € 1600 €

Speakers

8 speakers á 25 €

200 €

Electric wire

200m electric wire

170 €

37970 €

BUILDING MATERIAL Wheels (includes 30% discount promised from ABC-Kärry Oy) 16 wheels that support whole structure á 40 €

640 €

Installation plate

25mm plywood birch 16m2

640 € 400 €

Control box

25mm plywood birch 10m2

Finishing material

3mm steel sheet 30m2

750 €

Unpredictable costs

500 €

Bearing structure (Sponsored by Hilti (Suomi) Oy)

Hilti MQ Structural System

100 €

3030 €

50000€

NETWORK CONNECTION / PROGRAMMING Reservation for unpredictable network upgrades

monthly fee 1000 € for three months

3000 €

Reservation for unpredictable programming costs

20 h programming -> 100 € / h

2000 €

SOFTWARE/HARDWARE 8 x lap-top computers á 500 €

4000 €

Mirror | Project Presentation | Full Version | March 10, 2013 | © Joksu + Mirror Project Team

5000€ 4000€

Project budget break down during prototype development stage.

Mirror – A Space for Social and Spatial Interactions

Mirror / Project Status / Collaborators and Funding / March 10, 2013 Organisation The Promotion Centre for Audiovisual Culture (AVEK) Samsung World Design Capital Helsinki 2012 World Design Capital Helsinki 2012 Helsinki Art Museum Helsinki Art Museum Helsinki Art Museum Aalto University WDC 2012 Team Huippu Design Management Greta ja William Lehtinen Foundation Panasonic Sony The Promotion Centre for Audiovisual Culture (AVEK) Niilo Helander Foundation Niilo Helander Foundation Nokia Philips Jenny and Antti Wihuri Foundation Jenny and Antti Wihuri Foundation Mitsubishi LG Aalto University Nebula Kone Foundation Kone Foundation Finnish Cultural Foundation Finnish Cultural Foundation Arts Council in Finland The Promotion Centre for Audiovisual Culture (AVEK) Aalto University Aalto University / Martti Raevaara / TVT Aalto University / Design Factory Aalto Univeristy / International Relations Aalto University / Library + Information Services / Learning Hub Aalto University / Library + Information Services / Learning Hub Aalto University / Media Factory Open Call Aalto University / Media Factory Open Call Aalto University / Media Department Aalto University / Media Department Aalto University / Media Lab Aalto University / Open Innovation House Aalto University / Open Innovation House Aalto University / AaltoWindow Project Aalto University / AaltoWindow Project Aalto University / Startup Sauna Aalto University / Tuula Teeri Aalto University / Tuula Teeri Aalto University / IT International Council of Societies of Industrial Design (ICSID) Cape Town Partnership The Promotion Centre for Audiovisual Culture (AVEK) NEC Swedish Cultural Foundation in Finland Swedish Cultural Foundation in Finland Aalto Protomo / Teletransporter Hilti Schneider Finland Multitouch The Promotion Centre for Audiovisual Culture (AVEK) The Promotion Centre for Audiovisual Culture (AVEK) Skype Finnish Cultural Foundation Finnish Cultural Foundation Oskar Öflund Foundation Cape Town University Aalto University Jenny and Antti Wihuri Foundation Jenny and Antti Wihuri Foundation The Building Information Foundation RTS Kaukomarkkinat Ltd / Creation Crew Alfred Kordelin Foundation Alfred Kordelin Foundation Mercedes-Benz CharterWay Helsinki University Library Neste Oil St1 Cisco Systems Finland Oy

Kind of collaboration Funding for development of idea Supply of technical appliances Coordinative Funding for project realization Spatial / administrative Funding for technical appliances... Funding for teams own risk Coordinative Coordinative Funding for authors own risk Supply of technical appliances Supply of technical appliances Funding for authors own risk Funding for authors own risk Funding for technical appliances... Supply of technical appliances Supply of technical appliances Funding for technical appliances... Funding for authors own risk Supply of technical appliances Supply of technical appliances Retaining the Mirror after exhibition Supply of network connections Funding for authors own risk Funding for technical appliances... Funding for authors own risk Funding for technical appliances... Funding for technical appliances... Funding for technical appliances... Funding for technical appliances... Funding for technical appliances... Funding for technical appliances... Funding for technical appliances... Development Funding for technical appliances... Funding for technical appliances... Funding for teams own risk Development Funding for technical appliances... Development Development Funding for technical appliances... Development Funding for technical appliances... Providing of working space Funding for technical appliances... Funding for teams own risk Development Coordinative Spatial / administrative Funding for authors own risk Supply of technical appliances Funding for technical appliances... Funding for authors own risk Development Supply of building material Supply of technical appliances Supply of technical appliances Funding for technical appliances... Funding for authors own risk Funding / Technical support Funding for technical appliances... Funding for authors own risk Funding for project realization Spatial / administrative Funding for authors own risk Funding for technical appliances... Funding for authors own risk Funding for authors own risk Development / Funding for technical appliances Funding for technical appliances... Funding for authors own risk Provider of mobility Location for other spatial body Provider of fuel Provider of fuel Development

Date of first contact February 2, 2011 February 8, 2011 February 11, 2011 February 11, 2011 February 20, 2011 February 20, 2011 February 20, 2011 February 20, 2011 March 1, 2011 March 9, 2011 March 22, 2011 March 22, 2011 March 29, 2011 March 29, 2011 March 29, 2011 May 26, 2011 May 27, 2011 May 31, 2011 May 31, 2011 June 9, 2011 June 9, 2011 June 20, 2011 September 6, 2011 September 30, 2011 September 30, 2011 October 31, 2011 October 31, 2011 October 31, 2011 October 31, 2011 Autumn, 2011 Autumn, 2011 September 15, 2011 October 31, 2011 November 17, 2011 November 17, 2011 November 30, 2011 November 30, 2011 January, 2013 January, 2013 January, 2013 January, 2013 January, 2013 January, 2013 January, 2013 January, 2013 February, 2013 February, 2013 February, 2013 November 14, 2011 November 14, 2011 November 17, 2011 November 17, 2011 November 30, 2011 November 30, 2011 December 1, 2011 December 18, 2011 January 13, 2012 January 13, 2012 January 15, 2012 January 15, 2012 February 8, 2012 February 10, 2012 February 10, 2012 February 15, 2012 February 20, 2012 February 29, 2012 May 31, 2012 May 31, 2012 May 31, 2012 August 2, 2012 August 31, 2012 August 31, 2012 February, 2013 February, 2013 February, 2013 February, 2013 March, 2013

Applied for 2500€ Sponsorship – tech. app. Collaboration 19000€ / 51000€ Collaboration 5000–10000€ 3250€ Collaboration Collaboration 12000€ Sponsorship – tech. app. Sponsorship – tech. app. 5000€ 13600€ 20800€ Sponsorship – tech. app. Sponsorship – tech. app. 29600€ 10400€ Sponsorship – tech. app. Sponsorship – tech. app. Maintenance Sponsorship – network conn. 6300€ 27700€ 5250€ 27700€ 27700€ 27700€ Collaboration and funding No specific sum 9233€ 9233€ Collaboration 1000–5000€ 13500€ 6500€ Collaboration 1000–5000€ Collaboration Collaboration 1000–5000€ Collaboration 5000–10000€ Working space 5000€ 3250€ Collaboration Collaboration Collaboration 5250€ Sponsorship – tech. app. 27700€ 5250€ Collaboration Sponsorship – building materials Sponsorship – tech. app. Sponsorship – tech. app. 27700€ 5250€ 10000€ / Technical support 5000€ 5000€ 5000€ Collaboration 1500€ 10000€ 2500€ 8000€ Development support / 5000€ 5000€ 3500€ Car for transportations Spatial support Fuel for transportations Fuel for transportations Development support

Mirror | Project Presentation | Full Version | March 10, 2013 | © Joksu + Mirror Project Team

Record of applied funds and collaborations during prototype development stage.

Mirror – A Space for Social and Spatial Interactions

Status Received 2500€ On Hold Accepted Declined Accepted Pending Pending Accepted On Hold Declined On Hold On Hold Received 4000€ Declined Declined Declined Declined Declined Declined On Hold On Hold Accepted On Hold Declined Declined Declined Declined Declined Assured 20000€ Pending Assured 5000€ Assured 2000€ Declined Accepted Pending Pending Pending Pending Pending Accepted Pending Pending Accepted Declined Accepted Declined Declined Accepted On Hold On Hold Declined On Hold Declined Declined On hold Accepted On Hold On Hold Declined Declined On Hold Declined Declined Assured 3000€ On Hold Declined Declined Declined Declined Accepted / Assured 5000€ Declined Declined Accepted Accepted Declined Declined Accepted

STATEMENTS FROM VARIOUS PERSONS SHOWED SUPPORT FOR THE IDEA AND PLAYED AN IMPORTANT ROLE FOR SUCCESSFUL FUNDRAISING

Espoo 25.02.2013

Statement

Mirror by Joakim Breitenstein / Mirror Project Team

I am familiar with the Mirror project developed by Joakim Breitenstein and the Mirror Project Team. The Mirror explores the social and spatial dimensions of the digital age in an interesting way and the realized project will be an advancement in developing our environment. The AaltoWindow project has agreed on collaborating with the Mirror project in order to develop the projects so that they complete each other, provided that appropriate funding is available. The aim is to make the AaltoWindow software usable on the Mirror spatial objects and vice versa so that the Mirror spatial objects work together with the AaltoWindow software. AaltoWindow and the Mirror project will together develop the new campus environment of Aalto University in a significant way. I have met Joakim Breitenstein personally and I wish to express my confidence in him and his team realizing the project. His long-term commitment and his professional approach ensures that the project is surely going to be successful. I also wish to express my confidence in the collaboration between the AaltoWindow and the Mirror projects and thus the collaboration between Aalto School of Science and Aalto School of Arts, Design and Architecture. I, as a project manager of AaltoWindow, support the Mirror project and I sincerely wish that potential funders will reward this exceptional project with required funding.

Jari Kleimola postdoc researcher Aalto University, School of Science Department of Media Technology email: jari.kleimola@aalto.fi phone: 050 365 1762

Atso Andersén, Aalto

Kalevi Ekman, Aalto

Mikko Heikkinen, Aalto

Antti Kirjalainen, WDC

Jari Kleimola, Aalto

Eeva-Liisa Lehtonen,

Stefan Lindfors.

Erja Pusa, Helsinki Art

Markku Reunanen, Aalto

Juha Tynkkynen, judge

University.

Aalto University.

University.

Museum.

Mirror – A Space for Social and Spatial Interactions

Helsinki 2012.

University.

at AVEK’s pitching

competition, Idealist.

audience across digital media.”39 Anima Boutique’s productions were on display in the Happy End? exhibition at Helsinki Art Museum and one of their pieces was displayed on the Mirror. In addition to AVEK, Aalto University and Helsinki Art Museum, the project was in part funded by Oskar Öflund foundation. Statements from various people played an important role in acquiring funding and collaborators during different project stages. 10 people wrote a statement of the Mirror project in order to present their support for acquiring funding and sponsors from various places. These people were Atso Andersén (Aalto University), Kalevi Ekman (Aalto University), Mikko Heikkinen (Aalto University), Antti Kirjalainen (WDC Helsinki 2012), Jari Kleimola (Aalto University), Eeva-Liisa Lehtonen (Aalto University), Stefan Lindfors, Erja Pusa (Helsinki Art Museum), Markku Reunanen (Aalto University) and Juha Tynkkynen (judge at AVEK’s pitching competition, Idealist). As there are different possible technologies on how to realize the idea, the team decided to build two prototypes based on the two most evident and realistic (in terms of cost) technologies in order to compare them and make an informed decision on how to make the final realization. These two technologies are ‘display’ and ‘projection’. The display technology is based on the principle of individual digital displays that can show media both alone as a small display area and together as a big display area also known as a ‘video wall’. The projection technology is based on a media source, a projector, which projects the image on a surface that is located further away from the source. The basic idea is based on a free standing object which can be approached and walked around/inside freely without interfering with the content shown on the object’s surface. Therefore displays are a natural way of solving how to show media content on the object’s surface. However, there are possibilities to do it also with projection technique if the projection comes from inside the structure and thus does not interfere with the aspect of peoples free movement inside and around the object. In other words if media was projected on the object’s surface from a distance and a person would walk between the projection and the object, then that person would interfere the projection and the visibility of the media content on the object would be disturbed. The projection technology would, however, make it possible to create free form and even curved objects and would not be as costly as the display 39 http://www.animaboutique.fi/company/

technology which also results in more rigid forms because of the limitations of the square formed display. Based on these starting points the team decided to build two prototypes, one with display technology and one with projection technology. The idea was to present these prototypes to the public and get feedback from potential end users to inform our decision making for the realization. In the prototypes we tried to underline the different possibilities of the different technologies, free and curved form for projection technology and thin, rigid form for the display technology. The Mirror Project Team organized a “Prototypes Review + Afterparty” event at Aalto University Startup Sauna on 5 April, 2013 at 15:00-22:30. The aim of the event was to present two comparable Mirror prototypes (Prototype 1 and Prototype 2) to Mirror project stakeholders and other people who were interested in the project and then to collect feedback on both prototypes. The feedback was collected in order to support the Mirror Project Team in its decision on which prototype to realize for the Happy End? exhibition at Helsinki Art Museum in summer 2013. That same prototype will also be used at Aalto University after the Happy End? exhibition. Approximately 100-120 people attended the event during 15:00-22:30 and a total of 63 written feedback comments were gathered in addition to spoken feedback. WRITTEN FEEDBACK

The distribution of the 63 comments was as follows. • 8/63 comments referred to both prototypes • 27/63 comments referred to Prototype 1 • 28/63 comments referred to Prototype 2 All comments were documented and categorized according to two themes. • 1. General feeling of the comment positive/neutral/negative • 2. Relevance to prototype uniqueness. (I.e. if a comment stated that Prototype 1 has rigid form it was considered as a relevant comment with regards to prototype uniqueness as it commented on a unique feature of Prototype 1. But if a comment stated that Prototype 2 was not weather proof it was not regarded as a relevant comment with regards to prototype uniqueness as Prototype 1 is not weather proof either and therefore the comment did not give any relevant insight on comparing the two prototypes.)

Mirror – A Space for Social and Spatial Interactions

The comments that were then taken into consideration were the ones that had relevance to prototype uniqueness because the aim was to compare the two alternative prototypes. The distribution of the comments that were relevant with regards to prototype uniqueness were distributed as follows. Common feedback for both prototypes with relevance to prototype uniqueness: • • •

0 positive comments (0%) 1 neutral comments (100%) 0 negative comments (100%)

Feedback for Prototype 1 with relevance to prototype uniqueness: • • •

6 positive comments (46%) 4 neutral comments (31%) 3 negative comments (23%)

Feedback for Prototype 1 with relevance to prototype uniqueness: • • •

8 positive comments (47%) 6 neutral comments (35%) 3 negative comments (18%)

As a conclusion of this kind of categorization one can see that no evident difference arose between the two prototypes that would speak for general notion of positiveness/neutralness/negativeness in favor of either Prototype 1 or Prototype 2. Furthermore the feedback was analyzed with regards to the topic on which the comments referred to. 34/63 comments were regarded as relevant feedback. The remaining 29 comments were regarded as non-relevant as they were either non-understandable or then they did not focus on the underlining goals of the Mirror project itself. The topical distribution of the 34 constructive comments was as follows. 9/34 comments referred to the interaction and communication aspects of the prototypes. 10/34 comments referred to the spatial/shape aspects of the prototypes. 7/34 comments referred to the appearance aspects of the prototypes. 8/34 comments referred to the image/camera aspects of the prototypes.

Topic 1, Interaction and communication: The comments that referred to interaction and communication aspects of the prototypes were mainly in favor of Prototype 1. It is still important to notice that most of the negative issues about Prototype 2 can be solved by having a different set-up of modules than was presented in the event. For the moment, however, Prototype 1 seemed to be a better fit for interaction and communication. Topic 2, Space and shape: Both prototypes received positive and negative comments about the spaces and shapes they created. However, a slight majority of the space and shape related comments were in favor of Prototype 2. Topic 3, Appearance: Both prototypes received positive and negative comments about the appearance. Aspects such as detailing and finishing of the surfaces needs to be worked on for the final realization, regardless of which prototype. No evident favor for any of the prototypes could be proposed based on the comments. Topic 4, Image and camera: The majority of the image and camera related comments were given to Prototype 1. A focus on where to place the cameras as well as angle of view seems to be an important issue for Prototype 1. As a conclusion one can say that a lot of constructive comments and important aspects arose in the 34 relevant comments. However, no significant difference that would favor one prototype above the other could be recognized from the comments. Further development should focus on developing the interaction and communication aspects as well as the detailed finishing of appearance aspects of the chosen prototype. SPOKEN FEEDBACK

In the spoken feedback we got many good ideas and insights about further development. Most of the comments were neutral with regards to prototype uniqueness. However, two comments favored Prototype 1 as it would be a better choice regarding timetable and faster progress of the project. One comment was positive about the “painting-like” effect that was created on Prototype 2 when realized with textiles. CONCLUSIONS AND FURTHER ACTIONS

The collected feedback provided a lot of good insights, ideas and comments that support the further development of the Mirror project. However, as overall result the

Mirror – A Space for Social and Spatial Interactions

Goal for Prototype 1

was to be realized with displays.

Design for prototype made with display technology as media source.

Goal for Prototype 2

was to be realized with projectors.

Design for prototype made with projector technology as media source.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

• Scalability* • Quality (visual, durability) • Modularity • Usability • Benefit as many as possible * possibility to create larger 3D space with roof and walls as well as smaller entities such as single wall

Mirror Prototypes Review + Afterparty | Prototypes Presentation | 5 April, 2013 | © Joksu + Mirror Project Team

Common goals for both prototypes.

Mirror – A Space for Social and Spatial Interactions

PROTOTYPING DOCUMENTED, PROTOTYPE 1

Me (left) and Soroush testing the mirror effect.

Testing the display version of the mirror effect with Soroush (left), Rajeev and Nina.

Soroush testing how big the space inside the Mirror should be.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

PROTOTYPING DOCUMENTED, PROTOTYPE 2

Testing projection via a glass mirror with Peyman (in front) and Soroush.

Testing a projector with Rajeev and Maria (Rajeev’s girlfriend).

Testing the projector version of the mirror effect with Peyman.

Mirror – A Space for Social and Spatial Interactions

PROTOTYPING DOCUMENTED, PROTOTYPE 1

Welding the structural steel.

Dimensioning the structure to fit a human inside.

Assembling Prototype 1 made of structural steel and plywood.

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Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

PROTOTYPING DOCUMENTED, PROTOTYPE 2

Gluing and screwing the joints.

Production line for Prototype 2, made of chipboard.

Three modules for Prototype 2.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

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PROTOTYPING DOCUMENTED, PROTOTYPE 1

Testing large scale video image on Prototype 1.

Peyman brainstorming on structural ideas for Prototype 1.

Testing large scale video image on Prototype 1.

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Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

PROTOTYPING DOCUMENTED, PROTOTYPE 2

Exploring possibilities for projecting the video image from inside the structure.

Brainstorming on structural ideas for Prototype 2.

Exploring possibilities for projecting the video image from inside the structure.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

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Mirror A space for social and spatial interaction by Joksu + Mirror Project Team

Hello! Please join us at our Mirror Prototypes Review + Afterparty

In collaboration with: Friday, April 5, 2013, 15:00â&#x20AC;&#x201C;22:30 Startup Sauna, Betonimiehenkuja 3D, Espoo

Drinks by:

Mirror marketing poster.

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http://www.facebook.com/events/620141887999811/

Mirror Prototypes Review + Afterparty poster.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Image © Antti Ahtiluoto

Hartwall was kind to sponsor drinks for the prototypes review

Team members presenting themselves.

event.

Image © Antti Ahtiluoto

Me presenting the project.

Team members presenting the prototypes to attendees.

Mirror – A Space for Social and Spatial Interactions

105

Image ÂŠ Antti Ahtiluoto

Prototype 1, realized with display technique.

106

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Image ÂŠ Antti Ahtiluoto

Prototype 2, realized with projection technique.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

107

Image © Antti Ahtiluoto

Prototype 1.

Image © Antti Ahtiluoto

Prototype 1.

108

Prototype 1.

Mirror – A Space for Social and Spatial Interactions

Image © Antti Ahtiluoto

Prototype 2.

Image © Antti Ahtiluoto

Prototype 2.

Mirror – A Space for Social and Spatial Interactions

109

Image © Antti Ahtiluoto

Scale models of prototypes.

Attendees giving feedback.

110

Image © Antti Ahtiluoto

Attendees giving feedback.

Rajeev presenting Prototype 1.

Mirror – A Space for Social and Spatial Interactions

Image © Antti Ahtiluoto

Attendees discussing the prototypes.

Image © Antti Ahtiluoto

Joakim presenting the design.

Attendees giving feedback.

Mirror – A Space for Social and Spatial Interactions

111

Image © Antti Ahtiluoto

Attendees chilling.

Attendees giving feedback.

112

Image © Antti Ahtiluoto

Attendee giving feedback.

Attendees giving feedback.

Mirror – A Space for Social and Spatial Interactions

The prototypes were presented to the public at the “Mirror Prototypes Review + Afterparty” event held at Startup Sauna on 5th of April, 2013.

Mirror – A Space for Social and Spatial Interactions

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Prototype 1

Prototype 2

Prototype 1

Prototype 2

“Small House”

“Little Wall”

Mirror Prototypes Review + Afterparty | Prototypes Presentation | 5 April, 2013 | © Joksu + Mirror Project Team

Structural variations, ‘Small House’.

Structural variations, ‘Little Wall’.

Prototype 1

Prototype 2

Prototype 1

Prototype 2

“Large House”

“Panorama”

Mirror Prototypes Review + Afterparty | Prototypes Presentation | 5 April, 2013 | © Joksu + Mirror Project Team

Structural variations, ‘Large House’.

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Mirror Prototypes Review + Afterparty | Prototypes Presentation | 5 April, 2013 | © Joksu + Mirror Project Team

Structural variations, ‘Panorama’.

Mirror – A Space for Social and Spatial Interactions

Prototype 1

Prototype 2

“Large Wall”

Prototype 1

Prototype 2

+ Fixed, durable,

+ Lightweight structure

straightforward structure

+ Creates expressive space

+ Fits in small spaces

+ Cheap

+ Easy to adapt touch screen

Mirror Prototypes Review + Afterparty | Prototypes Presentation | 5 April, 2013 | © Joksu + Mirror Project Team

Structural variations, ‘Large Wall’.

Pros.

Prototype 1

Prototype 2

Prototype 1

Prototype 2

– Heavy structure

– Projecting inside the

• “Foolproof” short term

• More unexplored variables →

– Expensive

strucuture is challenging

realization?

uncertain short term solution?

– Takes a lot of space

• Expensive and unnecessarily

• Thorough product development

– Difficult to adapt touch screen

heavy long term solution?

could lead to economical light weight long term solution?

Mirror Prototypes Review + Afterparty | Prototypes Presentation | 5 April, 2013 | © Joksu + Mirror Project Team

Cons.

Mirror Prototypes Review + Afterparty | Prototypes Presentation | 5 April, 2013 | © Joksu + Mirror Project Team

Conclusions.

Mirror – A Space for Social and Spatial Interactions

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Feedback for Prototype 1.

116

Feedback for Prototype 2.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Mirror Prototypes Feedback Collected

14 April, 2013

By Joakim Breitenstein

Both prototypes

Topical categories: 0. Non-relevant, 1. Interaction/communication, 2. Shape/space, 3. Appearance, 4. Image/camera

Common feedback for both prototypes The house seems better for communication. The lower structure bar Table seems more like decoration. The arch shape is nice in both prototypes, it gives a nice and concrete experience of the “inside” and the “outside” and is easily accessible. Kinect? Transportation? Should modules be even smaller? Need a good demo! Content or tech? What is a mirror? Space for “extra” equipment seems too big. – computers, projectors

Neutral/Positive/Negative

Relevance to prototype Uniqueness

Neutral

Yes

Positive Neutral Neutral Neutral Neutral Neutral Negative

No No No No No No No

2 0 0 0 0 0 0

Total positive Total neutral Total negative Total positive with relevance to prototype uniqueness Total neutral with relevance to prototype uniqueness Total negative with relevance to prototype uniqueness

Topical category

prototype uniqueness:

Feedback for Prototype 1

Neutral/Positive/Negative

Relevance to prototype Uniqueness

Easier to stack, store & transport. (+drawing) Safe choice. <3 Where sits the computer? Very heavy and massive structure. You should continue with the easier version in order for making the Future collecting of feedback easier. The most practical one that best communicates the experience. Sits better in more streetscapes. Rigid form. It looks loke a house. Could screens be integrated in structure? Needs masking for the construction. Voids between screens. Pepper's ghost effect. Not weather proof. Creates a space! Can you project PC-desktops :) Surveillance camera. The quality of the picture seems better which makes the interaction More real Good: More opportunities for interaction. Small endless mirror effect, see background scenery. Good! (+drawing) One camera. (+drawing) Test setups by visualizing different camera setups (1,2), angles, views... One camera. Study carefully camera location, angle and view... Visualize and optimize for nicest experience. Two cameras. Placed in middle of walls. What is the camera pointing at? What do I see when inside. Looking down? Strong endless mirror, no background scenery... - too UFO / inhumane? I don't see the face?

Positive Positive Positive Neutral Negative

Yes Yes Yes Yes Yes

0 0 0 0 0

Neutral Positive Positive Negative Positive Neutral Neutral Negative Neutral Negative Positive Neutral Negative

Yes Yes Yes Yes Yes Yes Yes Yes No No No Don't know Don't know

0 1 2 2 3 3 3 3 0 0 2 0 0

Positive Positive Positive Neutral Neutral

Don't know Don't know Don't know Don't know Don't know

1 1 4 4 4

Neutral

Don't know

Neutral Negative Negative

Don't know Don't know Don't know

4 4 4

Total positive Total neutral Total negative Total don't know Total positive with relevance to prototype uniqueness Total neutral with relevance to prototype uniqueness Total negative with relevance to prototype uniqueness Total don't know with relevance to prototype uniqueness

Topical category

10 10 7 0 6 4 3 0

Feedback for Prototype 2

Neutral/Positive/Negative

Relevance to prototype Uniqueness

Nice idea to use it as table/bar as well multifunc.!? Like! Bar table. Helsinki – Cape Town Projection structure #alum + pvc #backproject www.clipso.com Bar ta[ble[ Fragile Image correction tricky. Needs 15 cm legs to make correct height. Bad: Might be hard to interact with the other side. More organic. It's more “flowing” a shape. Organic shape is nice and opens up different possibilities. Inviting form. This is bad because from one point you cannot see everywhere. It must Be like [arch] (+drawing) How about using a projection film instead a white fabric. Could make The image much sharper. I like this one more because it doesn't look As technical as the Prototype 1. Acrylic instead of textile. Sunchronize all screens as one. ...could these elements be stacked? Idea: Draw with your mobile device. Pepper's ghost effect. Would be nice to have the picture on eye level. Too low, can't be face-to-face with people. Eye height good for communication. That is why bar table is too low. Build anything out of pieces! Current screen doesn't look nice material. Flexible display option. Good: Gives truevision on “twin” space. Maybe it doesn't need to be -> turn it in effect. Interaction through touch surfaces on both sides would cool. (Drawing with draft for modular structure.) (Drawing with unidentifiable object) (Drawing with unidentifiable object) Hot spot.

Positive Positive Positive Neutral Neutral Negative Negative Neutral Negative Positive. Positive Positive Positive

Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes

0 0 0 0 0 0 0 1 1 2 2 2 2

Totals with relevance to

1 6 1 0 1 0

Positive

Neutral

Negative

Mirror Prototypes Feedback Collected | 13 April, 2013 | © Joksu + Mirror Project Team

The relevant feedback was categorized as positive, neutral or negative.

Topical category

Neutral

Yes

Positive Neutral Neutral Neutral Neutral Neutral Negative Negative Negative Positive Negative Positive

Yes Yes Yes No No No No No No No No Don't know

3 3 4 0 0 0 1 1 1 2 3 0

Positive Neutral Don't know Don't know Don't know Don't know

Don't know Don't know Don't know Don't know Don't know Don't know

0 0 0 0 0 0

11 10 7 4 8 6 3 0

Prototype 1

Prototype 2

Totals with relevance to

prototype uniqueness:

Positive

Neutral

Negative

Mirror Prototypes Feedback Collected | 13 April, 2013 | © Joksu + Mirror Project Team

The feedback was documented and structured as a spreadsheet.

The feedback did not favor one of the prototypes, both had all kinds of comments.

Mirror – A Space for Social and Spatial Interactions

117

Joksu Joakim Breitenstein joakim.breitenstein@gmail.com +358 40 518 2518 http://joksu.com/ Mirror Prototypes Feedback Report 14 April, 2013 ____________________________________________________________________________________________________________

Written by: Joakim Breitenstein

Joksu / Mirror Project Team

joakim.breitenstein@gmail.com

Mirror Prototypes Feedback Report The Mirror Project Team organized a "Mirror Prototypes Review + Afterparty" event at Aalto University Startup Sauna on 5 April, 2013 at 15:00-22:30. The aim of the event was to present two comparable Mirror prototypes (Prototype 1 & Prototype 2) to Mirror project stakeholders and other people who were interested in the project and then to collect feedback on both prototypes. The feedback was collected in order to support the Mirror Project Team in its decision on which prototype to realize for the Happy End? exhibition at Helsinki Art Museum in summer 2013. That same prototype will also be used at Aalto

Scale models of the prototypes.

University after the Happy End? exhibition.

Approximately 100-120 people attended the event during 15:00-22:30. A total of 63 written feedback comments were gathered in addition to spoken feedback.

Written Feedback

The distribution of the 63 comments was as follows.

8/63 comments referred to both prototypes 27/63 comments referred to Prototype 1 28/63 comments referred to Prototype 2

All comments were documented and categorized according to two themes.

The feedback report concluded that “…no evident difference arose

between the two prototypes that would speak for general notion of

positiveness/neutralness/negativeness in favor of either Prototype 1 or Prototype 2.”

118

Going through the feedback with the team.

Mirror – A Space for Social and Spatial Interactions

Mirror Project Team concluded that no significant difference could be recognized from the feedback that would favor one prototype above the other. Therefore the decision on which prototype to realize for the Happy End? exhibition and reuse at Aalto University was not a sole result of the collected feedback. As the feedback did not prove significant favoring of one prototype above the other, the Mirror Project Team could now easily make decisions that are based on other project related aspects as well such as timetable, budget etc. Our conclusion from the feedback was: •

•

Version 1: Panasonic Displays

Version 2: Samsung Displays

Bearing steel structure

Wooden board

No evident difference could be recognized between the two prototypes that would speak for a general impression of positiveness/neutralness/negativeness in favor of either Prototype 1 or Prototype 2. Further development should focus on developing the interaction and communication aspects as well as appearance/detailed finishing aspects of the chosen prototype.

The Mirror Project Team decided on realizing Prototype 1 (display version) for the Happy End? exhibition next summer. This was mainly because of the tight schedule as the deadline (Happy End? exhibition) was in 2 months. Prototype 1 offered a more secure solution for making a high quality realization in the given time. There were too many unexplored variables in Prototype 2 (projector version) for it to have been realized in a confident way in the short time. We saw no reason in realizing Prototype 2 as it would have been too risky with regards to tight schedule but also as the feedback did not clearly favor one prototype above the other. However, the team stated that “…the realization for the Happy End? exhibition will only be the first version of a finished Mirror object. If proper resources for product development is acquired, Prototype 2 might come back in the picture as the project evolves.”

Mirror Versions for Realization | 24 April, 2013 | © Joksu + Mirror Project Team

Further development of Prototype 1, version 1, bearing structure. Version 1: Panasonic Displays

Version 1: Panasonic Displays

Version 2: Samsung Displays

Physical mirror surfaces

Panasonic 47-inch displays

Samsung 55-inch displays

3.9 April 2012–June 2013: Realization development After evaluating the prototypes the team started to develop the realization for the Happy End? exhibition. This stage was the most intensive as the project had to be narrowed down to completion and the Mirror objects had to be physically built.

Mirror Versions for Realization | 24 April, 2013 | © Joksu + Mirror Project Team

Further development of Prototype 1, version 1, ‘mirror’ surfaces.

Mirror – A Space for Social and Spatial Interactions

119

Version 1: Panasonic Displays

Version 2: Samsung Displays

Version 1: Panasonic Displays

Version 2: Samsung Displays

Physical mirror surfaces

Dimensions

Panasonic 47-inch displays

Samsung 55-inch displays

2401.7mm

2574.3mm

2161.3mm 2102.0mm

1398.0mm 1736.7mm

1256.0mm 1525.9mm

Mirror Versions for Realization | 24 April, 2013 | © Joksu + Mirror Project Team

Further development of Prototype 1, version 1, finishing.

Further development of Prototype 1, version 1, dimensions.

Version 1: Panasonic Displays

Version 2: Samsung Displays

Version 1: Panasonic Displays

Version 2: Samsung Displays

Physical mirror side

Section

Mirror Versions for Realization | 24 April, 2013 | © Joksu + Mirror Project Team

Further development of Prototype 1, version 1, from the back.

120

Mirror Versions for Realization | 24 April, 2013 | © Joksu + Mirror Project Team

Further development of Prototype 1, version 1, section.

Mirror – A Space for Social and Spatial Interactions

Stakeholders

Department of Architecture (Master’s thesis, tutoring, working space)

Design Factory (Funding)

Helsinki Art Museum

WDC 2012 Helsinki

(Administrative, exhibition)

(Authoritary support)

Martti Raevaara / TVT (Funding)

Media Lab (Project team, tutoring)

Helsinki University Library (Administrative, exhibition)

Cisco Systems Finland Oy (Consulting, technology, development)

Learning Hub (Collaboration)

Media Factory (Collaboration, tutoring, funding?)

Startup Sauna (Working space, collaboration)

Aalto University Window (Collaboration)

Library & Information Services (Collaboration, funding?)

Mercedes-Benz CharterWay (Provider of mobility)

Joksu + Mirror Project Team

The Public (New culture)

Kaukomarkkinat Ltd / Creation Crew

IT (Collaboration)

Media Department* (Collaboration?, funding?)

Open Innovation House* (Collaboration?, funding?)

(Consulting, technology, development) * The gray text represents unsecured, potential collaborations and funding.

Mirror | Project Presentation | Full Version | March 10, 2013 | © Joksu + Mirror Project Team

Project stakeholder map from later prototype development stage.

Mirror – A Space for Social and Spatial Interactions

121

First we had to nail what kind of displays would be used for the realization, because this determined the dimensions of the structure and the finishing materials. We also made efforts to come up with the final technical design for the live video connection. This was done in tight collaboration with Timo Jolkin from Cisco Systems Finland. He provided us with valuable knowledge on high quality live video network systems. The first version included custom written code and a web based user interface for switching between the live video and animation modes. However, it later turned out that the optimal way for doing this was with a mechanical switch instead of the web based user interface. The mechanical switch allowed a constant video stream and was more fool proof than a web based system. We also developed a concept for realizing the sound system for the Mirror. The idea was to integrate directional speakers and small size microphones in the structure. The directional speakers proved to be too expensive for our budget so, even if the principle of the final sound system was similar, we ended up realizing the Mirror with basic portable speakers. In the final stages the connection between the physical design and the budget was strengthened further by keeping the budget updated and responsive to every change in the design. This allowed me to keep control on that everything that was designed was realistic to build. The budget had been an essential part of product development since the beginning but as the final product was to be built for real, it was even more important to keep it constantly updated. The bearing structure was made of hollow 60 × 40 mm steel profiles provided by Ruukki. In order to create the structural basic modules, the steel profiles were sawn, drilled and welded together. Then 21 mm thick birch plywood was attached to one side of the module in order to serve as an attachment board for the displays. The modules were then attached to each other by solid steel joints that were cut out of 10 mm steel plates by Laserle, a provider of ready made steel components. Laserle also made the pedestals with the same principle. In order to keep it all together, a large amount of screws, bolts, nuts and plates was rquired as well. Next up was the audiovisual equipment. The displays were attached to the plywood with screws. The cameras and microphones were attached on top of the lower displays with tape. Space was reserved for the video conferencing codecs behind the plywood board. The codecs rested on the bearing structure

122

Version 2: Legs - Cover Whole display surface covered with clear transparent acrylic, 3 mm. Product links: • http://tuotteet.etra.fi/ tuotekuvat/20532751/kirkasxt.jpg Frame non-transparent white acrylic, 3 mm. Product links: • http://tuotteet.etra.fi/ tuotekuvat/20533987/ varilliset-xt.jpg

Mirror Prototype 1 Finishing Versions | 28 April, 2013 | © Joksu + Mirror Project Team

Further development of Prototype 1, version 2.

Version 3: No Legs - No Cover Seams finished with black/brown acrylic, 3mm, trasnparent 52%. Product links: • http://tuotteet.etra.fi/ tuotekuvat/20533987/varillisetxt.jpg • http://www.plexiglas-shop.com/ GB/en/details.htm?$product=nw 7okd3ybld~p&$category=8ny27 6huqre Frame non-transparent white acrylic, 3 mm. Product links: • http://tuotteet.etra.fi/ tuotekuvat/20533987/varillisetxt.jpg

Mirror Prototype 1 Finishing Versions | 28 April, 2013 | © Joksu + Mirror Project Team

Further development of Prototype, version 3.

Mirror – A Space for Social and Spatial Interactions

Mirror Video Connections Diagram 24 April, 2013 Joakim Breitenstein

USER INTERFACE

Joksu / Mirror Porject Team

SERVER

USER INTERFACE Internet user interface to switch between “live video” and “animation” modes by clicking on screen. User interface will be used through internet browser and needs to be connected to a server by some web site host for instance. The server is also connected to the C60 codec. This part has to be made by the Mirror Project Team.

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01//EN" "http://www.w3.org/TR/html4/strict.dtd"><html><!-Content-type: Preventing XSRF in IE.

CO DE

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01//EN" "http://www.w3.org/TR/html4/strict.dtd"><html><!-Content-type: Preventing XSRF in IE. --> <head><meta http-equiv="X-UA-Compatible" content="IE=edge"> <title>Google Reader </title> <link href="/reader/ui/favicon.ico" rel="SHORTCUT ICON"> <meta name="application-name" content="Google Reader"> <meta name="description" content="Get all your news and blogs in one place with Google Reader"> <meta name="application-url" content="/reader/view/"> <link rel="icon" href="/reader/ui/352024653-app-icon-32.png" sizes="32x32"> <link rel="icon" href="/reader/ui/3068170011-app-icon-64.png" sizes="64x64"> <link href="/reader/ui/favicon.ico" rel="SHORTCUT ICON"> <noscript><style type="text/css"> div {display: none;} table {display: none;} #noscript {padding: 3em; font-size: 130%;} </style> <p id="noscript">JavaScript must be enabled in order for you to use Reader. However, it seems JavaScript is either disabled or not supported by your browser. To use Reader, enable JavaScript by changing your browser options, then <a href="/reader/">try again</a>.</p></noscript> <script type="text/javascript">var _USER_ID = "10854362110735989287", _USER_NAME = "Joakim", _USER_EMAIL = "joakim.breitenstein@gmail.com", _IS_BLOGGER_USER = true, _SIGNUP_TIME_SEC = 1187211267, _COMMAND_TOKEN = "//sDGF8LSMh_Hhe_pcZIOM9A", _PUBLIC_USERNAME = null, _IS_MULTILOGIN_ENABLED = true, _SESSION_COOKIE_INDEX = 0, _LOGIN_URL = "https://www.google.com/accounts/ServiceLogin?hl\x3den\x26nui\x3d1\x26service\x3dreader\x26continue\x3dhtt p://www.google.com/reader/view/", _INPUT_STREAM_ID = "user/10854362110735989287/state/com.google/reading-list", _START_TIME = new Date().getTime(); function DumpError(m) {} dow.gapi={},va=function(a,b){var Da(a){t=a;q("_itl",Ba,x);q("_aem",Ca,x);q("ml",t,x);a={};y.er=a}p.a("")?Da(function(a){throw a;}):p.a("1")&&Math.random()<za&&Da(_mlToken);var _E="left",M=function(a,b){var c=a.className;L(a,b)||(a.className+=(""!=c?" ":"")+b)},N=function(a,b){var c=a.className,d=RegExp("\\s?\\b"+b+"\\b");c&&c.match(d)&&(a.className=c.replace(d,""))},L=function(a,b){var c=RegExp("\\b"+b+"\\b"),d=a.className;return!(!d||!d.match(c))},Ea=function(a,b){L(a,b)?N(a,b):M(a,b)};q("ca",M);q("cr ",N);q("cc",L);p.k=M;p.l=N;p.m=L;p.n=Ea;var Fa=["gb_71","gb_155"],Ga;function Ha(a){Ga=a}function Ia(a){var b=Ga&&!a.href.match(/.*\/accounts\/ClearSID[?]/)&&encodeURIComponent(Ga());b&&(a.href=a.href.replace(/([?&]con tinue=)[^&]*/,"$1"+b))}function Ja(a){window.gApplication&&(a.href=window.gApplication.getTabUrl(a.href ))}function Ka(a){try{var b=(document.forms[0].q||"").value;b&&(a.href=a.href.replace(/([?&])q=[^&]*|$/,function(a,c){return(c||"&")+"q="+enco deURIComponent(b)}))}catch(c){r(c,"sb","pq")}} ",N);q("cc",L);p.k=M;p.l=N;p.m=L;p.n=Ea;var Fa=["gb_71","gb_155"],Ga;function Ha(a){Ga=a}function Ia(a){var b=Ga&&!a.href.match(/.*\/accounts\/ClearSID[?]/)&&encodeURIComponent(Ga());b&&(a.href=a.href.replace(/([?&]con tinue=)[^&]*/,"$1"+b))}function Ja(a){window.gApplication&&(a.href=window.gApplication.getTabUrl(a.href ))}function Ka(a){try{var b=(document.forms[0].q||"").value;b&&(a.href=a.href.replace(/([?&])q=[^&]*|$/,function(a,c){return(c||"&")+"q="+enco deURIComponent(b)}))}catch(c){r(c,"sb","pq")}}

MIRROR OBJECTS

--> <head><meta http-equiv="X-UA-Compatible" content="IE=edge"> <title>Google Reader </title> <link href="/reader/ui/favicon.ico" rel="SHORTCUT ICON"> <meta name="application-name" content="Google Reader"> <meta name="description" content="Get all your news and blogs in one place with Google Reader"> <meta name="application-url" content="/reader/view/"> <link rel="icon" href="/reader/ui/352024653-app-icon-32.png" sizes="32x32"> <link rel="icon" href="/reader/ui/3068170011-app-icon-64.png" sizes="64x64"> <link href="/reader/ui/favicon.ico" rel="SHORTCUT ICON"> <noscript><style type="text/css"> div {display: none;} table {display: none;} #noscript {padding: 3em; font-size: 130%;} </style> <p id="noscript">JavaScript must be enabled in order for you to use Reader. However, it seems JavaScript is either disabled or not supported by your browser. To use Reader, enable JavaScript by changing your browser options, then <a href="/reader/">try again</a>.</p></noscript> <script type="text/javascript">var _USER_ID = "10854362110735989287", _USER_NAME = "Joakim", _USER_EMAIL = "joakim.breitenstein@gmail.com", _IS_BLOGGER_USER = true, _SIGNUP_TIME_SEC = 1187211267, _COMMAND_TOKEN = "//sDGF8LSMh_Hhe_pcZIOM9A", _PUBLIC_USERNAME = null, _IS_MULTILOGIN_ENABLED = true, _SESSION_COOKIE_INDEX = 0, _LOGIN_URL = "https://www.google.com/accounts/ServiceLogin?hl\x3den\x26nui\x3d1\x26service\x3dreader\x26continue\x3dhtt p://www.google.com/reader/view/", _INPUT_STREAM_ID = "user/10854362110735989287/state/com.google/reading-list", _START_TIME = new Date().getTime(); function DumpError(m) {} dow.gapi={},va=function(a,b){var Da(a){t=a;q("_itl",Ba,x);q("_aem",Ca,x);q("ml",t,x);a={};y.er=a}p.a("")?Da(function(a){throw a;}):p.a("1")&&Math.random()<za&&Da(_mlToken);var _E="left",M=function(a,b){var c=a.className;L(a,b)||(a.className+=(""!=c?" ":"")+b)},N=function(a,b){var c=a.className,d=RegExp("\\s?\\b"+b+"\\b");c&&c.match(d)&&(a.className=c.replace(d,""))},L=function(a,b){var c=RegExp("\\b"+b+"\\b"),d=a.className;return!(!d||!d.match(c))},Ea=function(a,b){L(a,b)?N(a,b):M(a,b)};q("ca",M);q("cr ",N);q("cc",L);p.k=M;p.l=N;p.m=L;p.n=Ea;var Fa=["gb_71","gb_155"],Ga;function Ha(a){Ga=a}function Ia(a){var b=Ga&&!a.href.match(/.*\/accounts\/ClearSID[?]/)&&encodeURIComponent(Ga());b&&(a.href=a.href.replace(/([?&]con tinue=)[^&]*/,"$1"+b))}function Ja(a){window.gApplication&&(a.href=window.gApplication.getTabUrl(a.href ))}function Ka(a){try{var b=(document.forms[0].q||"").value;b&&(a.href=a.href.replace(/([?&])q=[^&]*|$/,function(a,c){return(c||"&")+"q="+enco deURIComponent(b)}))}catch(c){r(c,"sb","pq")}} ",N);q("cc",L);p.k=M;p.l=N;p.m=L;p.n=Ea;var Fa=["gb_71","gb_155"],Ga;function Ha(a){Ga=a}function Ia(a){var b=Ga&&!a.href.match(/.*\/accounts\/ClearSID[?]/)&&encodeURIComponent(Ga());b&&(a.href=a.href.replace(/([?&]con tinue=)[^&]*/,"$1"+b))}function Ja(a){window.gApplication&&(a.href=window.gApplication.getTabUrl(a.href ))}function Ka(a){try{var b=(document.forms[0].q||"").value;b&&(a.href=a.href.replace(/([?&])q=[^&]*|$/,function(a,c){return(c||"&")+"q="+enco deURIComponent(b)}))}catch(c){r(c,"sb","pq")}}

SSH SSH

CISCO C60 CODEC

CISCO C40 CODEC

CODE Code that act as translator between user interface and Cisco C60 codec. Code will be written by Timo Jolkin at Cisco Systems Finland Oy.

MIRROR PHYSICAL OBJECTS The Mirror physical realization consists of two Mirror objects with one Cisco codec each. One codec will be C60 and one C40. The C60 codec will act as host and distribute information to C40 codec.

Mirror Connection Diagrams | 24 April, 2013 | © Joksu + Mirror Project Team

Diagram shows early sketch on how to realize the live video connection between the two Mirror objects.

Mirror – A Space for Social and Spatial Interactions

123

1/2 Mirror objects Perspective View Sound Design Concept

Mirror Sound Design Concept | 28 April, 2013 | ÂŠ Joksu + Mirror Project Team

Sound design concept, location of speakers and microphones.

124

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

1/2 Mirror objects Section Sound Design Concept

Mirror Sound Design Concept | 28 April, 2013 | ÂŠ Joksu + Mirror Project Team

Sound design concept, desired sound distribution area.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

125

Bearing Structure (side 1) Item

Amount á price

Total price Total price incl. VAT

Bearing Structure Steel profile 60*40 Steel joints Birch plywood 21mm Screws/bolts Nuts Plates

84.00 20.00 22.50 300.00 200.00 400.00

6.10 30.00 34.15 0.30 0.25 0.20

512.40 600.00 768.38 90.00 50.00 80.00

635.38 744.00 952.79 111.60 62.00 99.20

AV/IT Equipment Displays Cameras Microphone Codec 1/2 (*) Codec 2/2 (*)(**) Lap-top computers Speaker HDMI cable 5m DVI cable 3m DVI splitter RCA cable Electric cable 5m Ethernet cable 5m Screws/bolts Nuts Plates Thick plates Rubber plates

16.00 4.00 4.00 1.00 1.00 2.00 4.00 8.00 4.00 2.00 4.00 4.00 4.00 100.00 100.00 200.00 90.00 1.00

945.00 716.00 200.00 6,399.00 0.00 1,000.00 500.00 18.50 12.00 120.00 10.00 15.00 5.00 0.30 0.25 0.20 1.33 100.00

15,120.00 2,864.00 800.00 6,399.00 0.00 2,000.00 2,000.00 148.00 48.00 240.00 40.00 60.00 20.00 30.00 25.00 40.00 119.70 100.00

18,748.80 3,551.36 992.00 7,934.76 0.00 2,480.00 2,480.00 183.52 59.52 297.60 49.60 74.40 24.80 37.20 31.00 49.60 148.43 124.00

Finishing Acrylic plate white 3mm Acrylic plate transp, 3mm Corner plate Birch plywood 9mm Physical mirror plates One-way mirror film

12.50 31.25 40.00 22.50 8.00 16.00

53.67 60.00 0.45 16.75 100.00 84.20

670.88 1,875.00 18.00 376.88 800.00 1,347.20

831.89 2,325.00 22.32 467.33 992.00 1,670.53

1.00

500.00

500.00 500.00 1,000.00

620.00 620.00 1,240.00

Other Expenses Car windshield Gasoline Unpredictable expenses Total

39,242.43 48,660.61

Mirror Realization for Happy End? Exhibition | 6 May, 2013 | © Joksu + Mirror Project Team

Final design: bearing structure, side 1.

126

Mirror – A Space for Social and Spatial Interactions

Bearing Structure (side 2) Item

Amount á price

Total price Total price incl. VAT

Bearing Structure Steel profile 60*40 Steel joints Birch plywood 21mm Screws/bolts Nuts Plates

84.00 20.00 22.50 300.00 200.00 400.00

6.10 30.00 34.15 0.30 0.25 0.20

512.40 600.00 768.38 90.00 50.00 80.00

635.38 744.00 952.79 111.60 62.00 99.20

16.00 4.00 4.00 1.00 1.00 2.00 4.00 8.00 4.00 2.00 4.00 4.00 4.00 100.00 100.00 200.00 90.00 1.00

945.00 716.00 200.00 6,399.00 0.00 1,000.00 500.00 18.50 12.00 120.00 10.00 15.00 5.00 0.30 0.25 0.20 1.33 100.00

15,120.00 2,864.00 800.00 6,399.00 0.00 2,000.00 2,000.00 148.00 48.00 240.00 40.00 60.00 20.00 30.00 25.00 40.00 119.70 100.00

18,748.80 3,551.36 992.00 7,934.76 0.00 2,480.00 2,480.00 183.52 59.52 297.60 49.60 74.40 24.80 37.20 31.00 49.60 148.43 124.00

Finishing Acrylic plate white 3mm Acrylic plate transp, 3mm Corner plate Birch plywood 9mm Physical mirror plates One-way mirror film

12.50 31.25 40.00 22.50 8.00 16.00

53.67 60.00 0.45 16.75 100.00 84.20

670.88 1,875.00 18.00 376.88 800.00 1,347.20

831.89 2,325.00 22.32 467.33 992.00 1,670.53

1.00

500.00

500.00 500.00 1,000.00

620.00 620.00 1,240.00

Other Expenses Car windshield Gasoline Unpredictable expenses Total

39,242.43 48,660.61

Mirror Realization for Happy End? Exhibition | 6 May, 2013 | © Joksu + Mirror Project Team

Final design: bearing structure, side 2.

Mirror – A Space for Social and Spatial Interactions

127

and were held in place with tape. The same principle was applied to other audiovisual equipment such as cable splitters, switches and media players. The cables ran freely behind the plywood board. Special rubber plates were used as padding between display and plywood board as well as between plywood board and bolt. There were many digital and audiovisual equipment that needed to be connected to each other. A detailed cable diagram was laid out in order to keep the cabling in control and also keep track on how much cables needed to be acquired. The live video connections were tested on location in beforehand to make sure that they worked correctly. The structure was finished with transparent acrylic plate to protect the displays and prevent theft of the cameras and microphones, which would otherwise have been easy to remove. The acrylic plate also gave the object a more uniform feeling opposed to what it would have been otherwise. The end profiles were finished with first a layer of 9 mm plywood on which white acrylic plates were attached to create an elegant finish. The backside of the display surfaces were finished with glass mirrors. The original idea was to cover all surfaces with displays but the budget did not allow that and that is why we had to come up with the glass mirror solution. The glass mirrors were chosen as finishing material because they symbolized the basic idea of the Mirror objects. The bearing structure was built at Aalto University’s architecture workshop using both wood and metal workshops adn with the kind assistance from the workshop masters. In order to ensure that the Mirror setup would run smoothly at the exhibition locations, we tested the display technology and the structure at Aalto University campus beforehand. We erected both Mirror objects once at the architectural workshop, which proved itself very important as the joints did not fit inside the hollow structural beams on the first time. Most of the joints had to be refined with a grinder in order to fit inside the structural beams. We also tested the digital wall setup, which was comprised of four 47-inch displays, and on which the image was split. This image splitting was tested at our working space and proved to work as planned. After testing the setup we transported the building materials to the exhibition sites at Helsinki Art Museum and Helsinki University Library where we erected the Mirror objects.

128

Tuote 1/3: “Mirror Joint 01” Aksonometria Kuvan mukainen teräsliitospala • yksiaineista umpiterästä tai vaihtoehtoisesti useasta levystä koostettu umpiteräsmäinen liitospala • ei saumoja poikkisuuntaan • poikkileikkauksen mitat ~24*50 mm niin, että mahtuu sopivasti mallipalan (sisämitoiltaan 52*32 mm ontto runkoteräsprofiili) sisälle • poikkisuunnassa keskelle asemoitavien reikien halkaisija 11 mm • 8 kpl

~25.0mm

60.0mm 60.0mm 60.0mm 60.0mm 60.0mm 60.0mm

60.0mm

705.0mm

~24.0mm ~50.0mm

Mirror – Muotoonleikatut teräsliitospalat | 20.5.2013 | © Joksu + Mirror Project Team

Steel pedestal, axonometric view.

60.0mm

~50.0mm ~25.0mm

705.0mm

Tuote 1/3: “Mirror Joint 01” Näkymä suoraan ylhäältä Mittakaava 1:2 (A3) Mirror – Muotoonleikatut teräsliitospalat | 20.5.2013 | © Joksu + Mirror Project Team

Steel pedestal, plan view.

Mirror – A Space for Social and Spatial Interactions

Tuote 2/3: “Mirror Joint 02”

Tuote 3/3: “Mirror Joint 03”

Aksonometria

Kuvan mukainen teräsliitospala

• yksiaineista umpiterästä tai vaihtoehtoisesti useasta levystä koostettu umpiteräsmäinen liitospala • ei saumoja poikkisuuntaan • poikkileikkauksen mitat ~24*50 mm niin, että mahtuu sopivasti mallipalan (sisämitoiltaan 52*32 mm ontto runkoteräsprofiili) sisälle • poikkisuunnassa keskelle asemoitavien reikien halkaisija 11 mm • 8 kpl • kulma 135°

409.9mm

60.0mm

409.9mm

429.8mm

60.0mm 60.0mm

60.0mm

429.8mm

60.0mm

60.0mm 60.0mm

60.0mm

~25.0mm

60.0mm

359.2mm

55.4mm

~24.0mm

379.8mm

60.0mm

359.2mm

28.3mm

379.8mm

~25.0mm

~50.0mm

~24.0mm ~50.0mm

Mirror – Muotoonleikatut teräsliitospalat | 20.5.2013 | © Joksu + Mirror Project Team

Steel joint, axonometric view.

429.8mm

409.9mm 60.0mm

60.0mm

60.0mm ~50.0mm

~50.0mm

409.9mm

379.8mm

60.0mm

359.2mm

28.3mm

60.0mm 55.4mm

60.0mm

429.8mm

379.8mm

60.0mm

60.0mm 359.2mm

60.0mm

Tuote 2/3: “Mirror Joint 02”

Tuote 3/3: “Mirror Joint 03”

Näkymä suoraan ylhäältä Mittakaava 1:2 (A3)

~25.0mm

60.0mm

Näkymä suoraan ylhäältä Mittakaava 1:2 (A3) ~25.0mm

Mirror – Muotoonleikatut teräsliitospalat | 20.5.2013 | © Joksu + Mirror Project Team

Steel joint, plan view.

Mirror – Muotoonleikatut teräsliitospalat | 20.5.2013 | © Joksu + Mirror Project Team

Steel joint, plan view.

Mirror – A Space for Social and Spatial Interactions

129

AV/IT Equipment (side 1) Item

Amount á price

Total price Total price incl. VAT

Bearing Structure Steel profile 60*40 Steel joints Birch plywood 21mm Screws/bolts Nuts Plates

84.00 20.00 22.50 300.00 200.00 400.00

6.10 30.00 34.15 0.30 0.25 0.20

512.40 600.00 768.38 90.00 50.00 80.00

635.38 744.00 952.79 111.60 62.00 99.20

16.00 4.00 4.00 1.00 1.00 2.00 4.00 8.00 4.00 2.00 4.00 4.00 4.00 100.00 100.00 200.00 90.00 1.00

945.00 716.00 200.00 6,399.00 0.00 1,000.00 500.00 18.50 12.00 120.00 10.00 15.00 5.00 0.30 0.25 0.20 1.33 100.00

15,120.00 2,864.00 800.00 6,399.00 0.00 2,000.00 2,000.00 148.00 48.00 240.00 40.00 60.00 20.00 30.00 25.00 40.00 119.70 100.00

18,748.80 3,551.36 992.00 7,934.76 0.00 2,480.00 2,480.00 183.52 59.52 297.60 49.60 74.40 24.80 37.20 31.00 49.60 148.43 124.00

Finishing Acrylic plate white 3mm Acrylic plate transp, 3mm Corner plate Birch plywood 9mm Physical mirror plates One-way mirror film

12.50 31.25 40.00 22.50 8.00 16.00

53.67 60.00 0.45 16.75 100.00 84.20

670.88 1,875.00 18.00 376.88 800.00 1,347.20

831.89 2,325.00 22.32 467.33 992.00 1,670.53

1.00

500.00

500.00 500.00 1,000.00

620.00 620.00 1,240.00

Other Expenses Car windshield Gasoline Unpredictable expenses Total

39,242.43 48,660.61

Mirror Realization for Happy End? Exhibition | 6 May, 2013 | © Joksu + Mirror Project Team

Final design: attachment of displays, side 1.

130

Mirror – A Space for Social and Spatial Interactions

AV/IT Equipment (side 2) Item

Amount á price

Total price Total price incl. VAT

Bearing Structure Steel profile 60*40 Steel joints Birch plywood 21mm Screws/bolts Nuts Plates

84.00 20.00 22.50 300.00 200.00 400.00

6.10 30.00 34.15 0.30 0.25 0.20

512.40 600.00 768.38 90.00 50.00 80.00

635.38 744.00 952.79 111.60 62.00 99.20

16.00 4.00 4.00 1.00 1.00 2.00 4.00 8.00 4.00 2.00 4.00 4.00 4.00 100.00 100.00 200.00 90.00 1.00

945.00 716.00 200.00 6,399.00 0.00 1,000.00 500.00 18.50 12.00 120.00 10.00 15.00 5.00 0.30 0.25 0.20 1.33 100.00

15,120.00 2,864.00 800.00 6,399.00 0.00 2,000.00 2,000.00 148.00 48.00 240.00 40.00 60.00 20.00 30.00 25.00 40.00 119.70 100.00

18,748.80 3,551.36 992.00 7,934.76 0.00 2,480.00 2,480.00 183.52 59.52 297.60 49.60 74.40 24.80 37.20 31.00 49.60 148.43 124.00

Finishing Acrylic plate white 3mm Acrylic plate transp, 3mm Corner plate Birch plywood 9mm Physical mirror plates One-way mirror film

12.50 31.25 40.00 22.50 8.00 16.00

53.67 60.00 0.45 16.75 100.00 84.20

670.88 1,875.00 18.00 376.88 800.00 1,347.20

831.89 2,325.00 22.32 467.33 992.00 1,670.53

1.00

500.00

500.00 500.00 1,000.00

620.00 620.00 1,240.00

Other Expenses Car windshield Gasoline Unpredictable expenses Total

39,242.43 48,660.61

Final design: attachment of displays, side 2.

Mirror – A Space for Social and Spatial Interactions

131

Finishing 1/2 (side 1) Item

Amount á price

Total price Total price incl. VAT

Bearing Structure Steel profile 60*40 Steel joints Birch plywood 21mm Screws/bolts Nuts Plates

84.00 20.00 22.50 300.00 200.00 400.00

6.10 30.00 34.15 0.30 0.25 0.20

512.40 600.00 768.38 90.00 50.00 80.00

635.38 744.00 952.79 111.60 62.00 99.20

16.00 4.00 4.00 1.00 1.00 2.00 4.00 8.00 4.00 2.00 4.00 4.00 4.00 100.00 100.00 200.00 90.00 1.00

945.00 716.00 200.00 6,399.00 0.00 1,000.00 500.00 18.50 12.00 120.00 10.00 15.00 5.00 0.30 0.25 0.20 1.33 100.00

15,120.00 2,864.00 800.00 6,399.00 0.00 2,000.00 2,000.00 148.00 48.00 240.00 40.00 60.00 20.00 30.00 25.00 40.00 119.70 100.00

18,748.80 3,551.36 992.00 7,934.76 0.00 2,480.00 2,480.00 183.52 59.52 297.60 49.60 74.40 24.80 37.20 31.00 49.60 148.43 124.00

Finishing Acrylic plate white 3mm Acrylic plate transp, 3mm Corner plate Birch plywood 9mm Physical mirror plates One-way mirror film

12.50 31.25 40.00 22.50 8.00 16.00

53.67 60.00 0.45 16.75 100.00 84.20

670.88 1,875.00 18.00 376.88 800.00 1,347.20

831.89 2,325.00 22.32 467.33 992.00 1,670.53

1.00

500.00

500.00 500.00 1,000.00

620.00 620.00 1,240.00

Other Expenses Car windshield Gasoline Unpredictable expenses Total

39,242.43 48,660.61

Final design: finishing materials 1/2, side 1.

132

Mirror – A Space for Social and Spatial Interactions

Finishing 1/2 (side 2) Item

Amount á price

Total price Total price incl. VAT

Bearing Structure Steel profile 60*40 Steel joints Birch plywood 21mm Screws/bolts Nuts Plates

84.00 20.00 22.50 300.00 200.00 400.00

6.10 30.00 34.15 0.30 0.25 0.20

512.40 600.00 768.38 90.00 50.00 80.00

635.38 744.00 952.79 111.60 62.00 99.20

16.00 4.00 4.00 1.00 1.00 2.00 4.00 8.00 4.00 2.00 4.00 4.00 4.00 100.00 100.00 200.00 90.00 1.00

945.00 716.00 200.00 6,399.00 0.00 1,000.00 500.00 18.50 12.00 120.00 10.00 15.00 5.00 0.30 0.25 0.20 1.33 100.00

15,120.00 2,864.00 800.00 6,399.00 0.00 2,000.00 2,000.00 148.00 48.00 240.00 40.00 60.00 20.00 30.00 25.00 40.00 119.70 100.00

18,748.80 3,551.36 992.00 7,934.76 0.00 2,480.00 2,480.00 183.52 59.52 297.60 49.60 74.40 24.80 37.20 31.00 49.60 148.43 124.00

Finishing Acrylic plate white 3mm Acrylic plate transp, 3mm Corner plate Birch plywood 9mm Physical mirror plates One-way mirror film

12.50 31.25 40.00 22.50 8.00 16.00

53.67 60.00 0.45 16.75 100.00 84.20

670.88 1,875.00 18.00 376.88 800.00 1,347.20

831.89 2,325.00 22.32 467.33 992.00 1,670.53

1.00

500.00

500.00 500.00 1,000.00

620.00 620.00 1,240.00

Other Expenses Car windshield Gasoline Unpredictable expenses Total

39,242.43 48,660.61

Final design: finishing materials 1/2, side 2.

Mirror – A Space for Social and Spatial Interactions

133

Finishing 2/2 (side 1) Item

Amount á price

Total price Total price incl. VAT

Bearing Structure Steel profile 60*40 Steel joints Birch plywood 21mm Screws/bolts Nuts Plates

84.00 20.00 22.50 300.00 200.00 400.00

6.10 30.00 34.15 0.30 0.25 0.20

512.40 600.00 768.38 90.00 50.00 80.00

635.38 744.00 952.79 111.60 62.00 99.20

16.00 4.00 4.00 1.00 1.00 2.00 4.00 8.00 4.00 2.00 4.00 4.00 4.00 100.00 100.00 200.00 90.00 1.00

945.00 716.00 200.00 6,399.00 0.00 1,000.00 500.00 18.50 12.00 120.00 10.00 15.00 5.00 0.30 0.25 0.20 1.33 100.00

15,120.00 2,864.00 800.00 6,399.00 0.00 2,000.00 2,000.00 148.00 48.00 240.00 40.00 60.00 20.00 30.00 25.00 40.00 119.70 100.00

18,748.80 3,551.36 992.00 7,934.76 0.00 2,480.00 2,480.00 183.52 59.52 297.60 49.60 74.40 24.80 37.20 31.00 49.60 148.43 124.00

Finishing Acrylic plate white 3mm Acrylic plate transp, 3mm Corner plate Birch plywood 9mm Physical mirror plates One-way mirror film

12.50 31.25 40.00 22.50 8.00 16.00

53.67 60.00 0.45 16.75 100.00 84.20

670.88 1,875.00 18.00 376.88 800.00 1,347.20

831.89 2,325.00 22.32 467.33 992.00 1,670.53

1.00

500.00

500.00 500.00 1,000.00

620.00 620.00 1,240.00

Other Expenses Car windshield Gasoline Unpredictable expenses Total

39,242.43 48,660.61

Final design: finishing materials 2/2, side 1.

134

Mirror – A Space for Social and Spatial Interactions

Finishing 2/2 (side 2) Item

Amount á price

Total price Total price incl. VAT

Bearing Structure Steel profile 60*40 Steel joints Birch plywood 21mm Screws/bolts Nuts Plates

84.00 20.00 22.50 300.00 200.00 400.00

6.10 30.00 34.15 0.30 0.25 0.20

512.40 600.00 768.38 90.00 50.00 80.00

635.38 744.00 952.79 111.60 62.00 99.20

16.00 4.00 4.00 1.00 1.00 2.00 4.00 8.00 4.00 2.00 4.00 4.00 4.00 100.00 100.00 200.00 90.00 1.00

945.00 716.00 200.00 6,399.00 0.00 1,000.00 500.00 18.50 12.00 120.00 10.00 15.00 5.00 0.30 0.25 0.20 1.33 100.00

15,120.00 2,864.00 800.00 6,399.00 0.00 2,000.00 2,000.00 148.00 48.00 240.00 40.00 60.00 20.00 30.00 25.00 40.00 119.70 100.00

18,748.80 3,551.36 992.00 7,934.76 0.00 2,480.00 2,480.00 183.52 59.52 297.60 49.60 74.40 24.80 37.20 31.00 49.60 148.43 124.00

Finishing Acrylic plate white 3mm Acrylic plate transp, 3mm Corner plate Birch plywood 9mm Physical mirror plates One-way mirror film

12.50 31.25 40.00 22.50 8.00 16.00

53.67 60.00 0.45 16.75 100.00 84.20

670.88 1,875.00 18.00 376.88 800.00 1,347.20

831.89 2,325.00 22.32 467.33 992.00 1,670.53

1.00

500.00

500.00 500.00 1,000.00

620.00 620.00 1,240.00

Other Expenses Car windshield Gasoline Unpredictable expenses Total

39,242.43 48,660.61

Final design: finishing materials 2/2, side 2.

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135

Speakers (side 1)

In the final

realization the

speakers were located here.

Mirror Realization for Happy End? Exhibition | 6 May, 2013 | ÂŠ Joksu + Mirror Project Team

Final design: speakers side 1 (final realization was slightly different with speakers integrated in the middle horizontal seams next to the cameras.

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Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Speakers (side 2)

Mirror Realization for Happy End? Exhibition | 6 May, 2013 | ÂŠ Joksu + Mirror Project Team

Final design: speakers side 1 (final realization was slightly different with speakers integrated in the middle horizontal seams next to the cameras.

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Dimensions

Mirror Realization for Happy End? Exhibition | 6 May, 2013 | ÂŠ Joksu + Mirror Project Team

Final design: dimensions, side 1.

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Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Scale Section 1:10 (A3)

Final design: section, scale 1:20.

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Final design, outside surfaces, renderings by Soroush Moradi.

140

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Final design, display areas, renderings by Soroush Moradi.

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Mirror 1 (museum)

HDMI

HDMI HDMI

DVI 3,5mm DVI DVI 3,5mm 3,5mm

DVI/Audio switch

Media player “Animation”

Cable Diagram made by Joksu based on sketch by Timo Jolkin (Cisco).

Mirror – A Space for Social and Spatial Interactions

Cisco C40 (1/2, outside)

DVI (2→2nd)

HDMI (1←1st)

RCA

HDMI

RCA

XLR (2←) XLR (1←)

RCA

RCA splitter

RCA (2→ right) RCA (1→ left)

RCA

3,5mm

HDMI HDMI

3,5mm

DVI 3,5mm DVI DVI 3,5mm HDMI

HDMI

HDMI HDMI

HDMI

Speaker

HDMI

Network

144

Display

HDMI splitter

DVI/Audio switch

HDMI splitter

Media player “Sponsor message”

Camera

HDMI

HDMI HDMI HDMI

HDMI

HDMI HDMI

DVI 3,5mm DVI DVI 3,5mm 3,5mm

Cisco C60 (1/1)

DVI (2→2nd) HDMI (1→1st) DVI (3←lap-top)

HDMI (2←2nd) HDMI (1←1st)

XLR (2←) XLR (1←)

RCA

Audio RCA (2→ right) RCA (1→ left)

RCA

Media player “Animation”

RCA

Video

RCA

RCA splitter

HDMI HDMI

3,5mm

DVI 3,5mm DVI DVI 3,5mm HDMI

HDMI splitter

Display

HDMI

DVI/Audio switch

3,5mm

Mic

Speaker HDMI splitter

HDMI

DVI/Audio switch

Display

Camera

Display

Speaker HDMI splitter

HDMI

Mic

Display

HDMI

Speaker HDMI splitter

Camera

Display

HDMI

HDMI HDMI

Display

HDMI

HDMI HDMI

Display

HDMI

Display

HDMI

Mic

Display

HDMI

Camera

HDMI

Mic

Display

HDMI (1←1st)

Display

Inside

HDMI (1→1st)

Display

HDMI

Display

Outside

HDMI

Inside

HDMI

Outside

Mirror 2 (library)

Cisco C40 (2/2, inside)

“Live Video” mode

Diagram shows how to switch between ‘live video’ and ‘animation’ modes.

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145

“Animation” mode 01

Diagram shows how to switch between ‘live video’ and ‘animation’ modes.

146

Mirror – A Space for Social and Spatial Interactions

“Animation” mode 02

Diagram shows how to switch between ‘live video’ and ‘animation’ modes.

Mirror – A Space for Social and Spatial Interactions

147

148

Visit to Cisco Systems Finland.

Demounting Prototype 2.

Getting equipment from Cisco Systems Finland.

Soroush making renderings.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Prototyping live video connections. Multiprint was kind to sponsor

Prototyping live video connections.

us with sponsor logo stickers (on the back wall).

Scott designing Mirror’s sound concept.

The hollow steel profiles were provided by Ruukki and cut into right dimensions at the Aalto University’s Architecture Workshop.

Mirror – A Space for Social and Spatial Interactions

149

150

Live video prototyping with Cisco’s codecs.

The hollow steel profile components were welded together…

…in order to form the skeletons for the structural modules.

The plywood was cut in form to complement the structural modules.

Mirror – A Space for Social and Spatial Interactions

Ready welded steel components.

Testing transparent film in front of display.

Ready cut plywood components.

Setting up live video connection test at Helsinki Art Museum.

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152

The Mirror needs power.

Testing live video connections at Helsinki Art Museum.

Setting up live video connection test at Helsinki University Library.

Testing live video connections at Helsinki University Library.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Assembling the structural modules.

Finishing material for the end profiles.

Finished structural modules.

Test assembling the structure.

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153

Both structures were assembled once to make sure that no

Testing the displays.

Getting the modules…

…to the car…

surprises would occur at the exhibition sites.

154

Mirror – A Space for Social and Spatial Interactions

â&#x20AC;Śand to the site.

Assembling the Mirror at Helsinki University Library.

Assembling the Mirror at Helsinki Art Museum.

Testing the displays at Helsinki University Library.

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Testing the displays at Helsinki University Library.

Testing the displays at Helsinki Art Museum.

Installing the white acrylic finish boards.

156

Attaching the fire alarm.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Image ÂŠ Thomas Eskolin

Instructing the maintenance team at Helsinki University Library.

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The Mirror ready to go at Helsinki University Library.

158

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Live video mode at Helsinki Art Museum.

Animation mode at Helsinki Art Museum.

White acrylic plate finish.

Glass mirror finish.

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159

Image ÂŠ Maija Toivanen/Helsinki Art Museum

The Mirror ready to go at Helsinki Art Museum.

160

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

HELSINGIN TAIDEMUSEOLLA ON ILO KUTSUA TEIDÄT NÄYTTELYN AVAJAISIIN TENNISPALATSIIN TIISTAINA 18. KESÄKUUTA 2013 KLO 18-20. Näyttelyn tervehdyssanat lausuvat va. taidemuseon johtaja Erja Pusa ja Moskovan multimediataiteen museon johtaja Olga Sviblova. Näyttelyn avaa apulaiskaupunginjohtaja Ritva Viljanen. HELSINGFORS KONSTMUSEUM HAR GLÄDJEN ATT INBJUDA ER TILL VERNISSAGE I TENNISPALATSET TISDAGEN DEN 18 JUNI 2013 KL. 18-20. Hälsningsorden framförs av konstmuseets tillfälliga chef Erja Pusa och av chefen för Museet för Multimediekonst i Moskva, Olga Sviblova. Utställningen öppnas av biträdande stadsdirektör Ritva Viljanen.

19.6.-25.8.2013 AES+F __________________________________ CHERRY / STUDIO KILLERS • REETTA HILTUNEN • JOKSU + MIRROR PROJECT TEAM • DUNCAN BUTT JUVONEN • JANI LEINONEN • REETTA NEITTAANMÄKI • HARRI PÄLVIRANTA KIM SIMONSSON • TIMO WRIGHT

HELSINKI ART MUSEUM HAS THE PLEASURE OF INVITING YOU TO ATTEND THE OPENING OF THE EXHIBITION AT TENNIS PALACE ON TUESDAY, 18 JUNE 2013, FROM 6 PM TO 8 PM. Welcoming addresses will be given by Erja Pusa, Acting Director of the Museum and Olga Sviblova, Director of the Multimedia Art Museum, Moscow. The exhibition will be opened by Ritva Viljanen, Deputy Mayor of Helsinki. KAHDELLE / FÖR TVÅ / FOR TWO LÄHIALUEMATKAT

Invitation to ‘Happy End?’ exhibition opening.

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3.10 June 2013–August 2013: Realization

Gallery Guide

The Mirror was on display at the Happy End? exhibition, which opened at Helsinki Art Museum on 19th June, 2013. The theme for the exhibition was the future and whether it will become a utopia, something more normal or even a dystopia. The gallery guide for the exhibition described the exhibition like this: “The Happy End? exhibition explores different future scenarios. It is often difficult to draw a clear distinction between optimism and pessimism. The artists featured in this exhibition take a critical view of consumption and the exploitation of natural resources. Their works also explore the relationship of the self to others and to society in general. People are depicted in all kinds of roles, behaving violently, greedy for power, for safety or for pleasure. Real life blends into the world of virtual reality and fantasy.

AES+F

The exhibition also raises questions: Can we transcend the limits posed by nature? Will our life be easy and beautiful, ecologically sustainable, or be full of wastefulness, destruction and tragedy? We can recreate ourselves entirely in a virtual world, but is that enough to save our future as well?” We managed to get the Mirror up and running for the exhibition even if some finishing materials remained to be installed on the Mirror object at Helsinki University Library. However, and most importantly, the Mirror at the museum was ready in time and everything was set for the exhibition. We also managed to get the material for the Cherry/Studio Killers animation in time so that we were able to switch between the live video and the animation modes during the opening. The Mirror also got noticed by cultural decision makers such as Paavo Arhinmäki, the Finnish Minister of Culture and Sport at the time as well as Ritva Viljanen, Deputy Mayor of the City of Helsinki. Ritva Viljanen even mentioned possibilities for further collaboration in utilizing the Mirror as a part of the new Helsinki Central Library project. The museum and library staff were given a user manual on how to operate the Mirror during the exhibition. The user manual included basic information on how

162

CHERRY / STUDIO KILLERS • REETTA HILTUNEN • JOKSU + MIRROR PROJECT TEAM • DUNCAN BUTT JUVONEN • JANI LEINONEN • REETTA NEITTAANMÄKI • HARRI PÄLVIRANTA KIM SIMONSSON • TIMO WRIGHT

19.6.–25.8.2013

The cover of the ‘Happy End?’ gallery guide.

Mirror – A Space for Social and Spatial Interactions

AES+F: The First Rider, 2007 © AES+F, 2007. Courtesy of Triumph Gallery, Moscow. AES+F: Angel-Demon #3 and #4, 2009 © AES+F, 2009, Courtesy of Triumph Gallery, Moscow and Volker Diehl Gallery, Berlin

The internationally acclaimed Russian art collective AES+F explores the decay of society in their works. Despair, greed and lust for power dwell under a beautiful surface. The exhibition features the works The Feast of Trimalchio (video, 2009–2010) and Last Riot (video, photographs and sculptures from years 2005–2008).

NARINKKA SQUARE

The solo exhibition AES+F has been realized as a collaboration between Helsinki Art Museum and Multimedia Art Museum, Moscow. Co-curated by Olga Sviblova.

KAMPPI SHOPPING CENTER

TENNIS PALACE

AES+F

PROGRAMME • Happy End? lecture series organised in co-

operation with the Helsinki Summer University and the Yliopisto magazine, 31 July –21 August, on Wednesdays 5:00–6:30 pm

KAMPPI METRO STATION

Angel-Demon #4

• Back to School event day on 18 August

Cherry tweets and Studio Killers disco. Also a talk by artists Jani Leinonen and Harri Pälviranta about their works. A dance performance and much more. The event day on 18 August is also HOK-Elanto Customer-Owners’ Day: S bonus cardholders get a 2 euro discount on the 10 euro admission.

• Night of the Arts, 22 August

Free admission for the whole day, we are open 11 am–10 pm! • Free guided tours for the public

- in Finnish, Sat and Sun at 2 pm - in Swedish on the 1st and 3rd Sunday of the month. - 15 min tours on free admission days 5 Jul and 2 Aug at 2, 3 and 4 pm (in Finnish).

M or e io n: in fo rm at isink w w w.hel .fi m ar tmuseu

• Pedalling to Art - bicycle art tour Sat-Sun 17-18 August

Angel-Demon #3

The route stops at eight exhibitions in Helsinki and Espoo. Also featuring videos, performances, music, dance, and environmental art. Meet the artists and see the shows.

Kommentti exhibition space in Kamppi Metro Station

Outdoor statues by AES+F

Helsinki Art Museum Tennis Palace

We Are Sorry (2013) and Choice Is Yours (2011) by Jani Leinonen, are exhibited at the metro station platform.

Statues of gigantic babies with lizard tails by AES+F, can be seen outside Tennis Palace. The black, glossy sculptures were previously on show in Melbourne, Australia.

Salomonkatu 15 (2nd floor), 00100 Helsinki • tel. +358 (9) 310 87001 Open Tue–Sun 11–19 • Admission 10/8 €, children under 18 years free of charge. Free admission to all on the first Friday of the month!

The ‘Happy End?’ exhibition flyer. happy_end_pia_enkku.indd 1

4.6.2013 9:13:42

Mirror – A Space for Social and Spatial Interactions

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164

Opening night…

…animation mode.

Mirror – A Space for Social and Spatial Interactions

The Finnish Minister of Culture and Sport, Paavo Arhinmäki, testing live video mode.

The Mirror at opening night and on Instagram.

Deputy Mayor of the City of Helsinki, Ritva Viljanen getting familiar with the Mirror.

Opening night, animation mode.

Mirror – A Space for Social and Spatial Interactions

165

the Mirror works as well as my contact details so that the museum and library staff could contact me in case of an emergency. The Mirror was supposed to work in a way that it would have been on 24/7 during the exhibition and idealistically all needed controls could have been made from distance through Cisco’s cloud based control system. This turned out to work mostly well but there were some recurring issues that needed regular on site maintenance. It also turned out that the most secure and fool proof way of keeping the Mirror up and running during the days was to turn it off every night and restart it every morning. The live video connections did get interrupted from time to time without any apparent reason and this resulted in the Mirror being dysfunctional someHän on muusa tai aave, hän on pop-kulttimes for even several Cherry hours. on virtuaalihahmo ja kana Cherry on Tennispalatsissa valmiina kohtaamaan sinut. Kaikki tosin tapahtuu, tuurin voima, joka katsoo meitä pelottomasti. Studio Killers -bändin laulaja. kuten tavallista, hänen ehdoillaan. Cherryn voi nähdä Happy End? -näyttelysThere were someHänen issues with the image quality on some of the displays. This ystäviään ovat bändissä Cherry on rauhaton ja jatkuvasti liikkeessä taidemuseon seinällä ja seikkailemassa soittavat Goldie Foxx -kettu ja sä. Hän on kaikkialla, muttei koskaan yh- Mirror-projektin tilakappaleissa niin taideproblem occurred only withDynathe live video mode on and not with the animation paikkaa. Hänet saattaa nähdä vilahmuseossa kuin Helsingin yliopiston KaisaMink -minkki. dessä dukselta hengailemassa kirjastossa. Toisikirjastossakin. naan hän taas seikkailee museossa. Hän ilwhich indicated thatTEKSTI the problem had to mestyy do esiin with the live video technology. Cisco’s CLAIRE GouLD, näyttelyamanuenssi valuneen maalin lomasta, hän CHERRy jA stuDIo kILLERs vERkossA: liukuu sisään ja ulos maailmastamme piksupport analyzed the advised tomeitä lower the resolution for the video Cherryproblem on pop-kulttuurinand ruumiillistuma. studiokillers.co.uk seleinäus ja kutsuu musiikissa. Ihmiset puhuvat hänelle, hänet nähdään, facebook.com/ChubbyCherryOfficial Missä tahansa hänet näkeekin, hän ei kuihänetwhich tunnetaan. Happy End? -näyttelyn youtube.com/StudioKillers tenkaan välttämättä luulisi. conferencing stream proved to ai-mostly solveole siellä, themissä problem but of course, resulted in a lesser video image quality. However, there remained problems with continuously maintaining the live video image as it still sometimes broke down for an unknown reason. This appeared rarely and was mostly solved by rebooting the video connection but sometimes even that did not help and we just had to wait for the problem to ‘fix itself’. The source of the problem remains unknown and if the project would ever to be rebuilt I would pay even more attention to making sure that the video connections work in a flawless way. There were also problems with the sound. People did not always hear the other end. The recording of the sound was made with Cisco’s video conferencing microphones that adjust their sensitivity according to the surrounding soundscape. The sound amplification was made with Logitech UE Mobile Boombox speakers. The equipment seemed to work fine but for some reason the amplified sound levels were not always loud enough and sometimes they were too loud. There seemed to be some problem with balancing the sound levels between the two locations. The sound part was also the only audiovisual thing that was not properly tested beforehand. Therefore one can conclude that by testing it earlier we would have had the chance to discover the problem and fix it for the realization. The Mirror project did not include systematic documentation of the Mirror when it was in use during the exhibition. Therefore the presented documentations of the user

HAPPY END?

Mirror by Joksu + Mirror Project Team

VIESTITELLÄÄN PEILATEN

KOHTAA CHERRY!

TEKSTI HELI HARNI, näyttelyamanuenssi

”PEILIPINtA oN ARkkItEHtuuRIN ja taiteen näkökulmasta kiinnostava aihe, jota voidaan laajentaa digitaaliteknologian avulla käsittämään asioita, joita ennen pidettiin täysin scifinä”, toteaa Mirror-projektin luoja Joakim

Breitenstein. Digitaalisuus mahdollistaa tilankäytön uudet ulottuvuudet. Ne aukenevat eteemme monipintaisten peilien tavoin. Mirror-projektiin kuuluu kaksi identtistä tilakappaletta, jotka sijaitsevat eri paikoissa. Taidemuseon Happy End? -näyttelyn tilakappaleella on sisar Helsingin yliopiston keskustakampuksen Kaisa-kirjastossa. Tilakappaleet ovat yhteydessä toisiinsa, ja niiden välityksellä meillä on mahdollisuus kommunikoida toistemme kanssa. Mirror tarjoaa monipuolisemman viestintäkanavan kuin perinteinen nettikamera tai videopuhelu. Se peilaa ympäristöään uudella tavalla. Ajatus fyysisestä tilasta sosiaalisena kontaktipintana on viety äärimmilleen. Tilakappaleen kautta ihmi-

nen saavuttaa erilaisen tilakokemuksen ajasta ja paikasta, jossa myös oma sosiaalinen vuorovaikutteisuus on tärkeää. Mirror voi hyvinkin olla tulevaisuuden arkkitehtoninen tila kokonaisvaltaiseen viestintään. Mirror-projekti on alun perin keksijänsä Joakim Breitensteinin diplomityö Aalto-yliopiston Taiteiden ja suunnittelun korkeakoulun Arkkitehtuurin laitokselle. Sittemmin projekti on laajentunut ja saanut ympärilleen kansainvälisen kehitystiimin, jonka jäseniä ovat Peyman Fathi, Scott Mac Mcgregor, Nina Martin, Soroush Moradi ja Rajeev Siewnath. ”Alun idea oli hauska oivallus, ja vähintään yhtä antoisaa on ollut viedä ideaa kohti toteutusta kaikkien yhteistyökumppanien kanssa.”, toteaa idean isä Breitenstein. LIsätIEtojA: • facebook.com/ mirrorspaceforinteraction • joksu.com/

Kuva: Joksu + Mirror Project Team

KÄÄNNÖS TOMI SNELLMAN

Arkkitehtuurissa ja taiteessa on käytetty paljon peilipintaa luomaan illuusioita ja toisenlaisia tilakokemuksia. Digitaalinen teknologia puolestaan mahdollistaa jatkuvasti uusia viestintätapoja. Mirror-projekti yhdistää tämän kaiken.

Havainnekuva Mirror -tilakappaleen sijoittumisesta taidemuseon aulaan.

Studio Killers keikalla.

HELSINGIN TAIDEMUSEO FI 17

16 HELSINGIN TAIDEMUSEO FI

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The Mirror project presented in the Helsinki Art Museum magazine.

Mirror – A Space for Social and Spatial Interactions

JANI LEINONEN KIM SIMONSSON

KIM SIMONSSON

AES+F

JANI LEINONEN

REETTA HILTUNEN

Jani Leinonen: Happy End, 2013.

The graveyard is full of buried firms whose logos glitter on the surface of shining marble tombstones. The graves are monuments to existing corporations. Although the corporations are alive and well, the graveyard may well be a vision of the future.

This gallery guide gives you information about the works on show, and proposes two alternative future visions from each, one optimistic, the other pessimistic.

JANI LEINONEN DUNCAN BUTT JUVONEN TIMO WRIGHT

optimistc

HARRI PÄLVIRANTA p e s s i m is t i c

You can choose to follow only one route or both, or alternate between the two. What kind of a world awaits you at the other end? You decide.

LÄHIALUEMATKAT

19.6.–25.8.2013

1st floor

So Sorry, 2013

The series brings us face to face with shooters: Finnish, American, German. Artist photographer Harri Pälviranta has made the portraits of school shooters from news items relating to shooting and guns. Each portrait consists of 1050 news items taken from newspapers and the Internet in the past few years. The pictures of Finnish school shooters Matti Saari and Pekka-Eric Auvinen are from Pälviranta’s earlier series Notes on Finnish Gun Culture, which was part of his doctoral thesis (2012) for the School of Arts, Design and Architecture at Aalto University. The thesis was a study of the reception of violence-themed documentary art. According to Pälviranta, such works awaken both anxiety and disgust, but also feelings of pity and compassion.

Jani Leinonen: The Assassination of Dior, from the series Assassination, 2013.

From the series Assassination, 2013

Timo Wright: Feast with King Midas, video still, 2013.

TIMO WRIGHT (b. 1977)

In his art, Pälviranta explores the culture of violence, the formation of masculine identity, and social values. His photographs compel us to ask ethical questions: they take a stance, but without condemnation.

The Assassination series consists of product packages that have had a real bullet fired through them. The logos thus executed by the artist are en route to the graveyard of brands. The idea on subvertising was made popular by Naomi Klein’s book No Logo. The Assassination series is a bull’s eye in subvertising.

Feast with King Midas, 2013 The video work is an interpretation of mortality and arrogance. In an empty space, an impassive man is sitting at a table set for dinner, with an empty plate in front of him. The dishes on the table are piled high with food: meat, seafood, fruit, cheese, bread, cakes. Slowly the delicacies begin to rot and turn rancid, worms and flies appear in them.

Harri Pälviranta: News Portrait # 5 (School Shooter Lanza), 2013.

Food production is improved and there is enough healthy food for all.

e people are We al l o c a t e d i m i n i shi ng fu n d s f o r t h e s u p p o r t o f c h i ld re n, y o u n g p e o p l e a n d families . M o r e a n d m or le ft a l one with their problems.

W h a t w e w a nt i s d e c i d e d b y a d v e r t i s e m e n t s , n o t r e a l n e e d s . C o n s u m p t i o n k e e p s e s c a l a t i n g .

I n c o m e d i s p a r i t y c o n t i n u e s t o g r o w. A v e r y s m a l l p a r t o f h u m a n i t y l i v e s i n ab u n d a n c e , w h i l e m o s t p e o p l e s t a r v e .

1st floor

KIM SIMONSSON (b. 1974)

JOKSU + MIRROR PROJECT TEAM

The main character in the Mirror sculpture installation has camouflaged herself, chameleon-like, against the background of a school blackboard. We all know the children’s game in which players try to tag one player, the “mirror”, who stands with his or her back to the others. The players move slowly towards the mirror. The mirror turns around at random, and then the other players must freeze. Those who are caught moving must return to the starting line. The mirror must be honest, and other players need to be vigilant and alert. Kim Simonsson’s ceramic statue children resemble the figures of Japanese manga comics. Their large eyes are made of glass. Perhaps that is one reason why Simonsson’s child figures often seem so strange and alien. Who are they? Where do they come from? What does the future hold for them?

Around the subjects of food and mortality there is an apology, or apologies. The installation is macabre yet rich in melancholy humour. Does sorry indicate something positive or negative? In what circumstances might somebody need to apology 7000 times?

Mirror project, 2013 The Mirror project began as an architectural diploma piece that expanded into an international development project. It consists of two identical spatial objects that resemble houses. They are located in two different places: one in the Tennis Palace Art Museum, the other in the main library of the University of Helsinki in the Kaisa House. The spatial objects are connected via a real-time video link. Happenings in the library are seen and heard in the art museum, and vice versa. Mirror may be a harbinger of holistic future communication.

Kim Simonsson: Mirror, detail, 2013. Duncan Butt Juvonen: So Sorry, detail, 2013.

i n creasi event exclusion. Anxieti es an d isolation beco m e ng to pr ly rare. We invent eve r m o re efficien t w a y s a s s i n g t h i ngs .I ng to s e l f - m e d i c a t e b y a m municate i n c r e a s e s . nab ility t o com

N e w g e n e r at i o n s a r e s m ar t e r a n d m o r e e t h i c a l i n t h e i r c h o i c es than previous ones.

ryi s becomes an epidemic, with pe o p l e t

1st floor

Ge n e ra tion after generation rep eats the same mistakes and society regresses.

1st floor

1st floor REETTA NEITTAANMÄKI (b. 1974)

Cherry

Cherry is a living work of art, a virtual character popular among young people. She is famous for being the soloist in the Studio Killers band. Other members of the audiovisual collective Studio Killers are Dyna Mink and Goldie Foxx. The multitalented Cherry can well be regarded as an embodiment of popular culture. The installation I See You is not only a self-portrait, but also an autobiographical story. Cherry’s art is based on self-aggrandisement. Cherry is also virtually present during the exhibition.

studiokillers.com studiokillers.tumblr.com facebook.com/studiokillers twitter.com/studiokillers

Reetta Neittaanmäki: Lilliputian, 2011, Helsinki Art Museum.

t h e a c c e p t a n c e o f d i f f er e nce. N ew c h a n n e l s o f c o m m u n i c a t i o n i n c r e a s e f r e e d o m o f s p e e c h a n d

I n c r e a s i n g s u r v e i l l a n c e h e l p s u s s o l v e a n d p r e v e n t c r i m e . S o c i e t y b e c o m e s e v e r s a f e r. e

nx i e t y a n e clock. This intensifies the atmosph d fea ere of a i n g watched around th

The work is a multicultural reinterpretation of the traditional Happy Families card game. The families on the cards have become modern and international, the figures representing contemporary professions and the most common names. The work takes stereotypes that emphasise differences and turns them upside down, challenging traditional roles. Hiltunen wants to promote a positive dialogue about a pluralist society. The work consists of 48 cards that are hung on the wall in the shape of the chemical model of melanin. Melanin is a brown or black pigment that is the most important determinant of our skin colour.

Cherry in car, video still from music video of Eros and Apollo.

Reetta Hiltunen: Reshuffle, detail, 2010.

a l o r i e n t a t i o n o r n a t i o n a l i t y n o l o n g e r m a t t e r. , sexu S k i n c o l o u r, g e n d e r a r r o w e r, b e c a u s e w e o n l y p r o c r e a t e w i t h ver n se i n s o c i e t y. Our g e n ome be c o m e people who are similar to us.

ace Differenc e has no p l

2nd floor

REETTA HILTUNEN (b. 1980)

Reshuffle, 2010

2nd floor

We a r

Who is the man, and why is he being observed? The work is reminiscent of reality TV shows and their participants. Publicity and peeking into other people’s private lives no longer seem quite as harmless as they once were. In the midst of others, you suddenly feel alone. On the other hand, Lilliputian also tells about the many ways in which people are monitored today in the name of security and better service. The shape of the work was inspired by the kinetoscope, invented by Thomas Alva Edison in 1888, a device for viewing moving pictures.

al culture. e s e v e r m o r e p r e v a l e n t th a n k s t o a n o n y m i t y e n a b l e d b y d i g i t Hate speech becom ance run rife. W e a l l o w c o n d e m n a t i o n a n d i n t o l er

Lilliputian, 2011 One only needs to look once at the little man in the animation to make one smile. He lives in a box, a square room, equipped with the basic necessities: bed, wardrobe and small table. A picture of Marshal Mannerheim hangs on the wall. We look at the man’s life from above, peeking through small openings. He notices that he is being observed: enormous eyes seem to be cascading from the peepholes.

Photo: HAM / Hanna Kukorelli

1st floor

The work is a depiction of human greed and the need to hoard luxuries. The title is a reference to the mythical King Midas who wished that everything he touched would turn to gold. The wish turned into a curse, when even food turned to gold. Just like the king in the ancient tale, so too the man in the video is unable to enjoy life and its pleasures, even when they are spread out in front of him.

Mirror installation, 2013

The wallpaper does not feature the usual abstract design, but the word ‘Sorry’ repeated over 7000 times. Collecting objects is a common activity that tends to become more pronounced in old age. But unlike collectible plates featuring kittens and puppies and idyllic landscapes, plates in this room are adorned with less digestible messages; crying dogs, talking fish and racist slogans. Lamps, usually functional and decorative, carry sentences like That’s All Folks! or Juicy Pig’s Restaurant.

Lonelines

1st floor

News Portraits series, 2010–13

o f y o u n g people a n d t h e p r o m o t i o n o f c o m m u n i t y i n c r e a s e s . N o o n e is i gn o r e d . O u r i nvest m e n t i n t h e w e l l - b e i n g . n are b mages a s e d o n r e a l i t y, n o t i

1st floor

HARRI PÄLVIRANTA (b. 1971)

1st floor

1st floor DUNCAN BUTT JUVONEN (b. 1972) This installation has the trappings of a living room, yet nothing is quite right. Everything is worn, faded, scratched or stained. Our sense of comfort is disturbed by the details within the room.

1st floor

Courtesy of Showroom Helsinki

Jani Leinonen: Death of Brillo, from the series Death of Capitalism, 2012. Our choices of consumpt io

1st floor

The themes in Leinonen’s art are often linked to advertising and logos. In the works Happy End, Time Is A Luxury and Promises Are Like Stars, Leinonen has used letters borrowed from the logos of famous enterprises. The clichés constructed of corporate logos make you wonder how deep advertisements and trademarks have embedded themselves in our consciousness? What kinds of images do we associate with these brands?

From the series Death of Capitalism, 2012–2013

CHERRY

Texts: Karim Galenius, Claire Gould, Heli Harni, Titta Häkkinen, Nanne Raivio Editors: Nanne Raivio, Taru Tappola Graphic Design: Arja Kiisseli English translation: Tomi Snellman Printers: Libris Oy, Helsinki, 2013

1st floor

JANI LEINONEN (b. 1978)

Happy End, 2013 Time is A Luxury, 2013 Promises Are Like Stars, 2013 Courtesy of Showroom Helsinki

JOKSU + MIRROR PROJECT TEAM REETTA NEITTAANMÄKI

CHERRY / STUDIO KILLERS • REETTA HILTUNEN • JOKSU + MIRROR PROJECT TEAM • DUNCAN BUTT JUVONEN • JANI LEINONEN • REETTA NEITTAANMÄKI • HARRI PÄLVIRANTA KIM SIMONSSON • TIMO WRIGHT

1st floor

1st floor The Happy End? exhibition explores different future scenarios. It is often difficult to draw a clear distinction between optimism and pessimism. The artists featured in this exhibition take a critical view of consumption and the exploitation of natural resources. Their works also explore the relationship of the self to others and to society in general. People are depicted in all kinds of roles, behaving violently, greedy for power, for safety or for pleasure. Real life blends into the world of virtual reality and fantasy.

Courtesy of Showroom Helsinki

1st floor

Gallery Guide

ES+F is an artist collective from Russia founded in 1987, has been exhibiting internationally since the late 1980’s. Named after their initials, originally AES – Tatiana Arzamasova, Lev Evzovich and Evgeny Svyatsky – they were later joined by photographer Vladimir Fridkes – hence the +F. Their works celebrate the end of ideology, history, and ethics. But they do not take a political or moral stance. They pose philosophical, existential and social questions without any clear answers. No conclusions to the scenes are offered. The works, inspired by fashion photography, popular mass culture, Hollywood cinema, and video gaming meet the iconography of ancient classicism, biblical characters, and the old masters.

AES+F: Composition #1 (Trio), Sculptures, from the series Last Riot, Courtesy Shalva Breus’ Collection.

The solo exhibition AES+F has been realized as a collaboration between Helsinki Art Museum and Multimedia Art Museum, Moscow. Co-curated by Olga Sviblova and Helsinki Art Museum.

2nd floor

The ‘Happy End?’ gallery

NARINKKATORI

2nd floor

AES+F: Tondo #15, from the series Last Riot 2, 2006, Courtesy Triumph Gallery, Moscow.

Courtesy of Showroom Helsinki

The exhibition includes the first two parts of The Liminal Space Trilogy: allegories of hell (Last Riot, 2005–08) and paradise (The Feast of Trimalchio, 2009–10). The third part of the trilogy, an allegory of purgatory entitled Allegoria Sacra (2012), is not featured in the show.

AES+F

TENNIS PALACE

AES+F: Panorama #1 and #2, from the series Last Riot 2, 2006. Courtesy Multimedia Art Museum, Moscow and Triumph Gallery, Moscow.

The First Rider

AES+F

guide.

KAMPPI SHOPPING CENTER

All photos AES+F: The Feast of Trimalchio, video stills, 2009–10, Courtesy Multimedia Art Museum, Moscow. Curated by Olga Sviblova.

The art museum’s “Kampin kommentti” glass vitrine in the Kamppi metro station features We Are Sorry (2013), a work made of neon tubes by Jani Leinonen.

in white are of all ages, ethnicities, and social backgrounds. The servants are dressed in traditional uniforms with ethnic twists.

The Feast of Trimalchio is the most celebrated part of the lyrical work Satyricon assigned to Petronius (c. 20-66 AD). Trimalchio, a former slave, rose to become part of the nouveau riche, hosting extravagant feasts lasting several days. His name has become synonymous with wealth, luxury and unbridled pleasure.

The guests indulge in excessive leisure and pleasure activities. The servants attentively respond to their master’s wishes and fantasies. They all are self-absorbed, moving as if in a trance. At times things get an unexpected turn: the masters and servants switch roles and catastrophes and natural disasters threaten the Paradise.

AES+F’s version of the feast is set at a luxurious hotel on a coloursaturated exotic island with a ski resort. The wealthy guests dressed

Music: Beethoven’s Symphony No.7 in A Major, Op.92, and electronic by Pavel Karmanov.

The Helsinki University library in the Kaisa House in Kaisaniemi hosts the other half of Joksu + Mirror Project Team’s Mirror project, which is in contact with its other half in the Helsinki Art Museum in Tennis Palace.

The Happy End? exhibition continues beyond the Tennis Palace

AES+F: The Feast of Trimalchio, video still, 2009–10, Courtesy Multimedia Art Museum, Moscow. Curated by Olga Sviblova.

The Feast of Trimalchio, 2009–10

In the square between the Kamppi shopping mall and the Tennis Palace there are sculptures by the AES+F group: Angel-Demon #3 and #4 (2009) and The First Rider (2007), which were previously on show in Melbourne, Australia.

AES+F: Panorama #3 and #4, from the series Last Riot 2, 2006, Courtesy Multimedia Art Museum, Moscow and Triumph Gallery, Moscow.

e a s o n o u r e ve r m o r e d y s Habitable ar f u n c t i o n a l p l a ne t b e c o m e s m a l l e r. C o n f l i c t s a n d v i o le n c e a r e r i f e .

Angel-Demon #3

Jani Leinonen: We Are Sorry, 2013.

AES+F

W a rs a n d v i ol e n c e o n l y e x i s t i n t h e v i r t u a l w o r l d .

KAMPPI METRO STATION

Hell has literally broken lose: Volcanoes erupt, trains de-rail and planes crash. The youth, donning combat trousers, tank tops, and trainers herald heavy weapons: Guns, baseball bats, golf clubs, and swords. Their fearless bravado, shaped by the click-to-kill computer culture they have grown up in, exposes no suffering, equally no compassion. It is a contact-free world, spared of real pain or heightened emotions. And alienated from the real world, the youth give in to personal exploitation to vanquish over the enemy. But the enemy does not exist.

This brave new world is a non-place in the hinterlands of snowcapped mountains or barren plains. Time has ceased to be of relevance. Eclectic civilizations, myths, epochs, and cultures stretching over millennia collide with modern clichés and cultural stereotypes: Viking helmets, Chinese dragons, gingerbread houses, and dinosaurs.

AES+F: ANGEL-DEMON #3, 2009 © AES+F AES+F: ANGEL-DEMON #4, 2009 © AES+F © AES+F, 2009, Courtesy of Triumph Gallery, Moscow and Volker Diehl Gallery Berlin

Last Riot, 2005–08 Last Riot is a series of works depicting a post-apocalyptic vision of Hell. It is populated by a new generation, utterly cool teenage warriors.

Affluence and well-being are distributed equally among us . We live in peace. As income disparity increases, social class distinctions become more pro minent.

Mirror – A Space for Social and Spatial Interactions

167

experiences are random and do not represent scientifically valid data. I made several visits to the museum and the library during the exhibition and based on those visits my personal experience from seeing other people experience the Mirror was as follows. It seemed somewhat rare that two or more persons encountered each other simultaneously by the Mirror. However, when it did happen, the reactions could be described as confused and hilarious. People did not first know what is happening but when they realized that the person they see is someone real somewhere else in real time, they reacted with laughter and sometimes also becoming very shy and walking away. Children seemed to be the most uninhibited and enthusiastic users and they also immediately started exploring and utilizing the three-dimensional shape by hiding behind corners and walking around the object. I noticed that even if the Mirror had a sign next to it which described the project and what it’s about, it was difficult for people to directly understand what the Mirror does. There could have been a bigger sign, a big speech bubble or maybe an animation on the display which would have described what the Mirror does in a more direct way and encouraged people to actively interact with people in the other end. The Mirror was mentioned in one written exhibition feedback and it said (translated from Finnish):

Joksu Joakim Breitenstein joakim.breitenstein@gmail.com +358 40 518 2518 http://joksu.com/

Mirror Käyttöohjeet 19 Kesäkuuta, 2013 ____________________________________________________________________________________________________________

Mirror käyttöohjeet

1. Päälle ja pois päältä

2. Kaksi toimintatilaa

Mirror laitetaan päälle/pois päältä käynnistämällä/sammuttamalla näytöt. Tämä tehdään

Mirror-tilakappalaiden pinnalla näytetään lähtökohtaisesti kahdenlaista sisältöä.

Sisällys 1. Päälle ja pois päältä........................................................................................................... 2 2. Kaksi toimintatilaa.............................................................................................................. 3 3. Näytöllä näkyvän sisällön vaihtaminen.............................................................................. 4 4. Päivärytmi.......................................................................................................................... 5 5. Palovaroitin........................................................................................................................ 7 6. Lasipeililevyjen irrottaminen...............................................................................................8 7. Äänen hallinta.................................................................................................................... 9 8. Kaukosäätimet..................................................................................................................11 9. Ongelmatilanteet.............................................................................................................. 13

painamalla Panasonic-kaukosäätimen punaista nappia vasemmassa ylänurkassa. Jos

1. reaaliaikainen videopuheluyhteys museon ja kirjaston välillä

tapahtuu niin, että yksittäiset näytöt jäävät sammuksiin kun muut ovat päällä (tai

2. Cherry/Studio Killers -animaatio

päinvastoin), niin silloin kannattaa viedä kaukosäädin aivan kiinni näyttöjen vasemmassa alareunassa olevaan kaukosäätimen vastaanottajaan, jolloin voi hallita yksittäisen näytön toimintatilaa. Mirror-tilakappaleiden kaikki muut laitteet (koodekki, kytkimet, mediasoitin, kamera, kaiuttimet, mikrofonit jne.) ovat jatkuvasti päällä.

Joksu Joakim Breitenstein joakim.breitenstein@gmail.com +358 40 518 2518 http://joksu.com/

Mirror Käyttöohjeet 19 Kesäkuuta, 2013 ____________________________________________________________________________________________________________

3. Näytöllä näkyvän sisällön vaihtaminen

4. Päivärytmi

Videopuheluyhteyden ja animaation saa vuorotellen näkyville painamalla Mirrorin toisen

Näytöt laitetaan päälle, kun museo/kirjasto avataan. Näytöt laitetaan kiinni päivän

seinän alareunassa olevien kytkimien vaihtonappuloita. Kytkimen lattiaa kohti osoittavassa

päätteeksi, kun museo/kirjasto suljetaan. Alla museon ja kirjaston aukioloajat huomioiva

pinnassa on yksi musta nappi, joka on tämä kyseinen vaihtonappula. Yhdessä Mirror-

päivittäinen rytmitys Mirrorin pinnoilla esitettävälle sisällölle.

◦ kirjasto sisäpuoli: videoyhteys

•

vaihtaa ulkopuolen näytöillä näytettävää sisältöä sekä ”Inside” -merkinnällä varustettu

Perjantai (museo auki 11-19, kirjasto auki 10-18) ◦ museo ulkopuoli: videoyhteys ◦ museo sisäpuoli: videoyhteys

tilakappaleessa on kaksi kytkintä: ”Outside” -merkinnällä varustettu kytkin, jonka avulla voi

◦ kirjasto ulkopuoli: videoyhteys •

kytkin, jonka avulla voi vaihtaa sisäpuolen näytöillä näytettävää sisältöä. Jos haluaa

Maanantai (museo suljettu, kirjasto auki 10-18)

◦ kirjasto sisäpuoli: videoyhteys

◦ museo ulkopuoli: sammutettu

vaihtaa esim. sisäpuolen videopuheluyhteyden animaatioksi, niin pitää vain painaa ”Inside”

◦ museo sisäpuoli: sammutettu

- merkinnällä varustetun kytkimen vaihtonappulaa, jolloin kuvapinnalle ilmestyy n. 10

◦ kirjasto ulkopuoli: videoyhteys/animaatio

sekunnin kuluttua toistuva animaatio. Videopuheluyhteyden saa takaisin painamalla

◦ kirjasto sisäpuoli: animaatio

•

Lauantai (museo auki 11-19, kirjasto suljettu) ◦ museo ulkopuoli: videoyhteys/animaatio ◦ museo sisäpuoli: animaatio

samaa nappia uudestaan.

◦ kirjasto ulkopuoli: sammutettu •

Tiistai (museo auki 11-19, kirjasto auki 10-18)

◦ kirjasto sisäpuoli: sammutettu

◦ museo ulkopuoli: videoyhteys ◦ museo sisäpuoli: videoyhteys ◦ kirjasto ulkopuoli: videoyhteys ◦ kirjasto sisäpuoli: videoyhteys

•

Sunnuntai (museo auki 11-19, kirjasto suljettu) ◦ museo ulkopuoli: videoyhteys/animaatio ◦ museo sisäpuoli: animaatio ◦ kirjasto ulkopuoli: sammutettu

•

Keskiviikko (museo auki 11-19, kirjasto auki 10-18)

◦ kirjasto sisäpuoli: sammutettu

◦ museo ulkopuoli: videoyhteys ◦ museo sisäpuoli: videoyhteys ◦ kirjasto ulkopuoli: videoyhteys ◦ kirjasto sisäpuoli: videoyhteys

•

Torstai (museo auki 11-19, kirjasto auki 10-18) ◦ museo ulkopuoli: videoyhteys ◦ museo sisäpuoli: videoyhteys ◦ kirjasto ulkopuoli: videoyhteys

Joksu Joakim Breitenstein joakim.breitenstein@gmail.com +358 40 518 2518 http://joksu.com/

Mirror Käyttöohjeet 19 Kesäkuuta, 2013 ____________________________________________________________________________________________________________

5. Palovaroitin

6. Lasipeililevyjen irrottaminen

7. Äänen hallinta

Mirror-tilakappaleissa on omat palovaroittimet. Palovaroittimeen pääsee käsiksi

Mirrorin lasipeililevyt on kiinnitetty rakenteessa oleviin metallikiskoihin. Lasipeililevyn saa

Mirrorin ääntä voi hallita koodekkia ohjaavan kaukosäätimen avulla. Lähtevän äänen voi

katonrajassa olevasta raosta, joka on jätetty kattopleksilevyn ja kattopeililevyn väliin.

“The most memorable works were the ones downstairs such as […] and the beautiful and captivating Mirror…”40

irti kiinnittämällä imukupit levyyn ja sen jälkeen nostamalla levyä imukuppien avulla ensin

sammuttaa painamalla koodekkikaukosäätimen nappia, jossa on mikrofoni, jonka yli on

ylöspäin, jolloin kiskon ote vapautuu ja sitten nostamalla levy poispäin rakenteesta.

vedetty punainen viiva. Tämä toimenpide sammuttaa mikrofonin. Tulevan äänen voimakkuutta voi säätää painamalla koodekkikaukosäätimen äänenvoimakkussnappia. Lähtevän äänen sammuttaminen museolla Ota koodekkikaukosäädin ja osoita sillä seinän alareunassa kytkimien kohdalla ylöspäin sisälle Mirror-rakenteeseen. Paina nappia, jossa on mikrofoni, jonka yli on vedetty punainen viiva. Näytölle pitäisi ilmestyä ”estetty mikrofoni” symboli. Lähtevän äänen sammuttaminen kirjastolla Ota koodekkikaukosäädin ja osoita sillä seinän alareunassa kytkimien kohdalla ylöspäin sisälle Mirror-rakenteeseen. Paina nappia, jossa on mikrofoni, jonka yli on vedetty punainen viiva. Ulkopuolen näytölle pitäisi ilmestyä ”estetty mikrofoni” symboli. Tee sama toimenpide uudestaan niin, että osoitat alareunan sijasta kytkimien seinäpinnan yläreunassa olevasta raosta sisälle ja paina nappia, jossa on mikrofoni, jonka yli on vedetty punainen viiva. Sisäpuolen näytölle pitäisi ilmestyä ”estetty mikrofoni” symboli. Sisääntulevan äänen voimakkuuden säätäminen museolla Ota koodekkikaukosäädin ja osoita sillä seinän alareunassa kytkimien kohdalla ylöspäin

I also asked written feedback from the Mirror Project Team and from the project’s stakeholders. This feedback was collected in order to evaluate the project as a working process and how me and my team performed in delivering the Mirror for the exhibition in collaboration with and to various stakeholders. The feedback from the project team got 2/6 replies (one of them being myself) and gave some insight on how the team evaluated the Mirror and the project as a whole. The feedback from the partners got 1 reply and gave some insight on how our team performed from the perspective of the client. All in all the Mirror realization went well and any problems that occurred were dealt with as they appeared.

sisälle Mirror-rakenteeseen. Säädä haluamasi äänentaso äänenvoimakkuusnapin avulla. Sisääntulevan äänen voimakkuuden säätäminen kirjastolla Ota koodekkikaukosäädin ja osoita sillä seinän alareunassa kytkimien kohdalla ylöspäin sisälle Mirror-rakenteeseen. Säädä haluamasi äänentaso äänenvoimakkuusnapin avulla. Tee sama toimenpide uudestaan niin, että osoitat alareunan sijasta kytkimien seinäpinnan yläreunassa olevasta raosta sisälle ja säädä haluamasi äänentaso äänenvoimakkuusnapin

Joksu Joakim Breitenstein joakim.breitenstein@gmail.com +358 40 518 2518 http://joksu.com/

Mirror Käyttöohjeet 19 Kesäkuuta, 2013 ____________________________________________________________________________________________________________

avulla.

8. Kaukosäätimet

Mediasoitin

Näytöt

Koodekki

Operating manual for maintenance staff at Helsinki Art 40 “Excerpts from user feedback for the Happy End? exhibition, email from Heli Harni at Helsinki Art Museum

Museum and Helsinki University Library.

to Joakim Breitenstein at Joksu, 20th November, 2013

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1/2/2014 6:56:25 Joakim

Is Joksu allowed to cite your comments as part of Joksu's marketing? Yes, but please do NOT use my name publicly.

1/4/2014 15:50:25 Peyman

Yes, and please feel free to use my name publicly.

What is your name?

Timestamp

If there's something more What is one (or What is bad about How does Joksu's you want to What is one (or What is bad about more) thing(s) you Joksu's way of way of working How would you What grade would comment on, more) thing(s) you the Mirror and how love about about working and how compare to describe Joksu in you give Joksu for please write a few love about the would you improve Joksu's way of would you improve competitors/other one sentence or a overall project lines. I'm thankful Mirror? Why? it? working? Why? it? companies? few words? execution? for all feedback! Difficult to use dayFinish of the to-day operation Too much Joakim Accuracy Holistic approach Elegant 4 physical object wise driven The first property about Mirror which The thing I would In the end I want to attracted me to like to be improved thank the Mirror+ work on was the in Mirror is the Joksu for letting idea, the creativity marketing part and me involve in the and the also adding some project, in addition functionality, it is a art part into the I want to ask to perfect idea which structure to make it spread the idea can spread later in more fancy and more and do not technology and in visually attractive It is good that stop the project, many social to grab every and do not hesitate some company is places, it can bodies mind who behind the project to ask any help change the social passes on from the which gives the from me for further media in future Mirror artificiality Innovation 4 cooperation

Written feedback from 2/6 Mirror Project Team members.

Timestamp

What is your name?

9/2/2013 10:17:13 Claire

Are we allowed to cite your What is bad about How would you comments as part What is one thing the Mirror and how How does the describe the Mirror of Joksu's you love about the would you improve Mirror compare to in one sentence or marketing? Mirror? Why? it? competitors? a few words?

It shakes up your day-to-day living space perceptions of what real and Yes, but please do virtual time and NOT use my name space could offer publicly. us in the future

The microphone, you had to get really close and it was sometimes difficult to hear the others speak I wouldn't know

What was one thing you love about Joksu's service? Why?

IAn exciting start to even more amazing possibilities to experience space and time in public spaces Professionality

How would you What is bad about describe Joksu's Joksu's service How does Joksu's service in one and how would service compare to sentence or a few you improve it? competitors? words? It's a young team of professionals yet the service is dynamic, collaborative, reliable, openminded and creative, hardworking and committed. They I can't think of have a great future anything bad I wouldn't know ahead!

If there's something more you want to comment on, What grade would please write a few you give Joksu for lines. We are overall project thankful for all execution? feedback!

Thank you for for being part of our Happy End? 5 exhibition! xxxx

Written feedback from project partners.

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The Mirror at Helsinki Art Museum, anyone there?

Mirror in use during the exhibition. Image taken my me, located at Helsinki Art Museum, talking with people at Helsinki University Library.

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Encounters between strangers were rare but when they did happen, the reactions could be described as confused and hilarious.

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After standing inside the Mirror for a while two children start playing with going in and out of the space, on and away from the display. (Stills from “video-2013-07-03-14-24-20.mp4” – Video shot at Helsinki University Library on 3rd July, 2013)

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With the help of the mirroring surfaces they notice that displays react to their

Now the child on the left starts to move towards the Mirror…

…he waits when he will appear on the display…

…now!

movements.

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A child inside the Mirror at the museum plays with his own real time mirror image by moving his body back and forth in a dance like manner. (Stills from “video-2013-08-23-17-13-25.mp4” – Video shot at Helsinki University Library on 23rd August, 2013)

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The child attracts the grown up man standing next to the Mirror to interact

They start an interactive dance…

…moving their bodies back and forth in a similar fashion and rhythm…

…to escalate to even bigger gestures by both dancers.

with him.

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Life-size encounter outside the Mirror.

Photographer Yu Shen’s self portrait at the Mirror.

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Bigger than life-size encounter inside the Mirror. The closer the person is to the camera, the bigger the person appears on the display.

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The Mirror rose interest among bypassers.

Helsinki University Library as seen as a reflection through the Mirror.

The ‘analog’ and digital mirror surfaces together with the form of the object resulted in kaleidoscopical views.

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The following image sequence was shot simultaneously at Helsinki University Library (left side images by Yu Shen) and Helsinki Art Museum (right side images by Emma VepsĂ¤). Thank you Kristina Weimer for the crazy moves!

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Hello there!…

…how about some crazy moves?

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Ninja kick!…

…laser beam!

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Ok, ok, I’ll surrender!

Let’s hug…

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…and shake hands.

Ok enough with that, let’s go outside and dance!

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La da da di da da…

…aaaand thank you!

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Helsinki University Library’s new main building and the Mirror.

The staff at Helsinki Art Museum placed furniture by the Mirror to increase the chance of random interactions.

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The glass mirror surface reflects the library’s skylight and brought it visible without having to look up.

Mirror – A Space for Social and Spatial Interactions

Top view from the Mirror’s display side.

Top view from the Mirror’s glass mirror side.

The Mirror was located in the library’s entrance floor.

The library entrance, atrium and the Mirror.

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Finishing materials, white acrylic, glass mirror and transparent acrylic.

Helsinki University Library atrium and the Mirror.

The seams were finished with white ‘electrical’ tape.

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A narrow seam was left open to support ventilation.

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The cameras were located in the seam between the displays.

The transparent acrylic was attached to the end profiles with

The pedestal supported adjusting the distance between the Mirror

Steel plates were placed under the pedestal to distribute the weight

and the floor.

L-shaped steel joints.

on the marble floor.

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Demounting the Mirror at Helsinki Art Museum.

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Displays wait to be packed for shipping.

Demounting the end profile plywood.

Demounting was faster than installation.

The building materials for two Mirror objects fit in an approximately 1,5*4 m space.

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Reassembling the Mirror at Aalto University Urban Mill.

The glass mirror boards need to be carefully handled.

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At least two persons are needed to install the Mirror objects.

Almost done.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

Thanks to the reassembly team!

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Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

4. Results and Further Development

4.1 Results for Project as a Whole The main goal for the project was to produce a physical 1:1 scale realization of the Mirror idea which is two identical three-dimensional physical spaces that reflect each others audiovisual environments in real time. This included efforts in Architecture, Engineering, Project Management and User-Centered Design. This overall goal was reached as this work shows. The goal was also to document the realization so that people can get an understanding about what it takes to take an idea like this to realization. The documentation is thorough all the way until the exhibition opening. One can speculate that the documentation during the exhibition could have been better as this work then could have provided more information on how random people with no previous knowledge about the Mirror reacted to the project in public space. However, even if this kind of documentation would surely have been interesting to have, it was not the primary aim for this project. If the project would ever to be further developed, it might be fruitful to more extensively document the use of the Mirror in public space so that the information would be available to the academic community to benefit from.

4.2 Results for Architecture The first architectural goal was to create a unique architectural piece that speculates: “What kind of physical spaces can be created with the help of digital surfaces?” I think that this work succeeded in creating a physical space like this and thus in creating possibilities for discussing the question. However, as this work focuses on the physical object and not on the theoretical treating of the question, it could be interesting to dig further into the theoretical aspects if the project would ever to be continued. The second architectural goal was to create a recognizable architectural object and it was in my opinion reached as the Mirror resembled an archetypal house and thus it aimed to have symbolic value in it. However, the beauty of the form in itself is subject to each viewers personal preferences. The third architectural goal was to create an architectural object big enough for a full grown person to fit inside and this was evidently reached. It was also self-

194

evident for me that the space needed to be accessible for people using trolleys, wheelchairs and other similar assistance tools. The fourth architectural goal was to create an architectural object that has enough three-dimensionality in order for it to distinguish itself from a flat video wall. This was also reached even if it could have been reached even better by using different kind of displaying technologies. If the Mirror would have been realized with projection technology or flexible LED displays, it would have been possible to create a free form object which would have been even more seamless and three-dimensional than the Mirror that was realized. However, even if it would be interesting to explore this kind of approach further if the project would be continued, it was not possible to do in this project because of our limited resources.

4.3 Results for Engineering The first engineering goal was to ensure that the bearing structure was capable of supporting displays on the Mirror object’s walls and roofs as well as even ‘hanging’ from the roof inside the object, which was located in public space for three months during summer 2013. This goal was reached as the Mirror objects were successfully up and running without any problems in the physical structure throughout the exhibition. The second engineering goal was to ensure that all electrical fixtures fitted inside the structure without overheating. The efforts that were made when designing the structure so that there was enough space for the fixtures resulted in reaching this goal as well. We also installed a fire alarm in the structures to make sure that any accident would be noticed in time. However, no overheating occurred and the fire alarm was never needed. The third engineering goal was to ensure that the live video connection between the two Mirror objects worked well. This goal was partly reached. Even if the live video connections worked smoothly most of the time, there were some issues with the video image quality as well as with maintaining the continuous connections. The video image was sometimes interrupted and broken down. This was partly solved by lowering the resolution of the video image. However, there remained problems with the video connection which sometimes still broke down and the reason for this remains unknown. In addition there were issues with the sound which resulted

Mirror – A Space for Social and Spatial Interactions

Children seemed to be the most uninhibited and enthusiastic users and they also immediatly started exploring and utilizing the three-dimensional shape by hiding behind corners and walking around the object.

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in people not being able to hear the other end clearly during the live video mode. Sound was the only technological thing that was not tested beforehand and one can draw the conclusion that this could have been prevented with proper testing beforehand. Therefore the goal of engineering a functioning live video connection can not be seen as fully reached. If the project were to be continued I would suggest to test the live video connections even more and explore different solutions to ensure their full functionality as well as to test the sound before displaying the project publicly.

4.4 Results for Project Management The goal for project management was to deliver a functioning product to be benefitted from by different stakeholders within timetable and budget and the efforts to reach this goal included product development, fundraising as well as managing timetable, different stakeholders and marketing. This goal was mostly reached as the Mirror was up and running in time for the exhibition. The Mirror worked mostly as planned with the exceptions of issues with the live video stream and sound. The feedback from different stakeholders was good which indicates that they benefitted from the project as expected. However, despite efforts we did not manage to get feedback from all stakeholders which leaves the matter somewhat open. Another goal for project management was marketing and more precisely to gain significant media coverage in mass and specialized media as well as to gain a wide and active follower base in social media. Despite numerous efforts to contact journalists and active updates on the Mirror Facebook page this goal was not reached. During the process I learned that one reason for lack of engagement might have been the fact that the project was very much a top down project where we only presented an â&#x20AC;&#x2DC;already designedâ&#x20AC;&#x2122; object instead of engaging people to participate in the design process (other than giving feedback for the prototypes). Some feedback suggested that it was difficult for people to understand what the project was about and thus it was rare for people to actively engage with the project. There were some enthusiastic followers but a wider media coverage as well as the wide and active follower base in social media was not reached. On the other hand I also noticed that in order for things to proceed and a product like this to be made, it really needs a responsible group of individuals wih the power

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I feel that the key is to find a balance between these two aspects of engaging the community and keeping the

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

project running as planned.

It really paid off to design the product, from the

start, with the help of an up-to-date information model which allowed me to efficiently calculate

an accurate budget for building materials in every project stage.

If you want to

make a project that matters to people,

let them engage in the development and make sure that they gain

something from

being a part of the project.

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to make decisions and keep the project development ongoing. I feel that the key is to find a balance between these two aspects of engaging the community and keeping the project running as planned.

4.5 Results for User-Centered Design The goal for user-centered-design was to ensure that the needs, wants and limitations of the end users were taken into consideration when developing the project. This goal was mostly reached as the project team managed to create comparable prototypes, present them to the public and make informed decisions based on the collected feedback. Even if documenting the use of the Mirror by random people during the exhibition phase was not a focus in this project, some results on this were collected when I was randomly visiting the exhibition venues. When encounters did happen, the reactions could be described as confused and hilarious. Children seemed to be the most uninhibited and enthusiastic users and they also immediately started exploring and utilizing the three-dimensional shape by hiding behind corners and walking around the object. Also, what we did not learn at the prototypes review event but only when the final Mirror was up and running was that it was difficult for people to directly understand what the Mirror does. There could have been a bigger sign, a big speech bubble or maybe an animation on the display which would have described what the Mirror does in a more direct way and encouraged people to actively interact with people in the other end. This might have led to more engagement and excitement about the project during the exhibition.

4.6 Key Learnings In addition to the above mentioned results there were some key learnings that I would like to share with the reader. Use information models: It really paid off to design the product, from the start, with the help of an up-to-date information model which allowed me to efficiently calculate an accurate budget for building materials in every project stage. The informa-

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tion model became more accurate as the project evolved and gave me confidence when it was time to purchase the final building materials. Communicate a lot and be clear: There was never too much communication. On the contrary, at times when I for some reason did not communicate as much as possible, I noticed that there were more potential problems than if I had communicated more. However, it is very important to be very clear and brief when communicating and to think about how the message sounds and looks from the receivers point of view. At times I got feedback that the communications were too detailed and the receiver did not have energy to dig through it all. In addition, the communications at the exhibition venue should have been clearer. People did not always understand what the project was about and if we would have communicated better about the idea, people might have engaged more as they would have understood what the project is about. Disciplined project management pays off: My experience was that a disciplined project management supported the successful realization of the project minimized risks. Test everything beforehand: The sound was the only thing that did not worked as planned and the reason was simple â&#x20AC;&#x201C; it was not tested beforehand. Engage in the right ways: If you want to engage people with a project, make sure that there is something for them to gain from the project.

4.7 Further Development of the Mirror Initiative When this work is going for printing both Mirror objects are located at Aalto University Urban Mill, one of the objects fully built and the other one demounted in storage. As both Mirror objects are locates in the same place, they do not act as a social and spatial connecter between remote locations. However, the fully built Mirror is being used as a presentation tool at various events organized at Urban Mill. The digital Mirror surfaces offer a flexible and unique way to display visual communication materials for different purposes. Also, there has been talk with various institutions and organizations about how the Mirror could be used to support their aims. One example of this is various libraries who are interested to use the Mirror as part of their new library environment concepts. Who knows, maybe there will be a Mirror in every library some day.

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

At the moment the Mirror is located at Aalto University Urban Mill

where it serves as a symbol for the innovative university (top) and as a new kind of surface to display any

kind of digital information on (left).

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Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

5. Summary

5.1 Introduction The Digital Revolution is transforming more or less every industry out and therefore it is natural that also the architecture industry explores for new possibilities within the area. The Mirror project started from a random sketch in my sketch book and evolved to an extensive project where the goal was to create an 1:1 scale realization of the Mirror idea. In order to achieve this main goal the project was divided in to smaller goals in the following areas: architecture, engineering, project management and user-centered design. The project was also bound to a continuum of similar projects and relevant contemporary and previous research in the field.

5.2 Theoretical Background My passion is to create architectural projects that make a difference. In order for architecture to make a difference, it needs to, in my view, utilize the potential of it’s contemporary world in the best possible way. Today’s world is heavily influenced by digital technology. Therefore I see that digital technology already has and continues to, in an increasing way, to influence the creation of architecture. The initial spark for this project was my personal experiences from and exposure to the contemporary digital media environment as well as my background in studying and working in the field of architecture. My interest is to explore what kind of possibilities digital technology offers for creating new kinds of physical spaces and spatial experiences. Through the Mirror project I have explored one way on how digital technology can affect the perception of contemporary architecture. What is a physical space built out of digital surfaces? What possibilities do these digital surfaces create and do they change the perception of physical space? What kind of physical structures needs to be created in order for these digital surfaces to be a seamless part of our physical environment? These are all questions that have been explored in the Mirror project and this diploma work. The Mirror project had a theoretical starting point but equally important, for me, was the creation of a 1:1 scale physical prototype to explore the idea. A 1:1 scale

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Project Management 50%

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User-Centered Design 17% Engineering 17%

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prototype was a natural way to explore the subject because it creates a connection between the previously mentioned theoretical aspects and the real world. The Mirror project explores theoretical aspects of a new, digitally influenced architecture by building physical prototypes of a theoretical idea. Even if the starting point is personal, I obviously made background research on what kind of similar projects had been done before as well as what kind of academic research has been done in the field. A variety of similar projects to the Mirror have been realized since the early days of the Digital Revolution and there are several examples of network based applications that create interactions between people in different environments. There are also pieces that are close to the Mirror because of their physical appearance or basic idea even if they are not realized with the help of digital networks. This work displays a random selection of these reference projects. The academic research that has been taken as a reference for this project can be divided in two parts. Firstly the kind of academic research that focuses on mediated space and its possibilities. Secondly there is a more speculative approach that explores the role of the designer as a person who creates questions and speculates about our future instead of creating straightforward solutions to existing problems. The Mirror project is related to both categories and examples of research from both of the above mentioned categories is presented in this work. A videophone, a videoconferencing system or previous interactive media projects can all be described as digital/multidimensional windows – that is to say – screens. A window is something one looks through in order to experience what is behind it. The Mirror project is, however, unique because of its three-dimensional spatiality. The Mirror is, as its name suggests, a mirror – not a screen or a window. Like the traditional mirror, the Mirror creates its value from its own unique characteristics – the ability to reflect its surroundings. The Mirror is a digital/multidimensional mirror one looks upon in order to experience what is in front of it and what relation it has to the reflecting surface and the surrounding environment.

5.3 Project Review In this project the research problem is be described as: “What is the optimal way to realize the theoretical Mirror idea with available resources?”

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The Mirror project was a 30+ month project (January 2011–August 2013) with many dimensions. It included concept and product development, fundraising, acquiring collaborators from both the public and the private sectors, forming a team, making prototypes, developing a final product and finally presenting it to the public. In this work the project is presented chronologically and divided in the following sections. Idea Stage (January 2011–February 2011): The Mirror project started when I was making random sketches in my sketchbook back in January 2011. Gradually I started to develop the idea of two identical spatial objects that could be looked upon as mirrors that reflect each others audiovisual environment in real time. Early Stage Development (March 2011): During the early stage development I started working on a project presentation which I could send to potential collaborators. In this presentation I aimed to present, in an as clear way as possible, the idea and how the idea could be realized in a realistic way. For this I made idea diagrams that communicated the basic idea and also how the idea could be implemented in different environments. In addition I made an operational diagram which communicated how the idea could be realized from a technical point of view. Concept Development (April 2011–November 2011): After developing the idea, AVEK rewarded the project with a €4,000 grant for further developing the concept. During this stage the collaboration with Helsinki Art Museum, the main spatial and administrative collaborator for the project, was confirmed. One of their then upcoming exhibitions, ‘Happy End?’, proved to be a suitable event to exhibit the Mirror. Prototype Development (December 2011–March 2012): After developing the concept for almost 6 months, AVEK rewarded the project with a €20,000 grant for project realization. The product plan was developed and new collaborators was acquired during the first prototype development stage. Project on Hold (April 2012–July 2012): Helsinki Art Museum’s exhibition programme got an unexpected change in spring 2012, when a water damage at one of their premises caused a timetable delay in the whole exhibition schedule. The original plan was to present the Mirror at the Happy End? exhibition opening in Fall 2012, but because of the water damage the opening was rescheduled to summer 2013. This delay resulted in a break from project development lasting from late spring until late summer 2012. Prototype Development (August 2012–April 2013): By the end of the summer 2012, the timetable for Helsinki Art Museum’s exhibition was confirmed and I con-

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tinued the project development. This marked the start for an intensive period pf project development that would last until summer 2013 when the exhibition opened. The Mirror Project Team as formed during this time. Realization Development (April 2012–June 2013): After evaluating the prototypes the team started to develop the realization for the Happy End? exhibition. This stage was the most intensive as the project had to be narrowed down to completion and the Mirror objects had to be physically built. Realization (June 2013–August 2013): The Mirror was on display at the Happy End? exhibition, which opened at Helsinki Art Museum on 19th June, 2013. The theme for the exhibition was the future and whether it will become a utopia, something more normal or even a dystopia.

5.4 Results and Further Development Most of the projects’ goals in general as well as in the specific fields of architecture, engineering, project management and user-centered design were reached. However, there were some goals that we did not reach and these were flawless functionality of the live video streams and sound as well as significant media coverage. In addition there were 5 personal key learnings that I would like to share with the reader: • • • • •

A meet-up with potential key people for continuing the Mirror initiative at Aalto

University. From left: Saija Nieminen, Eeva-Liisa Lehtonen, Mikko Heikkinen, Kari Mikkelä, Antti Ahlava, Valria Gryada and Kalevi Ekman.

Use information models Communicate a lot and be clear Disciplined project management pays off Test everything beforehand Engage in the right ways

At the moment both Mirror objects are located at Aalto University Urban Mill, one fully built and one demounted in storage. The fully built Mirror is sometimes used as presentation tools at various events organized at Urban Mill. Also, there has been talk with various institutions and organizations about how the Mirror could be used to support their aims. One example of this is various libraries who are interested to use the Mirror as part of their new concepts for library environments. Who knows, maybe there will be a Mirror in every library some day.

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Original image ÂŠ Yu Shen

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Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

Glossary Digital Revolution: “The change from analog mechanical and electronic technology to digital technology which began anywhere from the late 1950s to the late 1970s with the adoption and proliferation of digital computers and digital record keeping that continues to the present day.”41 Mediated Space: “A space which enables ‘remote presence’ and interactions with other people through the physical space and by “using video and media technology as design components.”42 Telecollaboration: In today’s world telecollaboration is described as “a set of software technologies that enable the integration and extension of personal desktop collaboration into high definition videoconferencing solutions. Unlike pure high definition video conferencing systems or telepresence solutions, a telecollaborative high definition video conferencing environment is supplemented by spontaneously shared personal content thereby putting a remote meeting’s emphasis not only on face to face communication but concurrently on collaboration.”43 However, as the word in this work refers to an art installations made in 1980, the meaning can widened to ‘a set of software and hardware technologies that enable the integration and extension of personal collaboration, life-sized gesture based interaction and content creation into high definition videoconferencing solutions’.

User-Centered Design: “User-centered design (UCD) is a process (not restricted to interfaces or technologies) in which the needs, wants, and limitations of end users of a product, service or process are given extensive attention at each stage of the design process. User-centered design can be characterized as a multi-stage problem solving process that not only requires designers to analyze and foresee how users are likely to use a product, but also to test the validity of their assumptions with regard to user behavior in real world tests with actual users. Such testing is necessary as it is often very difficult for the designers of a product to understand intuitively what a first-time user of their design experiences, and what each user’s learning curve may look like.”45

Telepresence: “Telepresence refers to a set of technologies which allow a person to feel as if they were present, to give the appearance of being present, or to have an effect, via telerobotics, at a place other than their true location.”44 41 http://en.wikipedia.org/wiki/Digital_Revolution 42 Gulllström, 2010, p.3–8 43 http://en.wikipedia.org/wiki/Telecollaboration 44 http://en.wikipedia.org/wiki/Telepresence

45 http://en.wikipedia.org/wiki/User-centered_design

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Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

Sources Printed

Videos

Presence Design: Mediated Spaces Extending Architecture Charlie Gulllström, 2010 KTH, Royal Institute of Technology, Stockholm, Sweden

Myron Krueger - Videoplace, Responsive Environment, 1972-1990s https://www.youtube.com/watch?v=dmmxVA5xhuo

Mediatecture: The Design of Medially Augmented Spaces Christoph Kronhagel (Ed.), 2010 Springer-Verlag/Vienna, SpringerWienNewYork

Excerpts from A Hole in Space -- the mother of all video chats https://www.youtube.com/watch?v=QSMVtE1QjaU

Speculative Everything: Design, Fiction, and Social Dreaming Anthony Dunne & Fiona Raby, 2013 The MIT Press, Cambridge, Massachusetts, London, England

Meeting Poster http://vimeo.com/4325639

Presence Production Claus Jørgen, Schibsted Knudsen, 2004 KTH, Royal Institute of Technology, Stockholm, Sweden

Interaktives Display - Digitales Schaufenster powererd by T-Labs (Prototyp Bundesliga) https://www.youtube.com/watch?v=yzWoPerNolo

MyPosition: Sparking Civic Discourse by a Public Interactive Poll Visualization Nina Valkanova1,2, Robert Walter1, Andrew Vande Moere3, Jörg Müller4,1 2014 1 Quality and Usability Lab, Telekom Innovation Laboratories, TU Berlin 2 Music Technology Group, Universitat Pompeu Fabra 3 Research x Design - Department of Architecture, Urbanism and Planning, KU Leuven 4 Alexander von Humboldt Institute for Internet and Society Berlin

video-2013-07-03-14-24-20.mp4

Accessed 20th October, 2014

Accessed 18th October, 2014

Screenfinity: Extending the Perception Area of Content on Very Large Public Displays Constantin Schmidt1, J¨org M¨ uller1,2, Gilles Bailly1, 2013 1 Quality and Usability Lab, Telekom Innovation Laboratories, TU Berlin 2 University of the Arts, Berlin

Video shot at Helsinki University Library on 3rd July, 2013

video-2013-08-23-17-13-25.mp4 Video shot at Helsinki University Library on 23rd August, 2013

Emails Email from Heli Harni at Helsinki Art Museum to Joakim Breitenstein at Joksu, 20th November, 2013 Downloaded 16th November, 2014

Mirror – A Space for Social and Spatial Interactions

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Internet

http://johnclang.com/artwork/beingtogether.html Downloaded 16th November, 2014

http://en.wikipedia.org/wiki/Digital_Revolution

http://www.icom-cc.org/forums/viewtopic.php?f=24&t=153

Downloaded 16th November, 2014

http://www.ecafe.com/getty/HIS/

http://www.lustlab.net/

Downloaded 16th November, 2014

https://www.kth.se/profile/charlieg/

http://www.mfa.fi/19

Downloaded 16th November, 2014

http://en.wikipedia.org/wiki/Richard_Grusin Downloaded 16th November, 2014

http://www.domusweb.it/en/op-ed/2014/03/27/inhabiting_mediatedspace.html Also published in Domus 977 / Feb, 2014 Downloaded 16th November, 2014

http://en.wikipedia.org/wiki/Videoplace

http://www.altenburger.co.uk/altenburger.co.uk/Public_Sculpt_mirror_house.html Downloaded 16th November, 2014

http://www.mymodernmet.com/profiles/blogs/ekkehard-altenburger-mirror-house

http://www.tholos-systems.com/?story=17 Downloaded 16th November, 2014

http://www.zon-mai.com/en/the-zon-mai/at_home_elsewhere.html Downloaded 16th November, 2014

Downloaded 16th November, 2014

http://www.fastcocreate.com/1683001/how-coca-cola-used-vending-machinesto-try-and-unite-the-people-of-india-and-pakistan#1 Downloaded 16th November, 2014

Downloaded 16th November, 2014

http://www.dailymail.co.uk/sciencetech/article-2110184/Invisible-Mercedes-Scientists-use-LEDs-camera-create-invisible-car.html

https://www.facebook.com/HelloEurope1/info?ref=page_internal Downloaded 16th November, 2014

http://www.aalto.fi/en/about/organization/management/ Downloaded 16th November, 2014

http://www.aaltodesignfactory.fi/about/space/ Downloaded 16th November, 2014

http://startupsauna.com/about/ Downloaded 16th November, 2014

http://www.k2.t.u-tokyo.ac.jp/members/alvaro/Ouroboros/

http://www.charterway.com/content/charterway/mpc/mpc_charterway_website/en/ start/charterway_/home/business.flash.html#_int_charterway_:home:core-navi:business

Downloaded 16th November, 2014

212

Mirror â&#x20AC;&#x201C; A Space for Social and Spatial Interactions

http://en.wikipedia.org/wiki/Cisco_Systems Downloaded 16th November, 2014

http://www.cygate.fi/en/welcome Downloaded 16th November, 2014

http://en.wikipedia.org/wiki/Rautaruukki Downloaded 16th November, 2014

http://www.animaboutique.fi/company/ Downloaded 16th November, 2014

http://en.wikipedia.org/wiki/Telecollaboration Downloaded 16th November, 2014

http://en.wikipedia.org/wiki/Telepresence Downloaded 16th November, 2014

http://en.wikipedia.org/wiki/User-centered_design Downloaded 16th November, 2014

Images Image sources are presented by each image. If no source is mentioned, then the image is created by either me or someone from the Mirror Project Team.

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Contents

Sammandrag

Abstract

1. Introduction

2. Theoretical Background

3. Project Review

4. Results and Further Development

5. Summary

Glossary

Sources

Thank You

Thank You MIRROR PROJECT TEAM

Eeva Breitenstein

HELSINKI ART MUSEUM

HELSINKI UNIVERSITY LIBRARY

STARTUP SAUNA

Joakim Breitenstein

Derek Breitenstein

Erja Pusa

Pälvi Kaiponen

Antti Niini

Peyman Fathi

Satu Heikintalo

Heli Harni

Matti Hjerppe

Miki Kuusi

Scott Mac McGregor

Emilia Gustafsson

Claire Gould

Iiris Karppinen

Nina Martin

Christian Seege

Emma Vepsä

Kirsi Luukkanen

CYGATE

Soroush Moradi

Ville Vuorelma

Ukko Kaarto

Kristina Weimer

Juha Kähäri

Rajeev Siewnath

Miska Knapek

Arto Konttinen

Lauri Lemmenlehti

AALTO UNIVERSITY

MIRROR PROJECT TEAM SUPPORT

Jon Fagerström

Mikko Heikkinen

WDC HELSINKI 2012

Eliza Jäppinen

Kuisma Rasilainen

Atte Korhonen

Kalevi Ekman

Antti Kirjalainen

Martti Sirkkola

Johan Fager

Ville Myllylä

Martti Raevaara

Jyri Eskola

Jyri Rasinmäki

Atso Andersén

OSKAR ÖFLUNDS STIFTELSE

HARTWALL

Mikki Ristola

Yu Shen

Tor-Ulf Weck

Anu Koski

Teemu Rissanen

Ani-Jatta Immonen

CISCO

Ida Lautanala

Jenny Rissanen

Mika Niemi

Janne Suominen

HELSINGIN LASI JA PUU

Tomi Itäniemi

Jaakko Lipponen

Janne Kallis

Timo Jolkin

Tuukka Tanskanen

Arto Ollila

Katja Virta

Juhani Tenhunen

Juha Tynkkynen

Erkko Aarti

Leena Närekangas

KAUKOMARKKINAT / CREATION CREW

And all others who, one way or another,

Stefan Lindfors

Mikael Ögård

Jon Fabritius

Harri Kainulainen

have contributed to the Mirror project, this

Markus Suonpää

Niklas Homlström

Valeria Gryada

Juha Roth

would not have been possible without you.

Juha Arvid Helminen

Arttu Immonen

Eeva-Liisa Lehtonen

Joonas Kantoniemi

Stephanie Seege

Oh Capitaine

Jari Kleimola

Lasse Korvala

Edmundas Eddy Balčikonis

Sasa Kerkos

MERCEDES-BENZ CHARTERWAY RENT

Mikko Mutanen

Thomas Eskolin

Markku Reunanen

Jani Nuppola

Jari (Aalto architecture workshop)

RUUKKI

Olli Gunst

ANIMA BOUTIQUE

Juhani Mertsalmi

Per-Oskar Joenpelto

THE PROMOTION CENTRE FOR

Topi (Aalto architecture workshop)

Kimmo Vierimaa

Annika Huurrekorpi

AUDIOVISUAL CULTURE AVEK

Pauli (Aalto architecture workshop)

Kalle Majamäki

Kim Illman

Milla Moilanen

Jorma Selkäinaho

Jenni Mattsson

Maria Laisi

Erja Mäki-Iso

Tapio Leppänen

Ilkka Kontkanen

Antti Ahtiluoto

Antti Ahlava

Päivi Jouppila

Vesa Oiva

Kari Mikkelä

Tuomas Vaskuri

Mirror – A Space for Social and Spatial Interactions

215

For more information on the Mirror project, please see:

https://www.facebook.com/mirrorspaceforinteraction

https://www.youtube.com/watch?v=4GrkFY7_kpo