AAIS 2012/13 Design Dossier | Yeong Sue Jan

design dossier aais 2012 / 13 yeong sue jan

sJ

yeong sue jan aa interproffessional studio design dossier | 2012 / 13 SUEJAN.WORDPRESS.COM

what we do “ To create is not to deform or invent persons and things. It is to tie new relationships between persons and things which are, and as they are. �

Robert Bresson

index 01 introduction

01 aais overview

suejan . young . elyse . mauricio . helen . lyn

The AAIS is a course that is one of a kind. It is the merging of different professions and their design approach. We the AAIS studio aim to create a platform through a series of events. The individual professions within three main parallels of space, sound and movement, will be brought together to affect and influence each other’s sphere of design. We are attempting to fill in the gap that lies between each profession and their design approach by tying in new relationships with one another.

02

hooke park

In the early weeks of the AAIS course, all the student, lecturers, and professionals within the AAIS network were brought together for a weekend at the AA’s workshop located in Hooke Park, Dorset.

This weekend was a kick start process exploring the overall direction of the year.

During the weekend, an series of workshops and exercises were carried out to lay out the nature of this course, illustrating the idea of an inter-disciplinary studio at work and reinforcing the understanding of how different fields of profession come to merge together to create a platform of performative design.

Among the workshops held were : choreography, sound, interactive programming and discussions on the Cage/Cunningham/Fuller network model at Black Mountain College. Finally to culminate the series of workshops was a process in which invovled all three elements of sound, space and movement - cycle of translations.

Before the weekend, the students were assigned a task to edit a short film of the previous year’s work in their own way : a way to

cycles of translation Here we see the three elements of the trinity at work and the way each played the role in affecting the others and causing a change, externally as well as internally. As it was an exercise, there was a lack in the message or information desired to be put forth. This information is the intended knowledge (in terms of the education experience) that is meant to be taught to the audience.

However, what was gained from the exercise was this process of the cycles of translations. Through this process, we see how a subject could be translated from one aspect to the other, while maintaining the same message throughout the entire cycle of translation. It is important here to note the word cycle as it means each aspect would affect and reconfigure based on the feedback between each other.

Dancers: Jonathan Goddard, Joe Walkling Programer: Immanuel Koh

Mauricio Pauly plays music

Music is translated by Jonathan who can’t see Mauricio This movement is translated into 2nd dance by Joe (doesn’t hear the music) Translated into lines detected on the Kinect by Immanuel on Processing Lines translated into STL file in Rhino (which SHOULD AFFECT Mauricio)

1 2 3 4 5

04

thoughts and reflection

trinity : elements of sound, space and movement needs to be invovled in every stage of design

method : cycle of translation a narrative or message is translated through different elements

result : the narrative of the translated results feedbacks to the original design and improves on it

TRANSLATION translating one thing to another without having to change the properties * coffee cup donut

DYMAXION using the least source to create the most result simple element - shift & repeat that creates a system

TENSEGRITY structure develope into geo desic form allowed for other to develope on it requires a tension if there isnt a tension then its only a network

mapping global & local what changes in the small structure of design informs and affects the overall structure of the design & vice versa

FAILURE collapse in system use these points to refresh and restart instead of discarding everything types of failure : chance, lost of translation, unexpected things

next point : each student to kickstart the design of the Open Source platform with an individual design direction _individual design direction : culinary experience

E LTU R CU

Y| NC

IC BL | PU CRO I TE IVA O | M ION PR CR PETIT MA M CO

A ND

ES SIT PO OP

PE

AN

CU BO LINA EN ILIN RY T RIA G D AN NG SO O | D LE EX CI R T OA AL O ST CU CI RC IN I LE SINE G S

EPHEMERAL QUALITY

DE

TR TI

SI N

M

UCT

URE

TESS

OM ED E R RS |F E E SE N EAS PL FU O I O EO L T P E T C R |R EN RI PA WE ST ION AS ET S B RE NS R N E TE NCE TIO UM C ST DA ERA O C ’S INT ER NC A D

ELAT

IONS

EM

V

O

O

STR

T

EN

FABR IC BAMBOO CERAMICS MAGNETS

PROGRAME DAY : PICNIC SETUP NIGHT : DINING BA NQUET? ORAGNIZAT ION

PES

CHEF BUD S - MATAD ERO MEN GET | FE E? CAP U ACIT Y

HETY

ARC

ITY

HERE EMOTIONS

ATMOSP

EXPERIE

NCE

AL

TI

QU

NG

SI VE

ER

LI

IM M

EL DW

SP

D UN NING SOACE DEFI

M

E

IC HER L OSP ATM ULTURA S C ION LUS EXC

06

groups of dining

movement

interaction & design of dining

structure

design adapted & CHANGED BY

audience

adapted design feedback

DINING EXPERIENCE _ DESIGN DIRECTION

Food is seen like any other material to design. Food translated into our body is again trans-lated into a diffent source – energy.

Food has an ephemeral quality/ variable dwelling time. But at the same time, in the span, it allows for an influence or translation into other elements. The purpose of this dining experience is to question and research the influence of the dining experience on the formation of culture. Through the breaking down of table settings and social circles. Research of culinary triangle to breakdown the elements of a dining experience.

Clusters of dining settings and groups. Design includes elements of the menu, guided interaction between users and dancers as well as with food served. Structural design include the furniture, tableware, costume and equipment for the preparation of meal.

READING : CULINARY TRIANGLE BY LEVI STRAUSS

culture

choreography workshop

09

Experiment 1 Interactions with table settings EXERCISE 1 individual interaction with the tableware and food table as a landscape concept. Results : single interaction with object becomes limited after a certain level for dancer

EXERCISE 2 Doubling up the interaction : Jonathan and Renaud looking for ways to expound the dining experience by varying the heigh levels of a table.

Dancers Jonathan Goddard & Renaud Wiser

Experiment 2 | interactions Using a cloth that links both dancer. Each movement Influencing another during the act of eating. Highlighting the polar opposites of dependency and competition.

1_ The connecting table cloth allowed for a playful interaction between dancers. Gave allowance for movement inspiration. Also it was not a forced interaction – it came naturally.

2_ The tablecloth was a vehicle of interaction. It also defined the space by creating two space at either side of the cloth. This brought in elements of privacy and openess during meal times.

3_ It also demonstrated the dependancy on one another for survival : bringing culinary back to its roots of primitive living.

Choreographer Jonathan Goddard and Renaud Wiser

choreo graphy workshop _jonathan goddard & renuad wiser

12 culinary triangle

roasted raw

rotted boiled

cooked smoked

HEAT LIGHT RAW SOLID NATURE NUTRITION TRANSPARENT PRIVATE FORMAL TRADITION INFANCY TIGHTENING PRIMITIVE

COOL DARK COOKED EPHEMERAL CULTURED DESTROYING OPAQUE PUBLIC INFORMAL MODERNITY MATURITY LOOSENING ETIQUETTE

blurring boundaries

thoughts Claude Levi’s Strauss’ theory of the Culinary Triangle, a concept that involves the understanding of eating as a language through all societies by incorporating three techniques of cooking; the roasting, boiling and smoking. The culinary triangle show the parallels between a type of cooking technique with social, culture and political issues.

“He didn’t only attempt to teach filming techniques but also advised us how to choose the ingredients of film and cook them into one video. “ - Young Eun Kim, student

DAY 1 using materials to create atmospheres and ambiances filming short narratives to represent ideas & environments

filming workshop _ heiko klambach

The third Choreography workshop proceeded as a part of the film workshop with Heiko Kalmbach, German filmmaker and theatre art director. Through the first iteration of choreography with Jonathan, we decided to do the a similar chororegraphy – this time incorporating the idea of interdependency and competition in the context of eating.

Also, a list of quotes sent by Heiko gave understand to seeing things in a new way. Not inventing new things, but just finding relations between things.

Example : Finding how food influences culture and vice versa.

How food influences our habits and body. This makes the topic of food more interesting – than just the idea of eating a delicious meal.

16

Day 2 Choreography of tension and release in response to the first choreography with Jonathan and Renaud.

Creating tensions by tying wearing hoodies in reverse to and zipping each one to the other. cuisines endo vs exto | exotic vs domestic physical concave vs convex | opening vs closing environment nature vs culture | public vs private social relationship loosening vs tightening of family ties

dancer Renaud Wiser students Yeong Sue Jan & Young Eun Kim film direction Heiko Klambach

18

thoughts and reflection Triangulation relationship between the dependency, competition and social structure demonstrated in the theory of Culinary Triangle.Always important to have that extra tension between 2/3.

Required a modular system to build a vehicle of translation. Why modular? System that is usable. Adding on in repetition – at different scales, an extension to architecture, costume, furniture The use of simple module / geometric shape will allow one function to transform into another without changing it’s typology rules.

20

tesselations _design SERIESdevelopment OF MODULAR

ULAR & TESSELATIONS EXERCISE

ser

ries of modular : triangular & tesselations exercise

definition

potential

to create a spatial structure that consist of one simple module (through shifting and repeating).

tessealtions have the potetial to be form macro and micro scales of

STRUCTURAL

illusory

tessellation allows for the transformation of the plane structurally.

tesselations come from MC Escher’s art pieces : induces in the idea of illusion

mapping

SOCIAL

global & local what changes in the small structure of design informs and affects the overall structure of the design & vice versa

from a social point of view, transformibility means different clusters or table settings. Tesselations allow for constant transformation in table settings depending on scale, quantity and space

triangle the triangle shape – and hexagon which consists of 6 triangles – as common visual language for sub projects since tessellated triangles can form into tetrahedrons or more varied shapes than a square.

model of tesselation

DINING CLUSTERS | SOCIAL CIRCLES

X

X

X

X

X

X

X

X

triangular grid module PLAN STRUCTURAL & FURNITURE ELEMENTS

FRONT ELEVATION front elevation

SECTION side elevation

HANGING WALL - TESSELATTED

TESSELATTED TABLE | CHAIR | FLOOR PIECE

elevation of dining setting & furniture the furniture built for the dining experience will consist of the same tesselation module that can easily be intergrated, transformed and translated by various factors : human interaction, weather, dining settings etc.

DINING CLUSTERS | SOCIAL CIRCLES CURTAIN WALL

RS | SOCIAL CIRCLES

tying in tesselation with social structures through table settings OPENING topology rules : trasnlation between two structures should not change the topology rules

ial structures through table settings between two structures should not

| SEAM

TABLE LINE

X

X

X X

X

X

X

X

X

X

X

X

X

X

X

X

X X

X

X

X

X X

X

X

X

X

DINING CLUSTERS | SOCIAL CIRCLES

X

X

X

X X X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

OPENING | SEAM

X

X

X

diningX setting 1

X

X

X

X

X

X

X

X

CURTAIN WALL TABLE LINE

X

X

X

X

X

X

X

X

X

OPENING | SEAM TABLE LINE

X X

CURTAIN WALL

X X

tying in tesselation with social structures through table settings topology rules : trasnlation between two structures should not change the topology rules

X

X X

X

X

dining setting 2

X tying in tesselation with social structures through table settings topology rules : trasnlation between two structures should not change the topology rules

X

X

DINING CLUSTERS | SOCIAL CIRCLES

X X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X X

dining setting 3 X

X

X

X

X

X

dining setting 4 X

X

press release Flow Fields is a multi-sensory experience through sound, movement and space that focuses on the journeys of water.

The AAIS program will aim to blur boundaries between body and space with experiential form, live sound-scape composition, interactive projection performance, culinary arts and dining experience. From the first iteration at Roca Gallery in London, the studio expands the project to Madrid’s Contemporary Arts Centre Matadero from the 6th-9th June 2013 and continues its evolution at the Lisbon Architectural Triennale from 11th September until 15th December 2013.

Photo by Lyn Liang Hai

WHY : PURPOSE

WHEN : TIME

(Make) audience aware of their own body space

Durational | Seasonal | Pattern Linear vs Cyclical | Diurnal vs Daily

Awareness vs Perception

WHAT IS IT? Moment by Moment Sensorial Experience

SPACE | SOUND | MOVEMENT

IN BETWEEN STATES BLURRING THE BOUNDARIES The Influence of States on Each Other Gradients | Ambiguity

THROUGH SPACE

Amplifying the experience

Body Space Virtual vs Physical Real vs Unreal

Permeable Space Shifting Light | Shadow Optical Illusion

Transformative Space

THROUGH SENSES Smell | Sound | Taste Touch | Sight

concept BACKGROUND

WHO : AUDIENCE Desire | Chance | Expectaction Culture | Pre-Experience | Experience

After 1st term and site visit to Madrid and Lisbon – the AAIS team realized how much it was essential to sit down and really find relations between each other’s ideas and development in order to push forward a singular concept and idea for the three events.

Its was a 2 weeks of gruelling brainstorms non stop in a small room at the basement of 38 together. Sometimes ended up not fruitful and just had to take a break. Sometimes when we got somewhere it was really exciting – slowly seeing things coming together. Finally we decided on the overall theme that were the distillation of our thoughts from previous term.

GRADIENTS

THROUGH SOUND & MOVEMENT

Blurring boundaries between one state to the other – and how each state influence each other.

Amplifying the experience inting and Revealing Environmental Rhythms Natural & Artificial Constructions

JOURNEY OF WATER The act of entering and emerging from the water is an experience felt through the differences in texture & temperature.

This passing through of different states and the blurring of boundaries creates a heightened awareness for the individual.

30

mood board _concept

NARRATIVE

LISBON ocean

LONDON river

MADRID confluence

AAIS JOURNEY OF WATER The journey of water starts from a source, at the river flowing into a confluence of many rivers, congregating at the ocean and finally to the atmosphere and returning through rain as the source once again.

ROCA GALLERY_LONDON

NAVE 16 MATADERO_MADRID

PALACE SINEL DE CORDES_LISBON

FLOW FIELDS LONDON 02 03 09 16

MAY MAY MAY MAY

OPENING NIGHT SALON TALK CULINARY EXPERIENCE FF PERFORMATIVE NIGHT

photo by Yeong Sue Jan

36

6.30 to 9.00PM THURSDAY, 09 MAY 2013

CULINARY EXPERIENCE THEME journey of the performative food in context with the journey of water _ revolve _ involve _ revolve

MENU setting the stage for each dish and the key element in it.

PREPARATION equipment, methods, kitchen staff, servers

LOGISTICS date, time organization of schedule, invites to the guests, collaboration with chefs

PHYSICAL SETTING furniture arrangements spatial design _ designing the chair and tables _ lighting & sound _ staging the setting _ interactions of guest _ performance

OBJECTIVE create an awareness of eating with culture how triggers new networks and expand existing ones creating an experience of how food transforms and how it can transform us to heighten our perception and understand-

photo by Young Eun Kim

38

THEME

I revolve food transformation what brings us together? observing food & it’s transformation flavour | texture | temperature

II involve social transformation how does food bring us together? forming cultures & communities interaction | behaviour | collaboration

III evolve personal transformation how does it affect you? experiencing personal transformation emotions | sensation | memories

brief

dishes 9-12 course of dishes served throughout the night within 3 different frames of emphasis. in between the course performative activities carried out by Mauricio Virgens,& guest having to carry out various task.

“WAITER, THERE’S A STRUCTURE IN MY SOUP” Just as the dish was being placed in front of a guest, should they wait any minute longer they would have not been able to see the potato melt through the soften center of the crispy fillo pastry and slide gently into the cold soup of fresh green peppers juice. dish developed by Yeong Sue Jan & Theo Lorenz with Raluca Grada

FUNCTION dining settings to be change according to situation or programme

furniture DESIGN based on tesselation schematic of triangle grids flexibility in movement and function PRODUCTION number of chairs_ 25 pcs materials_ timber, fabric etc volunteers to help build cad drawing by yeong sue jan

41

method Development of tesselations_ by Inserting a triangular piece between two pieces of cloth. This method provides ample amount of ways to re-iteration the structure and flexibility in shape. With the schematic from Theo Lorenz – the first task was to produce as many varieity of design through the folding of the schematics. Secondly, to then make a 1 to 1 prototype folding with timber between fabric and sewing it. photo by young eun kim

other option Another optionwas to layered cardboard for more flexibility but didnt work out in the end as there was not stable enough.

PLAN PLAN

SCHEMATIC

LEFT ELEV.

PLAN

SCHEMATIC FRONT FRONT ELEV. ELEV.

FRONT ELEV.

LEFT ELEV.

SCHEMATIC SCHEMATIC

LEFT LEFT ELEV. ELEV.

PHOTO MONTAGE OF CHAIR DESIGN IN ROCA LONDON GALLERY IMAGE BY YEONG SUE JAN

CALCULATIONS 0002 PEOPLE 0004 SHEETS OF TIMBER 2.4 X 1.2M 0024 PCS OF CHAIRS & CUSHIONS 0072 CABLE TIES FOR PAIRS OF LEGS 0144 PCS OF TRIANGLE LEGS 0288 PCS STEEL HINGES 1152 SCREW BOLTS 1152 NUTS FOR THE BOLTS 78++ HOURS OF PRODUCTION

45

stool design PRODUCTION PROCESS Aim was to produce 20 -30 chairs.Sponsorship from41 B&Q allowed us to get timber sheets for free. A schematic had to be produced in order for the most effective way of cutting up the irregular shapes of Triangles for chairs.

Owen Odgarig (friend & volunteer) was really helpful in problem solving and building the prototype. In building the first one – many problems were discovered and improved to produce the chairs better and with more effiiciency 1. Get all the pieces cut in the AA workshop 2. Sand them down and cut edges for more stability at the legs.

3. Purchasing the hinges, right length of bolts and nuts to secure the legs to the top.

4. Drilling holes and assembling hinges and 6 pieces of legs one by one.

5. How to attach the legs together when becoming a furniture – cable ties.

PHOTO BY YEONG SUE JAN

original proposal

16

15

13

14

18

actual setting

16

15

13

14

18

culinary experience setting became the link in between the elements

SPATIAL PLANNING

Triggering Alliance As initially planned, the Culinary Experience was meant to be held in a different space of the Roca London Gallery. [see diagram left] However, it was clearly evident after the Opening Night, that there still required a flow between all the design installations of the space: The setting of tables and chairs then became the platform that triggered the link between both reflective mylar and structural dome installation by using the fabric structure as a linking piece towards the dining table. [see diagram above ] “ It was a frozen time frame of the performance from the opening night - allowing guest to re-experience the structures in a new perspective�

48

preparation Timing is very important.

Scripting – to direct what should happen at every minute Audience interaction – memory and involvement of people.

Staging the physical – equipment, cutleries, sound, light, furniture Looking at it as a performance – with actors in that play the role.

dishes designed 1 2 3 4 5 6 7 8 9

dates stuffed with sauteed onions + caramelized cognag lemon slice frozen cube of expresso serve with almond butter froth and brown sugar smoked tofu for the rice paper rolls with rocket salad, raspeberry puree + pumpkin seeds chee se cake cocktail : carrot juice jellt + cognaq infused walnut + cream cheese foam raw slices of mango garnish with szechuan pepper and greek cress frozen white wine balls sprinkled with white pepper spring roll of beetroot, carrots and potato dumplings platter of sauces serve to paint your own picture on a canvas of chickpea roti haptic dish : baked potato with different topping chosen through touching a textures

triggering alliance

“ Working with Raluca Grada_learning about different cultural eating habits and new ingredients that seem normal to one culture and never have been used in another. “

51

the haptic dish required guest to touch select a version of a dish, baked potato squares with different toppings based on the textures on the board. Guest re-created their old memories through taste and touch.

triggering memories “ Experience wise, I really liked the dish where you had to pick a material that reminded you of something from your childhood.

The felt material made me think of sewing class in school :-) “ Eva Kazmierska, manager of Roca & guest at the Culinary Experience

52

PERFORMING FOOD In the light of exploring all the different aspects of food as performance, we gain an understandingthat the transcendal experience of culinary arts does not necessarily belong exclusively to the choreographed kitchen, neither confined on a dish at the dining table, but may potentially drift off the dining room, bounced back and forth between the mouths of people who talk and tweet about this experience, merging with the communities andgroups of people, finally integrating itself into the urban environment.

This understanding opens up the door of possibilities to enhance development for moreand more experience related spaces in the future - bringing togetheran impression of art, landscapes, form, interior, food, sound and movement that forms social relationships among strangers who would not have come together otherwise. excerpt from ‘seeing food as performance’ seminar essay on cultural generators

by Yeong Sue Jan

photos by Young Eun Kim

55

CAMPOS LIQUIDOS MADRID 04 JUNE 2013 ROCA MADRID GALLERY 06 TILL 09 JUNE 2013 NAVE 16.2 MATADERO, MADRID

The AAIS (Arquitectural Association, Interprofessional Studio) program in whose framework the post-graduate degree is arranged acts as a creative office to stimulate its students, professionals from different disciplines, to develop language that goes beyond the borders between artistic areas. Its sojourn through Matadero is intended as an invitation to build a network of experts carrying different but complementary baggage: performing arts, design, music, film, photography, fashion, communication, and curatorship.

This year brings us Campos LĂ­quidos (Flow Field) from June 6 through 9.

This multi-sensory installation that centers on and irradiates out from the movement of water, offering programming that plays on the relationship between the body, music, and image. A permeable and mobile form inhabits Calle Matadero, acting as a live landscape where performances, culinary workshops, musical sessions are planned, where the public will become an integral part of the events. Following this programming, the installation will stay on in the public space at Matadero as urban furntiture for visitors’ enjoyment

URBAN PICNIC IN COLLABORATION WITH ENRIC MIRALLES FOUNDACION WORKSHOP AT mATADERO

Urban Picnic 2013 is a workshop in organized in collaboration with the Foundacion Enric Miralles Barcelona (FEM).

The aim was to build the future installation ÂŤurban picnicÂť that provided a dwelling place that brought together the community of local culinary in Madrid.

Also, the installation works to draw the public visitors into the space of Nave 16 where Flow Fields performative instalation is held. Finally, this space hosted music and dance performances by the AAIS, and a midnight picnic whereby Chef Fernando Fuentes provided the culinary provisions.

This helped encouraged the cultural relations within the Matadero square, demonstrating the influence of food where it acts as a confluence of meeting point for all creatives - artist, musicians, dancers, architecture, local vendors, photographers and so forth.

Rattan furniture designed and built by students from FEM photo by Yeong Sue Jan & Young Eun Kim

URBAN PICNIC & MIDNIGHT PICNIC | photo by Yeong Sue Jan & Young Eun Kim

m

link collabo

04 june Collaborative Projects in Architecture salon talk 06 JUNE presentation by AAIS FLOW FIELDS AAIS OPENING NIGHT Olivia te Cuida & AAIS network supper midnight picnic 07 june AAIS + DFE+ NMC flow fields intro performance David McAlmont & Luis Guerra JAZZ CONCERT DJ ANDY DEAN & METAMIND VISUALS FLOW FIELDS CELEBRATION 08 JUNE Olivia te Cuida and FEM urban picnic opening Each One Teach One Party festival CONCERT AAIS + DFE+ NMC FLOW FIELDS MAIN PERFORMANCE 09 JUNE Olivia te Cuida and FEM URBAN PICNIC & BARTER EXCHANGE MARKET

develop progr

king orators networks Ana Gutierrez-Perez manager at roca madrid gallery fernando fuentes owner and chef of Olivia te Cuida Emiliano Armani Fundaci贸 Enric Miralles OLIVIA RICO Coordinator for Flow Fields Madrid, matadero performers NEW MOVEMENT contemporary dance collective DISTRACTFOLD electro acoustic music ensemble David McAlmont singer songwriter Luis Guerra pianist andy boilerhouse music producer Diego Esquivel metamind visuals vj Karim Salah singer Jazzoblexx-Rapeando King Shorty-Reggae Dub Spirit Mosiah and Sibidibo reggae Band A los Orishas PERCUSSION BAND collaborative guest Ariadna Cantis architect & curator of FreshMadrid Benedetta Tagliabue architect and principle of EMBT Edgar Gonz谩lez architect and editor Salvador Gilabert project director of EMBT ALAVARO ARANZA

ping the ramme

ROLES & RESPONSIBILITY LONDON

developing fully the culinary experience programme alongside with Raluca Grada and Mauricio Virgens making creative finger food for the Opening Night of Flow Fields londonmaking timeline & schedule of task designing, producing and providing stools and tables for functionality of dinner, performers and programmes filming and editing photos and videos of events

M

ADRID

coordination of tasklist and timeline for buildup coodination of official programme, publicity, presskit leaflet, poster, photos and media for websites etc. filming and editing photos and videos of events

LISBON

developing ideas of Smell the Memory! programme coordinating network dinner Taste the Sun! with Artur of Roca Lisbon & local Chef Chakall for AAIS coordination of tasklist, schedule and time of buildup publicity for media and coordination with Architecture Triennale Lisbon on press kit and official programmes collaboratively designing the structure for the main performance piece of flow fields lisbon with performers filming and editing photos and videos of events

72

campos liquidos lisboa c a p a t

l o s e c l o s e s s o c i a t r o j e c t r c h i t e c t u r r i e n n a l

r e s e e

Finalizing our journey at the Lisbon Architecture Triennale after London [source] and Madrid [confluence], we present our 3rd iteration of the flow, with our collaboration partners, renown New Movement Collective and Distractfold Ensemble in a 4-day continuous event at the courtyard of the Palace de Sinel Cordes creating interactive play of light, sound and performance that will use the Palace’s memory of the school to create new memories.

04

smell the memory!

IN RELATION TO THE CULINARY EXPERIENCE AND AS A Development of that, Smell the Memory explores how we can consume through nostalgia, memory and reminiscense Drawing on the ephemerality of water represented as vapour, Smell the Memory! is activated within one of the domes at the Flow Fields site : the Palacio Sinel de Cordes courtyard. As visitors walk through the domes, brushing the fabrics, they catch a whiff of smell that can trigger a personal memory for any individual.

reason Often, smell can feel like the last sensory frontier. Still a little visceral, still less explored— and exploited—than its other, far more interfaced and corporatised counterparts.

—The Editors, The Social Olfactory

DEVELOPMENT the culinary experience and the past two events have reach a certain level of achievement. in order for this design to develop further - it required a breakdown, reconstruction and rebirth. likewise even for the overall concept of Flow Fields, the adaptation to site was a key element in the final event of the year - bringing in the context of the Palace courtyard and its memory as a school.

A further set of pieces considers the biochemical science of scent and our olfactory system—all too easy to take for granted, yet nearly impossible to electronically replicate.

Olfactory archaeology is mobilised to reveal architectural and sociohistorical traces, traversing time and geography. And completing the sensory fan dance is a look at the perfume industry’s gendering of leather, and how it works hard to hide the human—and animal—bod

DEVELOPMENT the culinary experience and the past two events have reach a certain level of achievement. in order for this design to develop further - it required a breakdown, reconstruction and rebirth.

programme Each ot the programme that were brought forth as the AAIS discussed on the ideas behind Lisbon seem to point to a clear direction : trasnlation of one medium to another // finding the common ground between two senses that alerts an individual of his or her surrounding. in this case, we wanted to play with the 5 sense of the body, triggering each sense to be aware of the courtyard environment and as well its memory as a school previously. thus we have : hear, touch, smell, sing and walk.

Likewise even for the overall concept of Flow Fields, the adaptation to site was a key element in the final event of the year - bringing in the context of the Palace courtyard and its memory as a school.

FLOW FIELDS LISBON ARCHITECTURE TRIENNALE 12 - 15 SEpT 2013 | SINEL DE CORDES pALACE

touch the sound!

//////////////////////////////////////////////// activated daily 10am - 6pm Visitors experience memory of the Palace or childhood through soundscapes activated by magnets. The sound sources generate interaction amongst the visitors, who then become part of the performance in the courtyard. As pre-recorded sounds highlight the old memory of the courtyard, new memories of the Palace are recreated through reiterations and translations.

flow fields performance

//////////////////////////////////////////////// Friday, 13 September [ 4pm ] Saturday, 14 September [ 5pm ] Combining the AAIS theme – water and its flow, with the pedagogy of the Triennale, Flow Fields Performance is the culmination of all AAIS elements present within the courtyard bringing the visitors into an experience of sound, light, movement and interactive navigation as they explore different parts of the courtyard.

Performed by dancers from New Movement Collective and musicians from Distractfold Ensemble

walk the shadow!

////////////////////////////////////////////////

smell the memory!

////////////////////////////////////////////////

activated daily 10am - 6pm With light, projection, sound and shadow, the domes creates a flowing lively atmosphere in the courtyard and indicate the concept of diluting architecture. The elements of sound, light and projections create illusory scenes mixed with real circumstances to blur the boundary of illusion and reality.

hear the cloud!

//////////////////////////////////////////////// activated daily 10am - 6pm Hear the Cloud! is a transformable acoustic object. Its contraction and expansion represents the density and ephemarality of vapour, invisible particles which constantly and unconsciously influence us. It also symbolises collective memory.

The state of The Cloud is translated to sound through a graphical score composed of the Korean alphabet which shape is related to its pronunciation as the characters are designed after the shape of throat, mouth and position of tongue when it is articulated.

On the 12th of September, The Cloud will play the sounds collected from the courtyard as a memory of the palace. Using these sounds as a sound source, musicians will translates the verbal score on the 13th & 14th of September as a re-iteration.

Performed by Distractfold Ensemble.

activated daily 10am - 6pm Drawing on the ephemerality of water represented as vapour, Smell the Memory! allows visitors to explore the act of consuming through nostalgia, memory and reminiscence.

Visitors are able to catch various scents within the courtyard, allowing these scents to trigger personal memories as well as the memory of the Palace Courtyard in Lisbon.

hear the light!

//////////////////////////////////////////////// Friday, 13 September [ 5 - 5.30pm ] Saturday, 14 September [ 4.30 - 5pm ] Performed throughout the Sinel de Cordes Palace courtyard, Hear the Light! unites dance, music, water and sunlight. Two experiments -one with sound and one with movement -- are performed concurrently side by side; dancers and musicians operate independently of each other, and synchronicity is left to chance.

Drawing on the Close, Closer theme ‘Pedagogy’ and the location of the palace turned primary school, ‘Hear the Light!’ involves science education tools such as tuning forks and prisms. During the performance costumes and objects are used to manipulate light and water, inciting the senses and transforming the palace into a stage in flux.

Performed by New Movement Collective and Distractfold Ensemble.