Outside view_

Hall view_

Looking down_

Looking up_

Made in collaboration with the danish interaction design firm yoke.dk

Made with Cinema 4D / After Effects.

The project is to be produced by the danish interaction design firm yoke.dk

The project is to be produced by the danish interaction design firm yoke.dk

More info later…

…math is beautiful!

A Resonating Canvas is an interactive sound installation artwork. In an attempt to explore how to visualize something as visually imperceptible as sound, we exploit the attractive nature of the visual, to invite the audience to experience sound through a visual medium, while encouraging social interaction. A glitchy and haunting expression appears through remediation of sound.

The installation is designed together with:

Niels Astrup at www.nastup.dk
Kevin N. Andersen at www.kevinandersen.dk

This shop concept is made in collaboration with Karen Marx, Maja Thorning Kristensen and Niels Astrup. MORE INFO…

IDEOLOGY
Shoe# is based on the relationship between the inner and the outer values of a brand and changes the perception of how a brand presents its products. By using the standard shoebox in its basic form and pushing the limits of its application, we have tried to create a modular system that can be used in countless ways from production to consumer.

Shoe# is constructed in cardboard, which as a material is solid, easy to manipulate, is reusable and inexpensive. Cardboard has its very own unique aesthetics and can, when used with other materials such as concrete, wood and light, help to create an expression that has references to something both bohème, luxurious and modern.

By using these existing cardboard aesthetics, the shoe# has a shape that is a slightly twisted cubic with the logo carved from the outer most layer of the box, giving it a light and soft look.

Shoe# is also fitted with a handle in the box top that can be folded up and makes it easy to manage.

Shoe# also works as an interactive part of the storefront. Below is a short video showing the basic technology behind the interaction.

Labyrinth Revisited is a casual 3D game, produced in collaboration with Niels Astrup at www.nastrup.dk. The game is developed in Unity and takes place in 3D stereo. It is played by two people who together navigate a ball through a maze using two smartphones. One player controls the direction forward/backward and the other control the right/left via the phone’s built-in accelerometer. This data is then in realtime send via wifi to Unity 3D.

The game has its overall inspiration from Robert Morris’s minimalist work Untitled (Labyrinth) from 1974, who’s simple form and expression invites you to work with the issues of introducing art into the development of new methods and habits of thinking in relation to 3D interaction. We have chosen to work with minimalism, because the genre offers a theory based on some of the most fundamental geometric shapes. By starting in minimalism, the underlying concept is to explore 3D interaction from a new angle (remediation) where we hope to find some openings for proposals that can be used in connection with the development of new methods of 3D interaction.

The three levels:

The changing geometric of the sphere (game object):

Because we ecpecially are fascinated by simplicity and the unexpected in both the objects and the interaction, we have chosen to investigate what happens when you take a minimalist object and places it in a virtual context. What will happen to an object that is already filled with means and meaning and added to an unexpected dimension of interaction in a new virtual reality? Will you experience the object in the same way or will it alter your way of perception? These are some of the question we have tried to examine with this project.

Our starting point was to create an interactive 3D environment through the remediation of an existing artwork. But the concept of Labyrinth Revisited has also become a medium through which we mimic an analog expression, which is then pulled back and put on the tip of a digital environment.

Robert Morris’ original installation Labyrinth (Untitled):

This is my bachelor project at Digital Design at Aarhus University. It’s a theoretical paper about the interactive installation I’ve called – In The Bubble. The purpose of the project is to investigate the relationship between the concept of social interaction and my installation. In short the installation makes use of a responsive capacity to create privatized bobbles around its participants. This is made possible through: (1) numerous computer-inspected pressure sensors that track the positions of the participants, (2) metal pipes attached to electrical motors that shape the dynamic bubbles and (3) a flexible rubber-material.

The flat shape of the form is held in place by the stiff metal pipes that furthermore are controlled in specific heights according to the position they represent in the form. The form of the bubble is by this method controlled by a computer keeping track of the many motors and the positions of the participants. Every metal pipe in the installation is connected to their own pressure-sensor in the floor giving the bubbles the ability to follow all participants’ moves. For safety, the ends of the metal pipes are constructed in a soft yielding material with a down-pointing moving-sensor. The computer is then forced to double-check for possible presence in the bubble before it returns to its’ point of origin.

The bubble seen from the top and a colored visualisation/chart of how much the strings must expand to meet the requirement of the structure:

Based on social interaction between the bystanders, the participants and a greater collective unit, the installation outlines the interplay between the private and the public and creates a portrayal of the everyday social interaction we as humans embark upon.

The primary theory used in the paper is based upon the work of sociologist Erwin Goffman and his thoughts on social behavior in public places. These theories constitute the foundation upon which the investigation is built supported by other pertinent sources. Visualizations and 3D renderings are used throughout the paper to help explain and discuss the interactive capabilities and limitations of the installation.

The analysis of the artwork shows that the overriding guideline – social interaction – is present both within and around the space of the interactive artwork.  This, in turn, makes it possible to understand and discuss what the concept does for the actual experience and the space of interpretation.

The paper argues that social interaction exists not only among the participants, but has branched out into all the social events around the artwork. The social interaction is interpreted from three key spaces: the bystander’s social space, the participant’s social space and the social collective space. These key spaces constitute a social complexity that enhances the relationships between those present and gives an understanding of one’s own and others’ actions in space, while creating awareness of the inevitable confrontation with the surroundings. It is thus social interaction perceived and interpreted through both the private space, the confrontational meetings and a greater collective creation of meaning. Hence you are private in a social space.

The paper can be downloaded….HERE! (In danish)

With his dual-vision, Janus must have wondered; surprised at people’s ignorance as to the future consequences of their present doings; but also contemplating people’s urge to set even the most banal events of the past in a poetic, grandiose or significant perspective.

When establishing a bridge between the past and the future, the centre of the bridge must be the unique position that engenders a vision in both directions. Like Janus’ dual-vision, the bridge enlightens us as to how even the seemingly most insignificant act has an impact – even e.g. walking in a certain place, sitting down to rest, or choosing one direction rather than another.

In the past, represented by the one end of the bridge, the world passes by unaware that even the slightest motion or act will create echoes and have consequences. Five concealed sensors will register everyday doings and events and send them into the future.

The other end of the bridge represents the entrance into the future, where you witness the consequences of past doings and event. On the monitor, you may read a story with no beginning and no end; a story that evolves concurrently with the past changing; a story painted in grandiose strokes, attempting to render coherence and meaning to the past.

Janus On The Bridge is made in collaboration with Martin Pedersen, Boris Hansen and Pia Jensen.

This is the changeable floor installation I made at my semester at Aarhus School of Architecture. The installations main focus is changeability which makes the usage of the system very adaptable. It’s intended for a new cross-curricular room where four different clubs is to be united: boy/girl schouts, juniorchess, drum lessons and theatre. The installation is meant for tweens (kids between 8-12 years). The installation is designed to inspire and be a gathering point in the context. It should be as a catalyst for insight crosswise the clubs.

The units are painted in five different colors which is inspired by the changeable colors in the nature. A lot of them is also painted with a black paint that makes writing on them possible. All units are furthermore made magnetic.

The units are all equipped with suction discs which can be activated with the key. Turn 180 degrees right to lock your construction and turn 180 degrees left to open it again.

Sketches:

FOLDed are manufactured in 17mm plywood made ​​of ash, with an 8mm rope which acts as handles. The legs are in both standing and folded position held in place by a magnet system that is hidden in the plywood.

The table is folded by using the rope in a simple procedure as seen in pictures below. By using the rope along with the effects of the strong magnets, the handling is achieved in a seamless workflow that can be handled by one person. One of FOLDed’s main details is that it can hang on the wall when not in use.

Publications
—
A Touch Of Code – Interactive Installations and Experiences – Gestalten / April 2011

Contact
—
M +45 30 29 66 29
E  mail me
T  find me
F  find me
V  find me

—