Aesthetics of urban media façades

This paper sets out to develop and extend current literature on design practices for ambient media façades. It does this by bringing together theories of ambient media, computational aesthetics, and urban aesthetics. This unique theoretical combination has informed the design of several exemplars produced by the author, which are discussed as case studies.

Inland Salt

This work, a small single room installation, was my contribution to the 2015 Palimpsest Biennale in Mildura, and was shown at the ADFA building in the town's centre. On an initial research trip in July, 2015, I stopped at a dried out salt lake near Wentworth. Beach-like, the lake left a tidal line along a curving shore. The vegetation looked like ocean flora; there was the glimmering saltiness of everything, and saltbush everywhere. It brought to mind Sturt's hankering for an inland sea, and his wishful voyage along the Murray, that led him out, not in. This work puts these observations together: a drawing, made from the sanded emboss of saltbush leaves, runs, riverlike, across the space. A looped film of clouds reflected in a shallow saltlake, recalls the dream of an inland sea, supported by the sound of ocean.

Running Men

In this multi-screen installation, iconic male characters from Hollywood films are reconfigured to create infinitely looping scenes of running; trapping the characters in a kind of Nietchzen eternal recurrence. Stemming primarily from my investigation into anxiety as a shared social experience, the carefully edited, looped, and rotoscoped characters become avatars or surrogates for myself, and for the viewer. Through this editing, they are caught in a space of relentless confusion and paranoia – they run with, and from, anxiety. They are never caught by any unseen pursuers, but are equally unable to catch up to any unseen goal. These figures act as models of masculinity, they are objects of identification and emulation. Simultaneously, as celebrities, they are also fictions of the media sphere, both real and ethereal, they are impossible to grasp. In this duality, the work also references cinema’s tangled conflation of character and celebrity identity. It examines the subjective and intersubjective engagements we can have with popular culture, and the way that these engagements can as strategies to ‘make sense’ of social experiences. The work was exhibited in the Carriageworks space of ‘You Imagine What You Desire’, the 19th Biennale of Sydney.

The InstaBooth: Making common ground for media architectural design

Media architecture has emerged from and relies upon a range of different disciplinary traditions and areas of expertise. As this field develops, it is timely to reflect upon the ways in which designers of different disciplinary stripes can be brought together to collaborate in a design process. What are the means by which design teams can establish a ‘common ground’ where design work can take place while recognizing the diversity of ways of working those different disciplines bring to the process? A co-design approach has been the fundamental backbone of the InstaBooth project, which has brought together a multidisciplinary design team of academics and practitioners. The intention of this project has been to explore the combination of digital and physical interactions within a small media architecture installation to intervene with urban environments and public places for the purposes of community engagement. It is by exploring the design process of the InstaBooth project that we highlight the value of multi-disciplinary collaborations, the lessons that can be learned, and the struggles and hurdles along the way. This paper highlights the iterative process of design, the materials and physical prototypes that were employed to ultimately create a working version of the InstaBooth, a media architecture that evolves as users push its boundaries and take ownership of the installation. The concept of the InstaBooth continues to develop not only as more data are collected on its mechanics and potentials through observations, interviews and workshops, but also as more and more users engage with the installation in their individual ways.

Shifting Ground:Beyond National Architecture

The Irish Pavilion at the Venice Architecture Biennale 2012 charts a position for Irish architecture in a global culture where the modes of production of architecture are radically altered. Ireland is one of the most globalised countries in the world, yet it has developed a national culture of architecture derived from local place as a material construct. We now have to evolve our understanding in the light of the globalised nature of economic processes and architectural production which is largely dependent on internationally networked flows of products, data, and knowledge. We have just begun to represent this situation to ourselves and others. How should a global architecture be grounded culturally and philosophically? How does it position itself outside of shared national reference points?
heneghan peng architects were selected as participants because they are working across three continents on a range of competition-winning projects. Several of these are in sensitive and/or symbolic sites that include three UNESCO World Heritage sites, including the Grand Egyptian Museum in Cairo, the Giants Causeway Visitor Centre in Northern Ireland, and the new Rhine Bridge near Lorelei.
Our dialogue led us to discussing the universal languages of projective geometry and number are been shared by architects and related professionals. In the work of heneghan peng, the specific embodiment of these geometries is carefully calibrated by the choice of materials and the detailed design of their physical performance on site. The stone facade of the Giant’s Causeway Visitor Centre takes precise measure of the properties of the volcanic basalt seams from which it is hewn. The extraction of the stone is the subject of the pavilion wall drawings which record the cutting of stones to create the façade of the causeway centre.
We also identified water as an element which is shared across the different sites. Venice is a perfect place to take measure of this element which suggests links to another site – the Nile Valley which was enriched by the annual flooding of the River Nile. An ancient Egyptian rod for measuring the water level of the Nile inspired the design of the Nilometre - a responsive oscillating bench that invites visitors to balance their respective weights. This action embodies the ways of thinking that are evolving to operate in the globalised world, where the autonomous architectural object is dissolving into an expanded field of conceptual rules and systems. The bench constitutes a shifting ground located in the unstable field of Venice. It is about measurement and calibration of the weight of the body in relation to other bodies; in relation to the site of the installation; and in relation to water. The exhibit is located in the Artiglierie section of the Arsenale. Its level is calibrated against the mark of the acqua alta in the adjacent brickwork of the building which embodies a liminal moment in the fluctuating level of the lagoon.
The weights of bodies, the level of water, changes over time, are constant aspects of design across cultures and collectively they constitute a common ground for architecture - a ground shared with other design professionals. The movement of the bench required complex engineering design and active collaboration between the architects, engineers and fabricators. It is a kind of prototype – a physical object produced from digital data that explores the mathematics at play – the see-saw motion invites the observer to become a participant, to give it a test drive. It shows how a simple principle can generate complex effects that are difficult to predict and invites visitors to experiment and play with them.

Bus Transportation – Córas Iompair Éireann and Michael Scott

The book acts as a companion to the Irish pavilion at the 2014 Venice Biennale for Architecture. This chapter examines the context of roads transport and then analyses how its architectural infrastructure developed in this period, concentrating on the work carried out mainly by one Irish firm: Michael Scott and Partners.

Of no fixed form: The Irish Pavilion at Venice 2014 and beyond

This paper explores the theme of exhibiting architectural research through a particular example, the development of the Irish pavilion for the 14th architectural biennale, Venice 2014. Responding to Rem Koolhaas’s call to investigate the international absorption of modernity, the Irish pavilion became a research project that engaged with the development of the architectures of infrastructure in Ireland in the twentieth and twenty-first centuries. Central to this proposition was that infrastructure is simultaneously a technological and cultural construct, one that for Ireland occupied a critical position in the building of a new, independent post-colonial nation state, after 1921.

Presupposing infrastructure as consisting of both visible and invisible networks, the idea of a matrix become a central conceptual and visual tool in the curatorial and design process for the exhibition and pavilion. To begin with this was a two-dimensional grid used to identify and order what became described as a series of ten ‘infrastructural episodes’. These were determined chronologically across the decades between 1914 and 2014 and their spatial manifestations articulated in terms of scale: micro, meso and macro. At this point ten academics were approached as researchers. Their purpose was twofold, to establish the broader narratives around which the infrastructures developed and to scrutinise relevant archives for compelling visual material. Defining the meso scale as that of the building, the media unearthed was further filtered and edited according to a range of categories – filmic/image, territory, building detail, and model – which sought to communicate the relationship between the pieces of architecture and the larger systems to which they connect. New drawings realised by the design team further iterated these relationships, filling in gaps in the narrative by providing composite, strategic or detailed drawings.

Conceived as an open-ended and extendable matrix, the pavilion was influenced by a series of academic writings, curatorial practices, artworks and other installations including: Frederick Kiesler’s City of Space (1925), Eduardo Persico and Marcello Nizzoli’s Medaglio d’Oro room (1934), Sol Le Witt’s Incomplete Open Cubes (1974) and Rosalind Krauss’s seminal text ‘Grids’ (1979). A modular frame whose structural bays would each hold and present an ‘episode’, the pavilion became both a visual analogue of the unseen networks embodying infrastructural systems and a reflection on the predominance of framed structures within the buildings exhibited. Sharing the aspiration of adaptability of many of these schemes, its white-painted timber components are connected by easily-dismantled steel fixings. These and its modularity allow the structure to be both taken down and re-erected subsequently in different iterations. The pavilion itself is, therefore, imagined as essentially provisional and – as with infrastructure – as having no fixed form. Presenting archives and other material over time, the transparent nature of the space allowed these to overlap visually conveying the nested nature of infrastructural production. Pursuing a means to evoke the qualities of infrastructural space while conveying a historical narrative, the exhibition’s termination in the present is designed to provoke in the visitor, a perceptual extension of the matrix to engage with the future.

Making Ireland Modern

Making Ireland Modern is a cross-disciplinary, inter-institutional, inter-media design and research project which emerged from an open competition (won by Boyd and McLaughlin) to commission/curate the Irish pavilion for the Venice biennale 2014. It explores the relationship between architecture, infrastructure and technology in the building of a new nation. Constructed as a demountable, open matrix of drawings, photographs, models and other artefacts, the exhibition (12 x 5 x 6 metres) presents ten infrastructural episodes – Negation, Electricity, Health, Transportation, Television, Aviation, Education, Telecommunications, Motorways, Data – spanning a period of one hundred years from 1916-2016. Exploring a range of scales from the detail design of objects to entire landscapes and other territories, Making Ireland Modern describes architecture’s role in transforming the physical and cultural identity of the new state through its intersession in the everyday lives of its population. In 2015, we were commissioned by the Arts Council of Ireland to expand and develop the pavilion for a three cities tour of Ireland as one of the five major strands of the Arts Council’s Art2016 programme of Irish State’s 1916-2016 centennial celebrations (2016).

Between the Bullet and the Hole

Between the Bullet and the Hole is a film centred on the elusive and complex effects of war on women's role in ballistic research and early computing. The film features new and archival high-speed bullet photography, schlieren and electric spark imagery, bullet sound wave imagery, forensic ballistic photography, slide rulers, punch cards, computer diagrams, and a soundtrack by Scanner. Like a frantic animation storyboard, it explores the flickering space between the frames, testing the perceptual mechanics of visual interpolation, the possibility of reading or deciphering the gap between before and after. Interpolation - the main task of the women studying ballistics in WW2 - is the construction or guessing of missing data using only two known data points. The film tries to unpack this gap, open it up to interrogation. It questions how we read, interpolate or construct the gaps between bullet and hole, perpetrator and victim, presence and absence. The project involves exchanges with specialists in this area such as the Cranfield University Forensics department, London-based Forensic Firearms consultancy, the Imperial War Museum, the ENIAC programmers project, the Smithsonian Institute, and Forensic Scientists at Palm Beach County Sheriff's Office (USA). Exhibitions: Solo exhibition at Dallas Contemporary (Texas, Jan-Mar 2016), including newly commissioned lenticular prints and a dual slide projector installation; Group exhibition the Sydney Biennale (Sydney, Mar-June 2016); UK premiere and solo retrospective screening at Whitechapel Gallery (London); forthcoming solo exhibition at Iliya Fridman Gallery (NY, Oct-Dec 2016); Film festivals and screenings: International Film Festival Rotterdam (Jan 2016); Whitechapel Gallery (London Feb 2016); Cornerhouse/Home (Manchester Nov 2016); Public lectures: Whitechapel Gallery with prof. David Alan Grier and Morgan Quaintance; Carriageworks (Sydney) Prof. Douglas Khan; Monash University (Melbourne); Gertrude Space (Melbourne). Reviews and interviews: Artforum, Studio International, Mousse Magazine.

Timing pubertaire et adaptation psychosociale à l'adolescence : le rôle des relations interpersonnelles et des vulnérabilités individuelles

Cette thèse avait pour objectif d’examiner les liens longitudinaux entre le timing pubertaire et les problèmes de comportement intériorisés et extériorisés à l’adolescence, soit les problèmes de conduite et les symptômes dépressifs. Guidé par la perspective théorique biosociale et le modèle de vulnérabilité-stress, le rôle modérateur de l’environnement social et des vulnérabilités personnelles préexistantes était également évalué. Les hypothèses initiales étaient qu’un timing pubertaire précoce ou déviant de la norme (précoce et tardif) serait associé à des niveaux plus élevés de problèmes de conduite et de symptômes dépressifs, mais que ce lien serait accentué dans des contextes sociaux et interpersonnels plus à risque et en présence de vulnérabilités individuelles chez les adolescents. Pour vérifier ces hypothèses, des données provenant de l’Enquête Longitudinale Nationale sur les Enfants et les Jeunes (ELNEJ) ont été analysées. Gérée par Statistique Canada, l’ELNEJ est une enquête prospective biennale comportant différents échantillons représentatifs d’enfants et d’adolescents canadiens. Les mesures utilisées dans cette thèse ont été collectées à différents cycles de l’enquête, soit à 10–11 ans, 12–13 ans, 14–15 ans et 16–17 ans, directement auprès des adolescents et de leurs parents par le biais de questionnaires et d’entrevues. Le premier article de la thèse a vérifié si l’interaction entre le timing pubertaire et des caractéristiques du contexte social des pairs (c.-à-d. l’affiliation avec des pairs déviants et l’implication amoureuse en début d’adolescence) prédisait la présentation de problèmes de conduite avec et sans agressivité physique à l’adolescence. Les résultats ont montré que le contexte social des pairs modérait l’association entre le timing pubertaire et les problèmes de conduite. Une interaction significative entre le timing pubertaire et l’affiliation à des pairs déviants a indiqué qu’une puberté plus précoce était associée à des fréquences plus élevées de problèmes de conduite agressive seulement chez les filles et les garçons qui fréquentaient des pairs déviants. Autrement dit, parmi les adolescents s’affiliant à des pairs déviants en début d’adolescence, les adolescents pubères précoces tendaient à présenter plus de problèmes de conduite agressive deux ans plus tard, en comparaison à leurs pairs pubères dans les temps moyens ou tardifs. Une seconde interaction significative obtenue chez les filles a montré que la puberté plus précoce était prédictrice des problèmes de conduite non-agressive seulement en présence d’un engagement amoureux en début d’adolescence. En effet, dans un contexte d’implication amoureuse, les filles pubères précoces présentaient plus de problèmes de conduite non-agressive que leurs pairs. Le deuxième article de la thèse avait pour objectif d’évaluer le rôle modérateur des vulnérabilités individuelles à la dépression (présence de symptômes intériorisés à la fin de l’enfance), du contexte social des pairs (affiliation à des pairs déviants, expérience amoureuse précoce et perception de popularité auprès des pairs) et des relations parent-adolescent (perception de rejet de la part des parents) dans l’association longitudinale entre le timing pubertaire et les symptômes dépressifs en fin d’adolescence. Chez les filles, une interaction triple a révélé que la puberté plus précoce était liée à davantage de symptômes dépressifs, mais seulement chez celles qui présentaient des symptômes intériorisés à la fin de l’enfance et une implication amoureuse précoce. Chez les garçons, un effet curvilinéaire du timing pubertaire a été observé alors que la puberté précoce et tardive était associée à plus de symptômes dépressifs, mais seulement chez les garçons qui manifestaient des symptômes intériorisés à la fin de l’enfance. La puberté plus précoce était aussi liée à des niveaux plus élevés de symptômes dépressifs en présence d’affiliation à des pairs déviants (garçons) et de perceptions plus importantes de rejet parental (filles et garçons). En somme, la mise en évidence d’interactions significatives entre le timing pubertaire, les caractéristiques de l’environnement social et les vulnérabilités individuelles suscite différentes réflexions au plan théorique et pratique. Tout d’abord, les résultats suggèrent que le timing pubertaire en lui-même ne paraît pas représenter un facteur de risque généralisé des problèmes de comportement intériorisés et extériorisés à l’adolescence. Plus particulièrement, ces résultats soulignent l’importance de considérer l’environnement social et les facteurs de risque individuels préexistants afin de mieux comprendre l’effet de la transition pubertaire sur l’adaptation psychosociale des adolescents.

Temporalité et surveillance dans l'art de David Rokeby

Pour respecter les droits d'auteur, la version électronique de ce mémoire à été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Reproduire pour déconstruire : le paradoxe de l'engagement dans la série Body techniques de Carey Young

La série Body Techniques (2007) a été réalisée par l’artiste britannique Carey Young dans le cadre d’une résidence offerte par la biennale de Sharjah, aux Émirats Arabes Unis. Les huit photographies de format tableau constituant la série montrent l’artiste qui, portant l’uniforme d’une femme d’affaires, réinterprète huit œuvres célèbres associées à la mouvance de l’art conceptuel. Des paysages singuliers, situés aux abords des villes de Sharjah et Dubaï, servent de toile de fond à ces actions et leur confèrent une aura futuriste. La présente analyse tâche de démontrer que la série est habitée par un paradoxe remettant en question le statut d’art engagé que l’artiste revendique pour son œuvre. Ce paradoxe se manifeste à travers trois axes, autour desquels s’articule notre réflexion : les médiations se glissant entre Body Techniques et les œuvres que la série réinterprète, la déconstruction du « médium » du paysage, et le rôle actif occupé par le dispositif photographique. Cet examen attentif de chacune des occurrences du paradoxe permet de révéler Body Techniques comme une incarnation exemplaire de la double contrainte traversant toute œuvre d’art contemporain engagé : celle permettant aux artistes de critiquer le système auquel ils participent, mais les forçant en retour à participer au système qu’ils critiquent.