Archive

Monthly Archives: November 2012

descarga

About Info Panel proposal for Trondheim Student House and how fun can change behavior for better.

In this case it is about recycling glass bottles and how they got up to 100 people in one night to go this recycling point while only two went to another nearby.

People just want to have fun!

Advertisements

The info-panel is an empathy multiplier. It was proposed to be installed in the front of each bedroom in MySpace Student House.

It helps to get an individually responsible management of a building, this way becoming socially sustainable.

Myspace Building Info Panel had three blocks of information, or three kinds of information that could be displayed: Image port, Personal Messenger and the Sustainabiltiy Co-Responsibiltiy Device.

1. Image Port.

Room occupier identity image (avatar, user’s photograph…) and Personal image/video collection (as in a digital frame).

2. Personal messenger

– Message screen. “We’ll meet at the hyperlounge at 12.00” “I am currently reading Ulyses” “Recent acquisitions in my ipod: Coldplay, Metallica, first Lou Reed record”.

– Icon mode for recurrent messages. Messages like “I’m out”, “I’m busy”, “Water my plants please!” could be substituted by easily recognisable graphic icons.

– “Post-it” dispenser. A sort of mailbox for short informations introduced by others into the message board, or directly as phisical notes. USB accesible from the exterior or phisical mailbox. For persons who wish to leave a message to the owner of the room. Info panels should be interfaces for interchange, not only individual means of information.

The Info panel was also a tool to find reciprocal affinities among the student community, to encourage the idea of the building as a community of people related. When someone simply writes “I like James Joyce” on his panel, and that information is visible to others, he would be likely to meet people with the same tastes for literature.

3. Co-responsibility device

Here the following information would be introduced: Water and energy consumption. Even temperature of the room (compared to that of all rooms). Waste generation.Paper consumption. A software introduced in resident`s printers would easily tell the amount of paper he is consuming. This is a possible example of how the waste generation could be traced. Other debris could be weighted directly on personal rubbish bins.

All of this information related to the building’s average numbers.

We imagine two complementary ways of exposing this information. The first one would be simply a screen where to have facts and figures of personal co-responsibilty rates. The second would directly affect the look of the corridor spaces: Each info panel would have a light panel that would change from green to blue, the more consumption, the more the panel would blush into blue. That would give a quick map of the consumption of each level, a map that would involve the building itself. In a way, the building would “talk”.

Intra-net.

Possibly the implementation of the InfoPanel system would require to have a centralized computer net, a sort of Myspace intra-net that would serve as bridge between users and info panel (when someone plugs his computer into his panel) and a means of coordinating the energy consumption lectures. A resident should have the resposibiltiy to act as net-master.

Lounge Info Panel

An Info Panel, like an airport display,  introduced in the Collective Lounge wouldo offer a sort of general map of co-responsibility practices. This panel also would transmit general information to others. “Data-Rock concert at 19.00 on the west lounge area” “Record of low electric consumption at 1.00AM this morning!”

Technologies involved in the Info Panel would not neccesarily encompass very sofisticated solutions. From the digital to the analogue, it could incorporate different degrees of technology, from the very standard computing devices and  flat screens to mechanical or electrical ones, resulting in an interesting combination of present day technologies and ‘vintage looking’ less sofisticated ones.

Although in the end none of these technologies was installed, the students living in Teknobyen Student House did use some of the surfaces available to write their own messages and express themselves.


Alma Alloro is a Berlin based artist. She describes herself as a contemporary retro-futuristic artist.

Further Abstract is a series of drawings converted to a GIF animation and then converted back to a manual animation spinning from a bicycle wheel. A triangle, a square and a circle move in space, spin, decrease, increase transform and disappear in series of short animated loops.

The drawings became a series of animated GIFs, exhibited at Caesura Gallery. The animations then stepped back from digital to analog, bringing the manual groove one step further, with images on spinning wheel, the animation triggered by a strobe light. This subject works meticulously for hours and hours on a seemingly pointless mission. This meticulous process is contradicted by the extremely short duration of the animation itself.

The work brings forward the production process, recanting the roughness of an earlier aesthetic in animation such as those expressed in the experimental abstract films of Hans Richter’s ‘Rhythmus 21’ from 1921.

Taubenesentralen cable plant, located in the island of Svalbard in Norway, is an exeptional architectural structure.

It was built in the fifties and sixties, in several stages. This floating architectural cluster worked as a mining hub for the cabins transporting coal from the different mines spreaded around the area.

Photo ngari.norway

Taubanesentralen connected three different mine paths, gathering them and then and bringing the coal down to the sea, on Hotellneset, where it was stored until shipping season started.

This transportation method was provided until 1987, when trucks took its role.

Today this gravity-defying building is protected. The protection includes a range of 100 feet in all directions around the plant at Mine 5 and 6, as well as a 200 meter wide zone along the cableway trench outside the downtown area and 20 meters along the trail in the downtown area.

Photo Bjoervedt 

Traces of carbon and stainless water can still be seen on the farm’s roof behind the station.


Both Taubanesentralen dominant position high above the Governor farm and Kullkibbene, gliding smoothly over the roofs, were at the time viewed by many as a symbol of the tension between Great Norwegian Spitsbergen Coal Company as the owner and driver of the mining community and the governmental authority. Today number 7 is the only functional mine, located about one mil east of the city among the 7-mining mountains, between Bolterdalen and Foxdalen . It produces annually about 80,000 tons of coal.  Mine 7 is fully mechanized. The coal is broken mechanically and transported by truck to the city. About one-third of annual production delivered to the power station in Longyearbyen, Norway’s only coal plant.

Photo Oyvind Buljo 

Photo Oyvind Buljo

Murado & Elvira with Krahe architects, used this building as inspiration and structural reference for the Jossinfjord center in Norway competition. Check the project here.

Sources:

http://www.ub.uit.no

http://360svalbard.com/tag/taubanesentralen/

http://www.regjeringen.no/nb/dokumentarkiv/Regjeringen-Bondevik-II/md/Nyheter-og-pressemeldinger/2004/bevarer_svalbards_tidlige_industrihistor.html?id=254684

http://no.wikipedia.org/wiki/Gruvedrift_i_Longyearbyen

 

Flw. Ken Goldberg and Karl Bohringer, 1996 

Material: silicon. Dimensions: 60 x 80 x 10 micrometers.

A 1/1 millionth scale model of Frank Lloyd Wright’s Fallingwater, fabricated from silicon using ultra high precision lithography. Courtesy catharine clark gallery, san francisco, ca.

Microphotography of Frank Lloyd Wright’s tiny masterpiece

“Why Fallingwater? Wright employed the cantilever: a horizontal structure for distributing force, “the true earth-line of human life” (Wright). Minature cantilevers are used to measure forces in devices etched from silicon. Examples of current research can be found at many labs including UC BerkeleyCornell and UCLA”.

“How it was made:

The flw silicon 3D structure was fabricated using a process known as SCREAM, Single Crystal Reactive Etching And Metallization. The process began by scanning in Frank Lloyd Wright’s floorplans from a book. These are then imported into a software package that we use to generate a proportional but simplified 3D model of the building with its cantilevered balconies. This model is then used by the computer to create a sequence of optical masks.

Plan

Once the masks are ready, a wafer of purified silicon is treated with a light-sensitive chemical known as photo-resist. In a clean room laboratory, the masks are then used to expose selected areas of the wafer to ultraviolet light, which renders the photoresist susceptible to dissolving in a developer solution. The first mask corresponds to the top floor of the building.The exposed areas of the wafer are washed clean with deionized water, and then a reactive ion etch is applied to the wafer. The etch occurs in a vacuum chamber where chlorine radicals are accelerated by electrostatic fields during a plasma discharge. The ions remove the silicon in unprotected areas, leaving only the patterns defined by the photoresist. The etch cuts deep into the bulk silicon, creating 3-dimensional structures. The lithographic procedure is then repeated with the next mask, etching downward from the top floor to each lower floor. Each etching procedure takes several hours including the lithography and cleaning steps. A final plasma etch with sulfur-fluoride ions is used to undercut the silicon, creating the suspended cantilevers in 48 copies of the completed structures”.

www.ken.goldberg.net