Catalog_CM3_Kelsey_Van_Oost by Kelsey Van Oost

(22.23//02//02)

<ECHOESOFMEMORY> //2223-elective-sem2>

<Group02= PuckWacki. ArneVogel. JutterLannoo. CamillePeeters.//>

CM³

<[Creative] makers is an initiative from KULeuven and LUCA | School of Arts to create a [inter] - discplinairy collective practice between [architects] doing [courses] to futureproof our disciplines for the next [9] years.>

<EXTENDEDLIMINAL> //2324-summerschool> (22.23//SUM//04)

<Group04=BenVanSon.SetarehRooz. MahtabMoradi//>

(04-11)

< /2223-ELECTIVE-SEM2 >

<Group01=ArijnBorzo.TimourEge.HeleenGoethals.LuWenchang.//><BUT.HOW. DO.YOU.REALLY.FEEL .>

<Group02=PuckWacki.ArneVogel.JutterLannoo.CamillePeeters.//><ECHOES. OF.MEMORY>

<Group03=NickProot.CelestineVerschelden.ThomasGruyaert.CamilleL. Leenaert.//><FLYING.FURNITURE>

(22.23//02//01)

(12-23)

(22.23//SUM//01)

< /2223-SUMMERSCHOOL >

<Group01= RobinTourlamain.WenchangLu.AnnelotteLammertse//><CARETAKERS> <Group02= PloyThongchamnan.EmmyValkenier.Siyu Wang. GengMeng//><HIDDEN2O>

<Group03= ArnaudCasier.MostafaKhamis.SepidGholamhosseini//><LET.THERE. BE.LIGHT>

<Group04= BenVanSon.SetarehRooz.MahtabMoradi//><EXTENDED.LIMINAL>

<Group05= FloorVanHoof.ToonVandendriessche.AnnaIzquierdo.Sutanuka Jashu//><NOTES.ON.TINDER.FUNGUS>

(24-31)

(23.24//01//02)

< /2324-ELECTIVE-SEM1 >

<Group01=MatsMortier.FarnazSharifiyazdi.AmalYouseph//><ILLUMINATING. RHYTHM>

<Group02= MohammedOwais.JonathanGheysens. SofiyaDimitrova.//><SoundSCAPE>

<Group03=EmielDever.NeelAcou.JeevithaKesavan.//><BORDERS.>

(23.24//SUM//03)

(23.24//SUM//02)

(22.23//SUM//02)

< /2324-SUMMERSCHOOL >

<Group01=SaraEggimann.DiederikvanLeeuwen.XueningTian//><IRIS>

<Group02=NoraLagströmJebara.FloorLoos.StijnRogiest.//><AWARE.HEDGEHOGS>

<Group03=ThomasCortebeeck.EskilSverreson.TanyaMangion//><BUILD.YOUR. OWN.KASTEEL>

(32-39)

(23.24//01//03)

(23.24//01//01)

(23.24//SUM//01)

22.23-ELECTIVE-SEM2

BUT.HOW.DO.YOU.REALLY.FEEL?

(01)

Utilizing [AI and machine learning], the masks are read to create a multisensory experience within a white box. The exhibition concludes with visitors prompted to [reflect] on their emotions in a supportive environment, reinforcing the message that it’s acceptable to express emotions openly.

<The proposed exhibition combines handmade [masks] and dynamic multimedia [technology] to encourage authentic [emotional] expression. Beginning with virtualized plaster cast masks, the process evolves into UV-printed masks with photoshopped silly faces, representing a range of emotions.

Through this innovative approach, the exhibition promotes emotional [awareness] and celebrates the significance of emotional expression.>

ECHOES.OF.MEMORY

<This [installation] shows us how sound can trigger lost memories and feelings that live within us. These sounds can be found all around us and are always present in the world we live in.

(02)

In the process of life, we take in more and more [sounds] and we form [memories] linked to these specific sounds. From the smallest background noise to the loudest most ear-deafening sound that makes our body vibrate in resonance. All those sounds are related to memories that are different for each person.

While walking among the installation, it is up to you to discover which sounds touch you the most and take you to other places or moments. One single sound can [evoke] multiple memories to multiple people. It also experiments with [distance of noise] and how that aspect can change the way you can relate to the sound.>

The installation is showing how [four different sounds] that are personally connected to the lives of four different people, can [trigger] the memory’s of others. Some sounds will attract you, and some will repel you.

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<AUTHORS// PuckWacki. ArneVogel. JutterLannoo. CamillePeeters.

(03)

FLYING.FURNITURE

<Website. Flying. Furniture>

Take a seat in the [reconstruction] of the [furniture] of the late Serge Stockman‘s smoking room. [Mr. Stockman] died of lung cancer and possibly started his decease in this chair. This project is the reconstruction of the last moment, when he took his last breath and as it were, left his body.

<These reconstructed pieces of furniture in the shape of a quadcopter are titled: [OOBE SEAT] not to be confused with “obese seat” due to the recognizable overweight seat. OOBE stands for [out-of-the-body experience] The visitor takes a seat in the chair and is put into an OOBE state by means of a VR headset.

The term “out-of-body experience,” also known as astral projection, is used to refer to a [paranormal phenomenon] in which the so-called astral body or soul is believed to leave the physical body. The [soul would leave the body] and consciously “travel” through various earthly and astral dimensions.>

<AUTHORS//

NickProot. CelestineVerschelden. ThomasGruyaert. CamilleLLeenaert. >

<Flight Simulator Cockpit View>

22.23-SUMMERSCHOOL

<TITLE> Sense Adapt Create Summer School /title> /head> <body> <header>

<h1>Sense Adapt Create Summer School /h1>

<h2>Exploring Environmental Sensing, Data Driven Design, Mapping and Visualization /h2> <h3>WHEN? /h3>

<p>September 5 - 15, 2022 /p> <h4>INPUT /h4>

<p>Working with sensors and various technologies to scan our environments. /p> <article> <h4>PROCESS /h4>

<p>Working with data, integrate it within creative processes. /p> /article> <h4>OUTPUT /h4>

<p>Introduction to time-based media and animation and create a narrative. /p> <h3>Used Programs /h3> <li>VSCode + PlatformIO extension / li> <li>Houdini /li> <li>Blender /li> <li>fSpy /li> <li>Python /li> <li>Image Magick /li> <li>Arduino IDE /li> <li>FFmpeg /li> <li>Agisoft Metashape /li> <li>RealityCapture /li> <li>Polycam /li> <li>Unreal Engine /li> <li>GIMP /li> /ul> /section> /body> /html>

01.CARETAKERS

02.HIDDEN.2O

03.LET.THERE.BE.LIGHT

04.EXTENDED.LIMINAL

05.NOTES.ON.TINDER.FUNGUS 16-17 14-15 18-19 20-21 22-23

(01)

CARETAKERS

The [tumultuous history] of the castle and recent decay, neglect, the use by neighbours, and non-human entities new traces and stories can be seen in the park. The [paradoxes] of the nature culture dichotomy are [omnipresent] in this place and its multiple histories.

<Caretakers reflects on how different ways and forms of [care] are [recognizable] in the landscape garden of Kasteel Ter Beken. The origin of the park and [traces] of the 19th century upper-class life, the agency of power and status are still tangible in the park.

Through [walks and mapping] the Caretakers looked at the different inhabitants, their stories and the colliding ways they all take care of the park: [Branches] were thrown to gather in a heap, transformed by time into a big mish mash. The hundreds of pictures disappeared and formed a [new pile] of compost.... One more round then, we found another heap . A thick mass of white swaying roots finding their way around the neighbourhood.>

<walk>

HIDDEN

<Hidden2o aims to reveal the [hidden layer] of [water] on the site, through an immersive installation that allows viewers to experience [multisensorial] dimensions of water. Through using sensors, audio recordings and actuators we aim to express the presence of water [beyond human perspectives.]

The installations plays back a [soundscape] based on manipulated audio recordings, the sound in the room is picked up by a microphone which triggers the [actuators] to vibrate into a water container scattering light on the walls. This artwork invites visitors to [reflect] on the tension between human and natural aspects of water, inspired by [environmental crises] such as drought and floods.

We want to [evoke] the [emotions] of people by submerging themselves in touch, sound and light of water to aware them the [water urgency] in an artistic and sensorial way.>

LET.THERE.BE.LIGHT

<The project Let There be Light, explores how [digital scanning] and sensor technologies can be used to [capture] and visualise [light] and alter our spatial perspective. Visible light is [central] in [human perception] as we mainly rely on our visual senses.

The project combines [photogrammetry] and light sensors to make 3D scans and measure light levels within interior rooms of [Kasteel Ter Beken].

The geometric models of the [rooms] are [deformed] based on the spatially distributed measurement of [light levels] The project takes the form of a digital animation, exploring the intricate qualities of the [wire frame meshes] as a digital representation of nature and [behaviour of light] in space.>

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<Moving through the rooms>

EXTENDED.LIMINAL

<The [extended liminal] is an attempt to explore the [threshold] between the [physical and digital space] and experience it as an [in-between zone], not just a boundary line. Instead of passing from one existence to another, one can feel the [coexistence] of these spaces, as they are not two divided realities, but [extensions of each other].

While we rely increasingly on the [digital layer] in our everyday lives, our senses are tuned to experience the [physical environment] and the [digital realm] remains largely invisible. We aim to render this invisible layer of [digitality] more visible within our [physical environment].

Through questioning the duality of [physical and digital spaces], we enquire how we would understand our surroundings if we would sense the [digital space]. [WiFi signals] are one of the more prominent digital technologies that operate in this [coexisting] of [digital and physical]. We live inside an ocean of signals, although we can’t see, hear, touch, or smell them. They affect our [physical spaces] and lives.

For this sake, we apply the [visualisation of Wi-Fi measurement] around and inside some interior rooms of [Kasteel Ter Beken]. By visualising the [Wi-Fi signals] we extend its digital presence to the [physical space]. It brings awareness to us, as people who are members of [digital reality], that the [digital layer] is always here.>

NOTES.ON.TINDER.FUNGUS

[Notes on Tinder Fungus] - or how to look carefully at nature, explored multiple interpretations and meanings of the [tinder fungus], that is found on the dead trees in the park of [Kasteel Ter Beken] The project is conceived as an [exhibition] distributed throughout the park, where visitors are invited to explore the park and discover the [tinder fungus] through a [map].

Through these artworks, the project aims to deepen the understanding of the [tinder fungus] and its ecological significance, as well as to enhance the visitors’ experience by combining the [physical] and [digital] realms in an engaging and educational manner.

On the locations of prominent mushrooms, four digital artworks can be found through scanning [qr-codes: FomesFomentarius] looks into the scientific history of drawing mushrooms and categorising them; [Fire Walk With Me] explores the history of the human use of the tinder wood to make fire; [Mysterious Growth] uses photogrammetry and computer vision to identify and detect the growth of mushrooms in drone footage; [Come to Die] traces the patterns of tinder fungi, makes hi-res scans of dead species, and presents them as zoomable maps.

22.23-ELECTIVE-SEM1

ILLUMINATING.RHYTHM

The installation is designed for [people of all age groups] and takes place in a [dark room with a projector] It utilizes sensors to measure [heartrate], [humidity], and [temperature], creating visual arts based on the participants’ [emotional and physiological state].

[Illuminating Rhythm] is an immersive interactive art installation that explores the synthesis of human emotion and physiological states using [biometric sensors]. Drawing [inspiration] from the contemplative works of [James Turrell], the project places participants in a purposefully darkened room, a [sensory void], where their biometric data becomes the raw material for a transformative visual experience.

(01)

The aim of [Illuminating Rhythm] is to act as a catalyst for [selfawareness and introspection]. By translating participants’ internal states into a shared visual language, the installation encourages users to explore the relationship between their [mind, body, and external environment]. This symbiotic interaction between human and art creates a contemplative space where the boundaries between the self and the artwork blur, offering a unique opportunity for [self-discovery] and [emotional resonance].

<PictureS = left_text

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(02)

SOUNDSCAPE

By experiencing this dissection of [prerecorded ambient noises] on one’s own, a new [perception] of shaping the relationship between the sound and the scape is revealed. This project reveals the intricate connection between our natural [soundscapes] and how they can be experienced and transformed through [technology]

Using [nature] as a resource to be [technologized], and viewing nature as the [immanent human ability] to perceive [noise], this project aims to create an immersive experience by bringing our everyday [sound environment] into virtual reality (VR).

Ultimately, the project aims to deepen our understanding of how we interact with and perceive our [acoustic environment], enhancing our awareness of the continuous and dynamic interplay between [nature] and [technology].

[Visualizing 3D Data in VR] explores the potential to [visualize sound] in a 3D spectrum based on signal intensity at given frequencies. By changing audio based on user location, frequencies become louder in the headphones where the user is looking. [AI] is used to generate 3D objects and create a [virtual world] from user prompts.

BORDERS

[Environmental Emission Monitoring] involves a [wireless sensor network system] for long-term, realtime monitoring of environmental parameters such as dust, noise, vibration, and position on construction sites, ensuring compliance with permissible values. The system uses a [data acquisition unit] and a [radio unit] for direct data transfer.

[Data Collection and Visualization] involves collecting data (air quality, smart grid data) via [sensor] and phones in various locations (biking, walking). The data is visualized in [Blender] using CSV files and can be displayed in [VR/AR[ with devices like [HoloLens] and [MetaQuest2]. The project includes [displaying data on maps] and printing data into 3D cubes, representing different environmental factors in Ghent.

23.24-SUMMERSCHOOL

02.AWARE.HEDGEHOGS

03.BUILD.YOUR.OWN.KASTEEL

(01)

IRIS

When you are [young], anything is [possible]. You can [transform] a [fork] into a [spaceship] and a napkin into a flying mat. It’s a kind of [liberation], offering endless possibilities for anything. An unadulterated [imagination]. [Freedom]. No one can pinpoint when [adults] begin to lose their [inner child], but one might wonder if they sometimes [mourn] it?

At some point, they must understand that the [imaginative person] they once considered themselves to be has changed, transitioning from a [child] to an [adult]. They must wonder where their [childlike magic] went – if it [faded] or left them bare. They must wonder how they can experience this [freedom] again and return to living in the [present]. Sadly, [humans] tend to lose their [imagination] as they [age] – an unfortunate truth. This occurs due to a combination of [learning] about the world, [adapting] to the environment, and forgetting how it feels to be [imaginative].

Unless you make a [change] now, you’ll likely struggle with their [fantasy]. But is there a way to [revive] the nostalgia and guide adults down [memory lane] to the world of wonder? Could there be a [path] that’s equally accessible for both [children] and [adults]? A [space] where the two can meet, where they can practice the skill of maintaining [wonder]?

<IRIS= introduces 3 different types of inputs.>

AWARE.HEDGEHOGS

The environment is fully [customizable] by choosing a custom 360 image and [memories] can be created with 3D objects, 3D scans, [360 images] and 2D images. Memories are spawned into the environment in [transparent bubbles]. The user can choose its [size] with the duration they turn their [palm around]. In this case-study the environment is a [glass house] called “Open ruimte, Open functie”, created by Jason van der Woude at [Verbeke Foundation].

People are often [stressed] and don’t feel [safe], but need to [relax] , therefore we created VeRo , a [virtual reality experience], a safe and customizable immersive environment in Virtual Reality. With VeRo you can [collect] and customize memories, explore and relax.

(02)

The [memories] are our own [experiences] at the [Summerschool], during which this project was realised. The bubbles can be [moved] and [popped] so the user can create [collages] with their [memories]

BUILD.YOUR.OWN.KASTEEL

(03)

This message is something we want to deliver, to make people and designers more [aware] of their own part in this issue. In this [VR] experience the user can interact with the [building elements] as well as new buildings elements.

There is a [wicked] problem with material use, we keep making new [materials] without thinking about a possible reuse of those materials. By making new materials,increasing embodied [carbon] as new elements are created, we get stuck in a vicious [cycle].

In doing this the user becomes more aware of the choices they have in material use.

[Keywords: materials, design, material reuse, embodied emissions, design typology.]

<AWARE.HEDGEHOFS> //2324-summerschool> (23.24//SUM//02)

<Group02= NoraLagströmJebara.FloorLoos. StijnRogiest.//>

(23.24//01//02)

//2324-elective-sem1>

<Group02= MohammedOwais. SofiyaDimitrova.JonathanGheysens. //>