1024 Architecture

"Perspective Lyrique"
Critical Exploration by Laura Connolly 10843403 University of Technology, Sydney

Design is about human interaction in a space. Interactive design opens a selfreflexive dialogue between a user and a design through playful interfaces. Design collective 1024 Architecture experiment with the form and function of architecture in their interactive installation piece Perspective Lyrique (1024, 2011). Dubbed by creators Pier Schneider and François Wunschel as 'open source architecture', (Wunschel, 2011) the audience of the grand Celestin theatre in Lyon, France, are invited to take part in an audio-visual display speaking into a display and creating an audio, visual and light response in a projection. This attempts to transform a simple viewer into a user and hones the focus of a large, prestigious building and environment to the perspective of an individual. Strong in concept, this piece ends unchanged by the user and their interactions, breaking the illusion in interaction by leaving the building's actual façade visible once finished. This puts into question whether a new media is the language interactive design of the future and how far these designs should go to incorporate the perspective and experience of the user. We express our understandings of environment through new media and practices of multimodality. Designer Bert Bongers in his work on Multimodal Interaction Space describes modality as a "communication channel" (Bongers, 2007). When combined with other layers of new media these channels can speak, listen and take part in the birth of unique mediums like that of an interactive installation, which Trifinova and Jaccheri (2008) define as "A physical construction…generally placed in a public space. Usually certain parts…are changing in time (e.g. video, audio, mechanical

The interface allows a simple action of speech into a microphone to run through an audio algorithm. to make way for a new 'prototype' of design as art. He implies all users have become creators of meaningful content through the commercial widespread of computer software. Often these changes are due to spectator(s) presence and/or actions." (Manovich. Allowing anyone to become an 'architect' through something as simple as their voice works on principles of dimension." The creation of the multimodal world is dependant on the layering of communicative channels to engage and create an experience. The audio of the piece is without timeline and structure employing a soundscape of analog bleepstyle synthesis with random clipped and mashed vocal samples. The next step of interaction is the transformation from viewer to user to designer." due to the physical responses . finally now to performer. "Technologies themselves have become the greatest art works of today. a dialogue between user and an installation. Thompson.parts movement. claiming performers "Form an integrated audio-visual mental representation of music. transforming their vocal identity. 2003) He proposes this fusing of approach by the creator working with others on shared networks to form a unique object that can be shared exclusively with a gallery and non-exclusively in a public sphere to encourage "Author-user symbiosis"(Manovich. scale and time. into the computer's Ableton Live audio and Mad Mapper visual mapping software which distort the real-world parameters.). and this representation is not entirely predictable from the aural input alone. a sequence triggered by tasks. Graham and Russo (2005) discuss the harmony between the audio and the visual. Interactive design relies on the multimodal worlds of new media that push the parameters. Theorist Lev Manovich defines new media as cultural concepts of technology paired with new data and software of the now. etc. allowing vocalisation of the user and the piece Perspective Lyrique demonstrates this in its human-computer interface. When the user's voice is implemented it is distorted and re-tuned. 2003). claiming.

2007) notes is the point of any action. it is good to include the processing levels (cognition and memory) at both sides. The exploration of Forlizzi and Battarbee's (2004) theories of the 'fluent' and 'expressive' in user-production experience is represented in the graphic portrayal of dimension and context. 1024 Designer Wunschel (2011) calls his architecture work "An adventure in time". Though it may come down to parameters of the software and expertise of the artists. Whether purposeful or merely overseen. the user recedes once the limits of piece have been reached and the work." (Lamantia. using real-time development." the question of whether it is a mode of engaging design arises. which Bert Bongers (Bongers. The piece was shaped entirely for an environment needing to be free of prestige. needing "Articulatory feedback" to "Complete the human–system interaction loop. choreographed performance as lyrical."(Vedrashko. 2011) In order to liberate the audience's possibility of response and freedom from social bounds. the limitation in the program hinders interactivity and focuses instead on Trifonova and Jaccheri's concept of .and gestures involved in interaction. is what blogger Joe Lamantia calls a "Supplement [to] the real world with the virtual world by connecting people to informational elements that are present. as the audience's interactive impacts on the piece aren't implemented long term. in media blogger Ilya Vedrashko's words on impressions "Quickly [regress] from 'neat' to 'meh'." (Wunschel. with element of the theatrical. The user and performer follow the direction of the face within the projection that mirrors the pitch properties of their sound. termed by researcher Tom Caudell. they recognized the need to create an alternate visual reality to open the realm of possibility and ultimate connectivity. incorporating and subjecting social conventions in its changes in performance are fluent. Falling flat on an underdeveloped narrative. 2009). with emphasis on the 'in situ' nature as 'live' and unpredictable. but not otherwise accessible. creators of their own content. This augmented reality. architects in their own self-controlled 2D augmented reality. 2009) The audience are invited to imagine themselves as sculptors. However. "Not regulated by real estate economy or social control.

'content origin' over 'triggering parameters' which are powerless without working together. (Trifonova & Jaccheri. 2008) This type of exchange without all components of proper output despite its shortcomings. for a moment of time. still manages to captivate the hundreds of people that gaze into it and dream with it. installations "Receive certain input that is digitally processed and the output is given back to the audience". calling the work of 1024 "interaction between body. An interactive work in interactive design should tingle the senses and spark new attitudes to old environments through the involvement with new media's and human-computer systems. a multimodal experience. They explain the notion of power through information. space. The encouragement of the individual and emphasis of reaction to action is best voiced by Wurschel. visual. The observer of art and design should always be challenged to transform into interactive user. toying with conventions and building new worlds. low-tech and hi-tech. art and architecture". . sound.

K. K. J. F.uxmatters. R. Jaccheri.261 – 268.1-10 Forlizzi.. Graham. Video Recording. No. Boland. 1.com/18888136> 1024 Architecture (2011). 631–647 . (2009) Inside Out: Interaction Design for Augmented Reality.178-201. pp. K.. August. Semiotica: Journal of the International Association for Semiotic Studies.. A. Trifonova. pp. Vol. UX Matters. viewed April 3rd 2011 <http://www. & Russo. 18. Introduction to The New Media Reader. C. & Battarbee. G. (2004) Understanding Experience in Interactive System. (2008) Software Engineering Issues In Interactive Installation Art. July–August 2007.REFERENCES: 1024.(2007) Towards a Multimodal Interaction Space: categorization and applications. Vol. No. . J.F. edited by Noah Wardrip-Fruin and Nick Montfort. viewed April 2nd 2011 <http://www.1-32 Thompson. Arts and Technology. L. J. Van Der Veer. Y. and Construction. viewed April 1st 2011 <http://vimeo. W. Pp. 4. Engineering. L. 1024 Architecture.com/mt/archives/2009/08/inside-out-interaction-designfor-augmented-reality. pp. B. The MIT Press. Int. (2011). (2007) Wakes of Innovation in Project Networks: The Case of Digital 3-D Representations in Architecture.A (2005) Seeing music performance: Visual influences on perception and experience. Perspective Lyrique. P.1024architecture. 43-65 Yoo.php> Manovich. pp.net/en/about> Bongers. (2003) New Media from Borges to HTML. Lamantia. 1. and Bergaust. p. & Lyytinen. Springer-Verlag London Limited.

(2009) Augmented Reality Microsites: First Impressions.blogspot. 2010. EXYZT >> Who Are We?.html> Wunschel.com/2009/05/augmented-reality-microsites-first. François. viewed April 2011. <http://adverlab.exyzt. EXYZT.Verdrashko. Blog.org/?page_id=2> . viewed April 3rd 2011 <http://www. P.

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