01 02
03
Introduction
Iterations
Project Introduction
pg.34
Infinite Fragments
pg.02
Research Question
pg.36
The Space Below
pg.38
Diverging Reflections
pg.40
Amalgamation Iterations
Research Context
pg.04
Investigation of Lifts
pg.06
Proxemics
pg.07
Key Texts to Frame the Research
08
Developed Response
pg.42
Interaction through Reflection
pg.44
Analysis of Mock Exhibition
Refined Response
pg.48
Fragments & Reflections
pg.50
Construction Process
pg.54
Final Output
pg.56
Analysis & Findings
Research Parameters
pg.62
Reflective Analysis
pg.13
Aims & Objects
pg.64 Conclusions
pg.14
Ethical Implications
Precedents pg.09 Precedents that illustrate interventions
04
07
pg.01
in response to non-place
pg.17 Methodology pg.18
09
Methodology Diagram
10
Bibliography pg.68 References
05
Conceptual Responses
pg.20
Interaction through Occupation
pg.22
Lift Party
pg.24
Reactive Surfaces
pg.70
Completed Ethical Review
pg.26
Effects of mirrored surfaces
pg.72
Research Deviation - Social Bus
11
Appendix
Stops
06
Refined Research
pg.28
The Mirror Test
pg.30
Mirrored Precedents
Research Question
Project Introduction
To many of us, lifts are merely a background element in the built environment; used, but often forgotten when unoccupied. And yet, the way in which we behave in lifts comes to us almost instinctively; we choose to act in a passive manner, to be as inoffensive as possible; it becomes a place to be anonymous. In such a small, almost intimate enclosed
“
Can a considered intervention readdress the relationship between the lift’s occupants, altering the perception and interaction within the space?
space it becomes critical the way we act that cannot be interpreted as threatening, odd or in any way ambiguous. The easiest way to do this is to avoid eye-contact, this reinforces a detached nature between the occupants. This project seeks to investigate proxemics, interaction and comfort within lifts by challenging the prevailing conditions towards communication and intimacy of this [anti]social space. This document seeks to exhibit the investigation, methodology, analysis, and conclusions from the research by design project; undertaken by Philip Price as part of the Design Research Module at the University of the West of England.
01
Chapter One pg. 01
Chapter One pg. 02
01
Investigation of Lifts
The nature of this project requires exploring the identity of a lift, to understanding our perception, behaviour, and memory of occupying this space. The research began by placing myself in a lift and observing the existing practices within the space. From my experience I found
There is nothing to identify within a lift; it is merely a place of transition that is forgotten as soon as we leave.
that people choose to behave in a passive manner attempting to be as inoffensive as possible; it becomes a place to be anonymous. We automatically create as much space between us and the rest of the lift occupants as possible. Nick Paumgarten (2008) compared the way we arrangement our bodies in a lift is similar to that of the organisation of the dots on a dice; we distance ourselves from other occupants seeks to retain control over our personal space, inherently linked to proxemics. Anthropologist Edward T. Hall (1966) summarised that around each person, exists an invisible sphere of space linked to social distance and communication; Hall documented four social categories correlated to a physical distance. Intimate Space (up to 0.46m) – Touching, embracing, whispering: only close people are usually admitted to this zone, for example, children and a spouse. Personal Space (0.46m) – Talking with a normal voice: usually acceptable for friends and relatives. Social Space (1.2m to 3.7m) – Talking with an average or somewhat loud voice: used for acquaintances or unfamiliar people. Public Space (3.7m =or more) – Talking with a loud voice or using a particular device (e.g. a microphone, a loudspeaker): used for lectures and public presentations to a group of people. Due to the confined nature of a lift, we are forced into the personal or inmate spaces of other users. This acts to create a sociofugal space
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Chapter Two pg. 04
Investigation of Lifts
that suppresses communication and reinforces discomfort and negative feels associated with lift. Observed when people enter a lift, in such a small, almost intimate enclosed space it becomes critical the way we act that we cannot be interpreted as threatening, odd or in any way ambiguous. The easiest way to do this is to avoid eye-contact, this compounds the detached nature between the occupants. The lift’s suppressive essence is so powerful that even users who are conversing as they enter the space will stop and will stand awkwardly silent during the journey and continue only once they have left the lift. What causes us to behave like this in a lift? Marc Augé’s states that (1995, pp.77-78) ‘If a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place.’ From my observations, there is no physical identity within a lift. They are faceless spaces to be forgotten; it is merely a place of transition that is forgotten as soon as we leave. Similar to Augé’s ideas of super-modernity and non-places; they are standardised, with all having the same interiors, buttons and voice-overs, you couldn’t tell one lift apart from any other in the world. Reinforced by Alisdair Roger’s argument (2013, p.347) claiming that ‘these spaces are the same or similar regardless of where they are situated in time and space.’ The lifts themselves are global and transferable products unaffected by geographic, cultural, spatial and temporal contexts. The degree of uniformity reinforces the making of standardised landscapes which Edward Relph’s (1976, Preface) states ‘results from insensitivity to the significance of place.’ This homogeneity strengthens the negative identity associated with the lift, thereby everyone subconsciously understanding how to behave within this space. The research will begin to examine the public interactions within lifts to identify the emotional and physical conditions formed from these environments The research will culminate in an intervention that seeks to challenge the prevailing conditions towards communication and intimacy of this [anti]social space.
02
Chapter Two pg. 05
Key Texts to Frame the Research
An Attempt at Exhausting a Place in Paris Georges Perec
Key Texts to Frame the Research
Non-places: Introduction to an Anthropology of Supermodernity Marc Auge
The book is a document of urban signage and ephemera recorded in
The book seeks to analysis the of modern life, in particular, the
Perec’s candid voice. Perec attempted to notate every person, object,
homogenised “non-places”; defined as “a space which cannot be
event, action, and atmospheric modulation as they appeared from
defined as relational, or historical, or concerned with identity will be a
varying locations on the square. The recording transforms the usual
non-place”(Auge, 1995. pp. 78-79). Lifts can be identified as non-
practices of the mundane every day into a precious artefact. Regarding
places; they are standardised, with all having the same interiors, buttons
the project, the notion of the ‘mundane’ every day is the framework
and voice-overs, you couldn’t tell one lift apart from any other in the
for the project, where the relationships and interaction in these spaces
world, similar to Augé’s ideas of super-modernity.
provide society with a space to express itself. By exploring Perec’s method of investigation into the seemingly ‘mundane’ places, I can begin to
Place and Placelessness
document the moments that frame the non-place and introduce an in-
Edward Relph
tervention that endeavours to emphasise and celebrate these moments.
‘A deep human need exists for associations with significant places. If we choose to ignore that need and to allow the forces of placelessness to
Human Experience and Place: Sustaining Identity
continue unchallenged, then the future can only hold an environment in
Edited by Paul Brisli
which places simply do not matter. If, on the other hand, we choose to
The anthology of essays responds to human experience and forming a
respond to that need and to transcend placelessness, then the potential
place in a world where the ‘…feeling of belonging is being eroded by ho-
exists for the development of an environment in which places are for
mogenising processes that are flattening and equalising and neutralising
man, reflecting and enhancing the variety of human experience.’ (Relph,
the delicate, productive scales of difference between people across
2008, p.43) The notion of placelessness is embodied within the lift, the
various geographies.’ (Brisli, 2012. p.9) The perception and identity asso-
faceless and forgettable inhabitation within a lift provides a framework
ciated with a typical lift are one of homogenised anonymity, this project
to my research. By investigating these concepts, my intervention can
seeks to investigate this identity through human experience, applying
begin to challenge the established identities to change the relationships
the current practices of avoidance in the lifts to explore the perception
with the lift.
of proxemics.
02
Chapter Two pg. 07
02
Chapter Two pg. 08
21 Balançoires Daily tous les jours
Located next to Montreal’s opera house, 21 Balançoires is a musical installation where each swing triggers different notes and melodies emerge through cooperation between players, thus stimulating a sense
Stairway Cinema OH.NO.SUMO
of community. This collaborative exercise encourages intuitive play Precedents that illustrate interventions in response to non-place and methods to readdress the existing conditions.
Designed by OH.NO.SUMO, ‘Stairway Cinema’ experiments with the way it can engage with the public, the studio has assembled a small cinema nestled into the steps of a building on a busy street in Auckland. Located between two universities the space was perceived as failing
amongst all users leading participants and spectators to become aware
The installation provides a
to provide quality space for social interaction. Resulting in separation
of each other and their environment.
communal space that readdresses
and dislocation from an existing community that is waiting to be activat-
the relationship between its users.
ed, the installation offers a straightforward programmatic response to
Although located in conditions vastly separated from the confines of a
recognise and counter how a society can be linked not only virtually, but
lift, the project offers insight how to form links between users, how to
also physically.
readdresses the relationship between people and place and unifying the users ‘create’ something together.
Although the project is not situated in a lift, it shares some similarities to my research. Labelled as a ‘non-place’ the local bus stops and nearby laundromats are void of meaningful interaction. The installation provides a communal space that readdresses the relationship between its users. The use of a movie screen acts to engage the users and unifies the community.
03
Chapter Three pg. 09
03
Chapter Three pg. 10
Sophie Calle Double Game
In 1994, Sophie Calle adopted a public phone booth in TriBeCa, cleaned it up, stocked it with snacks and flowers, then stationed herself chained next to it. She listened to conversations, chatted with users and got
Willi Dorner Bodies in Urban Spaces
Austrian artist Willi Dorner compresses human bodies into the seams of the urban environment for his Bodies in Urban Spaces project. Dorner uses groups of dancers, climbers and performers wearing brightly
written comments left at the booth. This exercise prompted the local
coloured clothes to cram themselves into doorways, alcoves and any
community to change their perception of the space.
gaps they can find in public landscape.
develop a narrative, acting to
Before the intervention, the telephone booth could be seen as a ‘non-
In their placement in the urban space, the temporary interventions are
change their perception of the
place’, forgotten as soon as the occupant finished using the space.
provocative, calling for the user to view the city differently. The bodies
space from anonymity to personal.
However, the act of personalising the booth hints at ownership and
are compressed and stacked almost haphazardly, radiating a surreal
helps the user develop a narrative, acting to change their perception of
quality requiring a second look. This method of occupation re-imagines
the space from anonymity to personal.
the built environment for the participant and the viewer.
Personalising the space hints at ownership and helps the user
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Chapter Three pg. 11
03
Chapter Three pg. 12
Aims & Objectives
Aim To examine the public interactions in the transitional non-places of everyday life; particularly, the perception of proxemics within lifts to identify the emotional and physical conditions formed from these
Can a considered intervention
environments. The research will culminate in an intervention that seeks
readdress the relationship
to challenge the prevailing conditions towards communication and
between the lift’s occupants,
intimacy of this [anti]social space.
altering the perception and interaction within the space?
Objectives To investigate the transitional non-places of lifts and record the current interactions, exchanges and processes of the space. To define the perceived issues of the space and determine a ‘successful’ iteration. To investigate proxemics, interaction and comfort within lifts. To experiment and investigate a number of iterations in lifts. To produce an intervention that highlights perceived issues and improves the existing perception of confinement within lifts. To design an intervention that challenges the prevailing conditions towards communication and intimacy of this [anti]social space. To determine the success of the intervention.
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Chapter Four pg. 13
Ethical Implications
Anonymity
Data
All participants will be asked to give consent to take part in the research and informed about how the information and pictures collected in the study will be used. The participant will also have the ability to withdraw from the study, where all data from the participant will be removed
•
from the research.
The reflection into the ethical and practical implications of this project seeks to promote and strengthen the conduct of the practice to protect and benefit of the participants, researchers, community discipline, society and
Risk
All data gathered will be from the public realm and participants will be notified about the use of the information; therefore data need not be confidential or protected. A completed FET Ethical Review Checklist for PGT Modules can be found in the appendix.
other associated stakeholders.
The principal risk will be of the user the participant. The safety of the user will be paramount, with a risk
assessment
undertaken to identify sensible measures to control the risk with the study. The user will have the will have the ability to withdraw from the research at any time if they feel discomfort or unease. To administer these conditions, a non-participatory college will be present and supervise all public interactions.
04
Chapter Four pg. 14
Chapter Four pg. 15
04
Methodology
The research seeks to introduce mirrored surfaces as a method to combat the perceived confinement; culminating in an intervention that can improve the conditions in lifts. When starting this project, my preliminary studies begin with simple sketches simulating the environment and freely testing ideas on paper, this method slowly refining the feasible designs and then analyses these options for their strengths and weaknesses. Alongside these concepts, I begin to research the existing theory concerning lifts, confinement and interaction to help define the research parameters. This method of research is limited in understanding the physical relationship between users and their environment. Therefore, after considering the feasible options, I began to test the physical iterations within a lift, gauging the response and effect of these interventions. The various scenarios are captured using photography and reviewed alongside the original research question and the ongoing theoretical context. Developing the research from this stage, required culminating the successful elements of the physical iterations, and the relevant theoretical concepts while returning to the original intent of the project to provide a considered framework for the final piece. The concluding intervention will be placed and left within a lift, from which the interactions will be recorded and reviewed to evaluate whether the response has improved or diminished the relationship between users in lifts.
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Chapter Four pg. 17
Methodology Diagram
The process of the project is an iterative exercise, developing concepts based on environmental responses, then referring to the theoretical context and experimental models to establish a method that responds my original question.
Chapter Four pg. 19
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Conceptual Response One Interaction through Occupation
Method The passive approach seeks to explore behaviour within lifts and address the un-offensive, passive manner we choose to project in these spaces. Using the manner in which we arrange ourselves in the space like the
The proposal would use pressure
dots on a dice, the proposal would implement pressure plates at those
plates to project a different
locations that would project a different musical note, word etc. into the
musical note, word etc. into the
space. The more plates occupied, the more complex the harmony in the
space. The more plates occupied,
lift becomes, the sound would be recorded, exhibiting the occupation
the more complex the harmony in
of the space through audio.
the space becomes.
This intervention encourages collaborative play and experimentation amongst users, with the intent to make them aware of each other and their environment. The proposal seeks to change the user’s interaction
Currently, passengers know instinctively how to arrange themselves
with one other and the space itself.
in lifts, similar to the dots on a die. With each additional passenger, the bodies shift, slotting into the open spaces.
Analysis The primary concern with this iteration is the users will intentionally avoid interaction; due to the current condition in lifts; where the user will distance themselves from the plates to retain the existing passive state in lifts. However, this lack of interaction would demonstrate a desire for the anonymity of lifts and could be filmed to show this process.
The is collaborative exercise stimulates intuitive play and experimentation amongst users, whether they know each other or not, and leads participants and spectators to become aware of each other, and their environment.
Pressure pads placed on the floor correspond to likely positioning, this would relay sound bites to a mounted speaker in an attempt to change the user’s interaction with the space.
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Chapter Five pg. 20
Chapter Fivepg. 21
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Conceptual Response Two Lift Party
Method The conditions present a lift as a transitional non-place, where the user remembers the space for only as long as it is occupied.
Establishing a performance space
Establishing a performance space within the lift forms a memorable ac-
within the lift forms a memorable
tivity associated with a lift; where the distraction highlights and changes
activity associated with a lift;
previous conditions. The performance could take the shape of a party
where the distraction highlights
in the lift, where the space is decorated, and the occupants given gifts.
and changes previous conditions.
The aim would be to prompt a change to the user’s perception of the lift; from anonymity to sociability. The performance of the space acts to
The performance within the space
distract and humanise the occupants, promoting interaction between
seeks to distract and humanise the
users.
occupants, promoting interaction between users.
Analysis The concerns with this concept is a lack of originality; this is similar to
The conditions present in the lift as a transitional non-place, where the use remembers the space for only as long as it is occupied.
Sophie Calle’s ‘Double Game – Phone Booth’ where the non-place is given identity through changing the relationship with its users. The other concern is a very definite possibility of a complete lack of interest and interaction with the project, forming a space that would be avoided rather than social.
Establishing a performance space with the lift forms a memorable activity associated with a lift; where the distraction highlights the previous conditions.
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Chapter Five pg. 22
Chapter Five pg. 23
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Conceptual Response Three Reactive Surfaces
Method From observations of the occupation of lifts, people choose to behave in a passive manner attempting to be as inoffensive as possible; it becomes a place to be anonymous. We automatically create as much
Explore interactive surfaces that
space between the rest of the lift occupants as possible and us.
can be mounted to existing transitional non-places, in this case, a
This response seeks to explore interactive surfaces that can be
lift. The proposal would appear as
mounted on the inside of the lift. The proposal would appear as a mirror
a mirror and then react to stimuli
and then react to stimuli prompting the users to interact with space.
prompting the users to interact
Due to the average lift journey being very short, the change could be
with space.
simple and act to distract from our conventional passive manner. The intent of the intervention re-appropriating the lift changing how people perceive it.
As mentioned previously, passengers know instinctively how to arrange themselves in lifts, similar to the dots on a die. With bodies
Analysis This intervention while stimulating and prompting the users to react
shifting, slotting into the open spaces.
to the environment, the response would have little effect on the interaction between users. This diverges from the research question which should focus on the relationship between users and not significantly changing the environment.
Reactions would include delayed recordings,
The surface would react to certain motions and
pixelations, colour changes, word prompts, etc
actions, prompting the screen to respond. This could result with users engaging with the space,
Introducing interactive surfaces seeks to change the mode of
removing the current passive nature of the space
occupation; from the standard un-offensive, passive manner, to one of surprise, interest and interaction for the short journey.
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Chapter Five pg. 24
Chapter Five pg. 25
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Conceptual Response Four Effects of mirrored surfaces
Method The majority of modern lifts often use mirrors to give the impression of a larger space to alleviate claustrophobic; the simple change in the
This iteration seeks to investigate
environment massively changes the user’s perception of a small space.
the effectiveness of mirrors regarding proxemics, where the pro-
This iteration seeks to investigate the effectiveness of mirrors regarding
ject simulates the user occupation
proxemics, where the project simulates the user occupation in a lift.
in a lift. Exploring the changes to
Exploring the changes to our usual perception with confined spaces
our usual perception with confined
when mirrored surfaces are introduced. This intervention explores this
spaces when mirrored surfaces are
concept by using four mirrors that track towards a single point, as the
introduced.
mirrors move inwards the space will appear more crowded. The project seeks to identify when the user is uncomfortable and how this relates to
The intervention would use four
areas without mirrored surfaces, and question whether increasing the
mirrors that track towards a single
number of reflected surfaces provide a positive or negative effect on
point, as the mirrors move inwards
the comfort level of the user.
the appear more crowded.
Lifts often have mirrors to give the impression of a larger space to alleviate claustrophobia; this seeks to change our usual perception towards proximity.
Analysis The concern with this proposal is how to map the comfort levels of the individual, for each is subjective and independent of one another. Rather than seeking to chart the comfort levels of the users, the project may merely attempt to simulate comfort and discontent in confined spaces like lifts. However, the use of mirrors in these environments is an exciting element that changes the perception of the space. Further design responses will seek to use mirrors in these spaces to interrogate the relationship between occupants and the lift itself.
This iteration seeks to investigate the effectiveness of mirrors regarding proxemics, where the project simulates the user’s occupation in a lift.
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Chapter Five pg. 26
Chapter Five pg. 27
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The Mirror Test
Developed in 1970 by Gordon Gallup Jr, the mirror test attempts to measure self-awareness. The experiment seeks to determine if animals showed evidence of self-awareness, that is, an ability to separate the
By manipulating the expectations
concepts of their bodies. Such behaviour might include turning and ad-
of peering into a mirror, the
justing of the body to better view the marking in the mirror, or poking at
relationship between the viewers
the mark on its own body with a finger while viewing the mirror. The test
and environment might begin to
is a measure of self-concept, this ability separates us from most ani-
change.
mals; it is what makes us ‘human’, it instils responsibility and awareness
5
for our actions and plays an integral part in human motivation, cognition and social identity. When looking into a mirror, the viewer is confronted with their image; there is an expectation of seeing one self-reflected on its surface. This
5
relationship is personal and intimate ingrained in our self-awareness and identity. By manipulating these expectations through changing what is reflected in the mirror, the relationship between the viewers and environment might begin to change. The following iteration begins to experiment with these concepts.
Amsterdam, B. (1972), Mirror self-image reactions before age two. Developmental Psychobiology, 5(4), pp.297–305. Bertamini, M. & Parks, T.E. (2005). On what people know about images on mirrors. Cognition, 98(1), 85–104.
a measure of self-concept, this abil-
Gallup, G.G Jr. (1970) Chimpanzees: self-recognition. Science, 167(1), pp. 86–87. Melchior-Bonnet, S. (2010) The Mirror: A History. Psychology Press, 2001
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Chapter Six pg. 28
ity separates us from most animals; it is what makes us ‘human’, it instils
6
responsibility and awareness for our actions
Chapter Six pg. 29
06
Dan Graham Public Space/Two Audiences, 1976.
Dan Graham’s first pavilion, Public Space/Two Audiences was made for the Venice Biennale in 1976, merging the lines between architecture and sculpture. In Graham’s pavilion, you are met with a room with a one-way mirror, posing the questioning who is the viewer, who is the object? The two groups face one other, but only one of the rooms allow for the
This work of art uses mirrors to plays with the audience, altering the perception of space, and relationship with one another, where the exposure and observation affect the social behaviour of people
7
7
viewer to perceive the two space as a whole; enabling the voyeuristic behaviour with its participants. This work of art plays with the audience, altering the perception of space, and relationship with one another, where the exposure and observation affect the social behaviour of people. The audience is part of this art, where only through his viewers, the object becomes a work of art. I can begin to apply these concepts into my research, through playing with the expectations formed with looking into a mirror and seeing oneself, the intervention can begin to redefine the relationship between viewers, similarly to Graham’s Public Space/Two Audiences.
Ackermann, F., Ahtila, E., Graham, D., Monk, J. and Curiger, B. (2003). Parkett. Zürich: Parkett.
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Chapter Six pg. 30
Dan Graham
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Public Space/Two Audiences 37th Venice Biennale, 1976
Chapter Six pg. 31
06
Yayoi Kusama Infinity Mirrored Room Love Forever (1966/1994)
Kusama has manipulated the traditional expectations of contemplating a single work of art into a multitude of fragments, where the assemblage of noise and light distracts and disorientate overwhelming the view with a kaleidoscopic vision.
Yayoi Kusama’s Art enables the viewer to experience a shifting perception of what is far versus near, or personal versus universal, as peers into the Infinity Mirrored Room the reflections collapses into the other through the infinite regression of mirrored images. Kusama states that the Infinity Mirrored Rooms have a disintegrating effect, taking something known to be trustworthy, like our face and distributing it across the universe like so many stars in a galaxy. “The Earth is only one polka dot among a million stars in the cosmos.” In effect, Kusama has manipulated the traditional expectations of contemplating a single work of art into a multitude to fragments, where the assemblage of noise and light distracts and disorientate overwhelming the view with a kaleidoscopic vision. Introducing these concepts into my research the intervention will seek to reorientate the viewer’s perception of the space using mirrors; so that rather than seeing a single reflection of oneself the mirror, the viewer will see a fragmented image of themselves and those around
8
them. Yayoi Kusama
Infinity Mirrored Room Love Forever (1966/1994)
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Chapter Six pg. 32
Chapter Six pg. 33
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Iteration One Infinite Fragments
Method Lifts frequently utilise mirrors as a method of alleviating claustrophobia, to distract the user from the confining environment. This iteration seeks to elaborate on this idea by placing mirrors parallel to one another
This iteration enables the user to
in the lift, forming a window into an ‘infinity world,’ thereby creating
get lost in the windowed world
the windowed illusion of a world just out of reach. This iteration takes
briefly, then continue on their
inspiration from Yayoi Kusama Infinity Mirrored Room; but rather than
way, forming an almost ephemeral
looking into a space, the user sees beyond their environment which they
quality associated with the space.
inhabit. Analysis This installation sought to be playful, requiring only passive interaction for the user to peer into the windowed space. The installation was placed in one of the R-block lift; therefore the lift journeys are very short, this aided the intervention; for the brief interaction with the piece was not interrogated. Allowing the user to get lost in the windowed world briefly, then continue on their way, forming an almost ephemeral quality associated with the space. The concerns with this intervention are the lack of interaction or even acknowledgement generated between users, with a single occupant there was interaction with the project, placing themselves into mirrored spaces and responding to the reflections, signifying a change of perception to the environment. However, when multiple users were in the lift, the mirrors were promptly ignored, and the space returned to the status quo.
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Chapter Seven pg. 34
Personal interrogation of the installation, exploring the fragmented views formed by the mirrors.
Chapter Seven pg. 35
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Iteration Two The Space Below
Method Many users have fear when using a lift suddenly plummeting to the ground. The confined space in the lift does nothing to exhibit the verticality of these spaces; this iteration seeks to exploit the use of a lift as vertical space. Placing mirrors parallel on the floor and roof will exhibit the nature of the elevator, this installation provides a striking moment in the space, immediately noticed when entering the space, calling the viewer to peer down into this world. Analysis What becomes apparent with this iteration, is that the focus is less about the interaction between users and more about the acknowledging the use of lift itself. I believe that it explores the nature of the lift successfully, there is a compelling moment in the
Personal interrogation of the installation, looking into the ‘world below the lift’.
space, where users were carefully peering over the edge of the ‘window’, looking into the abyss beyond, exaggerating and compounding the concerns of actually using a lift. The primary concern with this intervention is prompted by privacy, with mirrors on the floor the reflections could lead to potentially compromising or damaging views for users, this is a crucial concern for the project that could lead to further negative connotations attached to this space, rather than improving them. This iteration has helped consider the environment and nature to the space, but it begins to diverge from the research question, which personally I would like the project to continue to explore the user interaction, and then the environmental issues.
07
Chapter Seven pg. 36
Chapter Seven pg. 37
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Iteration Three Diverging Reflections
Method In such a small, intimate enclosure it becomes critical the way we act that cannot be interpreted as threatening, odd or in any way ambiguous. The easiest way to do this is to avoid eye-contact, this reinforces a detached nature between the occupants. This iteration seeks to explore the use of mirrored surfaces to redirect our gaze towards other users; by attempting to avoid eye-contact, the user eye will be diverted towards the mirrors. This intervention seeks to reorientate the users perspective, leading their vision towards the other users. Analysis I felt this iteration focused primary on the relationships between users; applying the current practices of avoidance in the lift for the advantage of the intervention. The mirrors that diverted the occupants glaze towards the faces were the most influential, providing a brief moment of acknowledgement between the users; this might not have lead to a conversation but briefly humanised the other occupants in the space. What became apparent with this iteration was the limit number of ‘moments’ between users, this was due to the limited number of mirrors and variance with the orientation but currently provided the most significant change to the space.
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Chapter Seven pg. 38
Chapter Seven pg. 39
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Iteration Four Amalgamation Iterations
Method This iteration seeks to combine many of the elements from the previous iterations; varying the size, orientation, and location of the mirrors. The intention was to disorientate the users, where the viewer sees the re-
For a brief instant, the observer
flection of themselves and other occupants. Thereby, for a brief instant
does not know who they are look-
does not know who they are looking at when looking into a mirror, the
ing at when looking into a mirror;
viewer is confronted with a different image; there is an expectation of
the viewer is confronted with a
seeing one self-reflected on its surface. This relationship is personal
different image.
and intimate ingrained in our self-awareness and identity. By manipulating these expectations through changing what is reflected in the mirror, the relationship between the viewers and environment might begin to change. Analysis This iteration, while producing some unusual reactions from users entering the space and seeing themselves mirrored on the ceiling, it suffered from a lack of coordination between the mirrors, resulting in a series of views of the floor or blank walls. This iteration has specifically demonstrated the need to consider the orientation of the mirrors and the relationship to the users. The next piece will develop this concept further.
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Chapter Seven pg. 40
Personal interrogation of the installation, exploring the personal reflections.
Chapter Seven pg. 41
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Developed Response Interaction through Reflection
Method Presently, the users of a lift choose to behave in a un-offensive, passive manner, treating a lift as a place to be anonymous, detaching oneself from the other occupants. This intervention seeks to reorientate the users perspective, directing their gaze towards the other users. Through
This intervention seeks to reo-
playing with the expectations formed by looking into a mirror and seeing
rientate the users perspective,
oneself, the intervention can begin to redefine the relationship between
directing their gaze towards the
list users. The mirrors have been orientated so that when a person looks
other users.
towards the intervention, they will see the reflection of another person in the lift.
Leading the eye towards other users faces attempts to form a brief intimacy to humanise the occupant, in an otherwise sterile environment.
Intent As mentioned previously, when looking into a mirror, the viewer is
Presently, the users of a lift choose to behave in a un-offensive, passive manner, treating a lift as a place to be anonymous.
confronted with their image; there is an expectation of seeing one self-reflected on its surface. This relationship is personal and intimate ingrained in our self-awareness and identity. Leading the eye towards other users faces in this enclosed space attempts to form a brief intimacy between individuals, with the intent to remove some of the passive anonymity in the space and humanising the occupants, in an otherwise sterile environment.
Existing research states that users arrange themselves in a lift, like the
08
Chapter Eight pg. 42
dots on a dice. The mirrors orientate the views according to the where
The intervention seeks to reorientate the users perspective,
most likely a user will be standing.
directing their gaze towards the other occupants of the space.
Chapter Eight pg. 43
08
Analysis of Mock Exhibition
The exhibit intended to disorientate the users, where the viewer sees the reflection of themselves and other occupants. As Gordon Gallup Jr stated, there is an expectation of seeing one self-reflected on its surface. This relationship is personal and intimate ingrained in our
The outcomes from this exhibit
self-awareness and identity. Leading the eye towards other users faces
acted as a temporary distraction
in this enclosed space attempts to form a brief intimacy between
for the occupant from the lift but
individuals, with the intent to remove some of the passive anonymity
did not affect the relationships
in the space and humanising the occupants, in an otherwise sterile
between users.
environment. While the response of the iteration did begin to exhibit these qualities, where the users became more aware of other occupants within the lift, reducing this passive anonymity. The iteration had a fundamental problem regarding framing the faces of the passengers. I found that users’ who were taller or shorter than the intervention, did not experience or see other occupants naturally, having to contort themselves into the frame. While this changes the dynamic within the lift, temporary distracting the user from the space towards the intervention, it does not affect the relationships between users. The other issue resides with the appearance of the intervention, appearing particularly foreign in the space due to the protruding structure which sits in contrast to the wall panels in the lift; this diverts from the experience and intent of the project.
There is nothing to identify within a lift; it is merely a place of transition that is forgotten as soon
The next stage of the research will seek to refine and address the issues
as we leave.
presented in the mock exhibit.
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Chapter Eight pg. 44
Chapter Eight pg. 45
08
Mock Exhibition
Through playing with the expectations formed with looking into a mirror and seeing oneself, the intervention can begin to redefine the relationship between list users. The mirrors have been orientated so that when a person looks towards the installation, they will see the reflection of another person in the lift.
08
Chapter Eight pg. 46
Chapter Eight pg. 47
08
Refined Response Fragments & Reflections
Method Based on the analysis of the mock exhibit, I found that the issues were formed by attempting to frame the reflections. The intent was to anchor the user’s gaze onto the other occupant’s faces to develop a brief
This intervention seeks to resolve
moment of intimacy. However, through the frame, those who were taller
issues form the mock exhibit by
or shorter than the framed intervention did not experience or see other
removing the framing and placing
occupants naturally.
the mirrors in a fragmented arrangement enabling all to
Therefore, the refined version of this intervention endeavours to resolve
experience the response without
this, by removing the framing and placing the mirrors in a fragmented
contouring themselves into frame.
arrangement enabling all to experience the response without contouring themselves into frame. Additionally, this iteration changes how the intervention is placed within the lift. The previous version appeared particularly foreign in the space due to the protruding structure which
Presently, the users of a lift choose to behave in a un-offensive, passive manner, treating a lift as a place to be anonymous.
sat in contrast to the wall panels in the lift. This iteration will readdress the relationship with the space itself, by growing forth from the existing panels, thereby integrating the intervention into the fabric of the lift. Intent The intervention refines the intention of the project, seeking to enable a higher number of users to experience the intervention; reorienting the users perspective, directing their gaze towards the other users naturally. Through playing with the expectations formed by looking into a mirror and seeing oneself, the intervention can begin to redefine the relationship between list users. The mirrors have been orientated so that when a person looks towards the intervention, they will see the reflection of another person in the lift. Leading the eye towards other users faces in this enclosed space attempts to form a brief intimacy between individuals, with the intent to remove some of the passive anonymity in the space and humanising the occupants, in an otherwise sterile environment.
The intervention extrudes from the wall, reorientation the users perspective, directing their gaze towards the other occupants of the space.
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Chapter Nine pg. 48
Chapter Nine pg. 49
09
Construction Process
To form the frameless intervention that would be strong enough to
After all of the steel was cut, I tacked the frame together checking the
support the mirrors and be as inconspicuous as possible, I decided to
angles and measurements, when I was confident that the structures
fabricate the frames from steel. The structures consist of 25mm x 3mm
were correct, I started to weld the frames together. Once joined, I
flat and angle cut to match the existing panels present in the lifts. For
ground the surface of the frames to produce a smooth surface which to
The following pages document the
consistently the angle was used on all of the frames providing a known
mount the mirrors.
construction process.
gradient to build around. I began by drawing the intervention to scale in CAD to give the lengths to cut the flat steel.
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Chapter Nine pg. 50
Chapter Nine pg. 51
09
Construction Process
The mirrors consist of acrylic backed with a mirrored surface, enabling them to be cut with a band-saw. The mirrors were trimmed according to the length go the frame and mitred at the corners to produce a cleaner edge. The mirrors are mounted to the chassis with industrial double-sid-
The following pages document the
ed tape. The intervention is secured to the lift with velcro, thereby ena-
construction process.
bling the frames to be moved, while not causing any damage to the lift.
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Chapter Nine pg. 52
Chapter Nine pg. 53
09
Final Output Fragments & Reflections
Intent The project intended to investigate whether a considered intervention can readdress the relationship between the lift’s occupants, altering the perception and interaction within the space? The research has led to using mirrors in an attempt to reorientate the users perspective, directing their gaze towards the other occupants. When looking into a mirror, the viewer is confronted with their image; there is an
Locating the Exhibition Through playing with the expectations formed by looking into a mirror and seeing oneself, the intervention can begin to redefine the relationship between list users.
The final iteration amalgamates and develops the research and conceptions of the previous iterations, challenging the perception and interaction within a lift. The project was installed in a Lift located in R-Block on the University of West England campus. The lift operates over three floors, thereby comprising of short journeys and providing limited interaction with the passengers; employed primarily for the
expectation of seeing one self-reflected on its surface. This relationship
movement of people and secondarily for transport for equipment and
is personal and intimate ingrained in our self-awareness and identity.
services. The existing space has a single mirror at the rear of the lift
By manipulating these expectations through changing what is reflected
with metal panels lining the other three walls, with a harsh artificial
in the mirror, the relationship between the viewers and environment
light illuminating the space. There is an apparent dichotomy in the
might begin to change. Through playing with the expectations formed
atmosphere between the communal workspaces of R-block and the
by looking into a mirror and seeing oneself, the intervention can begin
isolation projected from the lift.
to redefine the relationship between list users. The mirrors have been orientated so that when a person looks towards the installation, they
It must be noted that it was necessary for the intervention not to
will see the reflection of another person in the lift. The following pages
impede the day-to-day operations of the lift and for the space to
will exhibit the research and analyse the project to evaluate the success
continue routinely, this provided information on the how the invention
of the project on the findings from the investigation and against the
changed the interactions within the space.
initial question.
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Chapter Nine pg. 54
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Chapter Nine pg. 55
Final Output Fragments & Reflections
Analysis & Findings Through observing the interactions with the installation, I can begin
of avoidance in the lift to alter the perception of proxemics. The
to formulate some conclusions from the project. The first point to
installation changes the social relationships with the lift, promoting
address is in response to the previous iteration concerning framing the
a social intimacy between the users, removing some of the passive
The critical discovery from changing
viewports. The final iteration varies the height of mirrors placement
anonymity in the lift and humanising the occupants, in an otherwise
the height of the mirrors is that
enabling a more natural perspective to frame the other users. While
sterile environment. Generally, the intervention did change the lifts
by subverting expectation and
previous interventions found that the mirrors that diverted the
conditions significantly enough to lead to a conversation but briefly
strengthening the visual connection
occupants glaze towards faces were the most influential at providing
humanised the other occupants in the space.
between occupants acts to remove
a brief moment of acknowledgement between the users, any of the
the atmosphere of anonymity within
reflections that act to give a glimpse of the other occupants appears
However, when the number of people within the lift passed four, the
the space briefly.
to reinforce the relationship between users. The critical discovery from
intervention almost had a detrimental impact on the space. When the
changing the height of the mirrors is that by subverting expectation and
doors were closed, the space almost became claustrophobic due to
strengthening the visual connection between occupants acts to remove
the number of people reflected within the mirrors, and this feeling is
the atmosphere of anonymity within the space briefly.
only compounded by the infinite space projected by the mirrors. In these cases the installation made the users extremely aware of their
The relationship with the intervention and other users significantly
surroundings, the lift environments become over-stimulating, acting to
changes with the number of users occupying the lift. If a single
remove any social relationship between users, but reinforcing awareness
person were in the lift, the intervention acted as a curiosity like that
of the physical space while additionally creating an imagined world in
of fairground mirror. The user would initially be surprised by the
the infinite mirrors and crowds of people within that perceived space.
space and explore their reflection concerning the space; this reflects Gordon Gallup Jr notions concerning self-awareness and identity,
To assess the success of the intervention we have to examine the
where expectations are changed and the user attempting to ground
project through the lens of the question; Can a considered intervention
themselves with the mirrored space. Here, the intervention is changing
can readdress the relationship between the lift’s occupants, altering the
the relationship between the user and the lift, making the occupant
perception and interaction within the space? From my investigation into
aware of the physical environment and their interaction with that space.
this subject, I believe that the intervention does change the relations between users and the lift itself. At the intervention acted to create
As more people begin to occupy the lift, the intervention starts to
‘moments’ between users making them aware of themselves and other
change the relationship among the occupants. When there are more
occupants within the space. Fundamentally changing the typical faceless
than two people within the lift it does not matter where you choose to
and forgettable inhabitation within a lift, providing the opportunity to
look at the intervention for you will see reflection or glimpse of other
reimagine the relationships and interactions with a lift.
users in the space. The intervention applies the current practices
09
Chapter Nine pg. 56
09
Chapter Nine pg. 57
Final Exhibition
the intervention is changing the relationship between the user and the lift, making the occupant aware of the physical environment and their interaction with that space.
09
Chapter Nine pg. 58
Chapter Nine pg. 59
09
Final Exhibition
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Chapter Nine pg. 60
Chapter Nine pg. 61
09
Reflective Analysis
obsolete in the space. The mirrors that were directed to the wall or
Positive Attributes
beyond the sight of the occupant became wall decoration serving no
The principle positive attribute that the installation illustrated was the
purpose in the lift.
relationships between the users and the space they were inhabiting. The reflections acted as a curiosity that provided a distraction during the
Changes
short journeys; and while this change may not be revolutionary regarding social interaction, it begins to remove the faceless and forgettable
Based on these attributes, I have discovered a number of elements that
nature of a lift.
could be changed and expanded to improve the project. Firstly, I believe that to develop the project the installation should provide alternative
Regarding the intervention, the installation adhered to the fundamental
modes of interaction, enabling the user to take control of the lift’s
parameters of the project; not impeding daily routines and operations.
environment. Naturally progressing from making users’ aware of their
While the installation protruded from the wall, it did not extend to cover
environment, to actively changing the space they inhabit; this could
the door, enabling the service trollies to move between floors freely.
be achieved by allowing the user to alter the orientation of the mirrors
Similarity, the method in which the installation matched the width of the
themselves and recording how this changes over multiple journeys.
internal panels of the lift, embedding the project into the fabric of the
However, this would require active cooperation from the user, which in a lift with short routes would be particularly challenging.
space.
One condition I did not change throughout the project was the internal
Negative Attributes
lighting within the lift. Presently, this is a particularity harsh artificial
As previously documented, the critical issue with the project concerns
light which exacerbates the isolated atmosphere. To further develop
the detrimental impact of having over four people within the space
the research I would begin to explore coloured lighting in this space
inducing a claustrophobic atmosphere in the lift, providing no benefits
alongside the mirrored elements, reflecting the work of Yayoi Kusama’s
to the social relationships.
Infinity Mirrored Rooms. Fundamentally changing the character of the space to produce alternative modes of interaction.
Regarding the intervention, I believe that the size of some of the mirrors was too large, which did not provide enough variation or ‘moments’ in
In the documentation of this project, I have generally relied on drawings
the reflections. Comparing the final output with that of the previous
and photography to illustrate the intent, invention and interaction of the
exhibit, I believe that the mock provides a more suitable number of
project. However, to fully represent these arguments, I could change
smaller mirrors that revealed all occupants within the space. However,
the method of recording the interaction. Using video to provide an
this would only compound the nature of disorientation.
accessible mode to understand the project, demonstrating the changes to the communication over time, currently lacking in the photographed
Another negative attribute I discovered during the exhibit was where
imagery.
some of the orientation of the mirrors rendered the reflections
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Chapter Nine pg. 62
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Chapter Nine pg. 63
Conclusions
Conclusions This installation has been developed alongside the initial objective and
I believe that the intervention is
the exploration of the qualities of lifts, proxemics and user interaction.
successful in changing the relations
The success of the project should be accessed against this criterion and
between users and the lift itself.
the research question. This document is a record for this investigation.
The mirrors act to reorientate the users perspective, directing their
The fundamental objective of this research was to produce an
gaze towards the other occupants;
intervention that challenged the prevailing conditions towards
this alters expectation beginning to
communication and intimacy of within a lift. Through the multiple
redefine the relationship between
responses, I believe that the project has thoroughly investigated the
lifts users, that creates ‘moments’
nature of a lift regarding the effect that mirrors have on the spatial
between occupants making them
perception and social interaction between users. The research has
aware of themselves and other
discovered that using a mirror in lifts can promoting a social intimacy
inhabitants within the space.
between the users, but can have a detrimental impact on the space causing claustrophobic quality when exhibited to more than four people. Examining the project through the lens of the initial question; Can a considered intervention can readdress the relationship between the lift’s occupants, altering the perception and interaction within the space? From my investigation into this subject, I believe that the intervention is successful in changing the relations between users and the lift itself. The mirrors act to reorientate the users perspective, directing their gaze towards the other occupants; this alters expectation beginning to redefine the relationship between lifts users, that creates ‘moments’ between occupants making them aware of themselves and other inhabitants within the space. Fundamentally changing the typical faceless and forgettable inhabitation within a lift, providing the opportunity to reimagine the relationships and interactions with a lift.
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Chapter Nine pg. 64
Bibliography
Image References
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Amsterdam, B. (1972), Mirror self-image reactions before
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age two. Developmental Psychobiology, 5(4), pp.297–305.
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Auge, M. (1995) Non-places: Introduction to an Anthropolo-
Paumgarten, N. (2008) Up And Then Down, The lives of
Figure Two - OH.NO.CINEMA (2012) Stairway Cinema
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[Photography]. At: Dezeen [Online] Available from: https://
Howe. Reprint. Verso Books, 2009.
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www.dezeen.com/2012/06/25/stairway-cinema-by-oh-
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Bertamini, M. & Parks, T.E. (2005). On what people know about images on mirrors. Cognition, 98(1), 85–104.
Brisli, P., ed. (2012) Human Experience and Place: Sustain-
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Translated from the French by Steven F. Rendall. 3rd ed. Rogers, A. (2013) A dictionary of human geography. Oxford: Oxford University Press Gallup, G.G Jr. (1970) Chimpanzees: self-recognition.
[Photography]. At: dailytouslejours [Online] Available from:
Perec, G. (1982) An Attempt at Exhausting a Place in
Relph, E. (2008) Place and Placelessness. Sage Publications
University of California Press.
Figure One - Daily tous les jours (2011) 21 Balançoires
Figure Three - Calle, S. (1999) Gotham Handbook [Pho-
ing Identity - AD (Architectural Design). John Wiley & Sons
De Certeau, M. (1980) The Practice of Everyday Life.
All image those of the author, unless specified.
Figure Four - Dorner, W. (2010) Bodies in Urban Spaces [Photography]. At: kaaitheater [Online] Available from: https://www.kaaitheater.be/en/agenda/bodies-in-urban-spaces [Accessed: 14th January 2018]
Figure Five - Krisch. J, A, (2017) The Five Stages of
Self-Awareness Explain What Kids See in the Mirror [Photography]. At: Fatherly [online]. Available from: https:// www.fatherly.com/health-science/children-five-stagesself-awareness-mirror-tests/ [Accessed 22 February 2018]. Figure Six - Gong, N. (2015) Monkeys can learn to see
themselves in the mirror [Photography]. At: Phys [online]. Available from: https://phys.org/news/2015-01-monkeysmirror.html [Accessed 22 February 2018]. Figure Seven - Kossakowski, E. (1976) Dan Graham - Public
Space/Two Audiences, [Photography]. At: Art Museum [online]. Available from: https://artmuseum.pl/en/archiwum/archiwum-eustachego-kossakowskiego/95/18542 [Accessed 22 February 2018]. Figure Eight - Turner, T. (2017) Yayoi Kusama - Infinity
Mirrored Room Love Forever (1966/1994), [Photography]. At: NY Times [online]. Available from: https://www.nytimes. com/slideshow/2017/02/24/blogs/the-week-in-picturesfeb-24-2017/s/24-lens-wip-slide-4CNB.html [Accessed 22 February 2018].
Science, 167(1), pp. 86–87.
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Chapter Ten pg. 68
Chapter Ten pg. 69
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Appendix - Ethical Review
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Chapter Eleven pg. 70
Chapter Eleven pg. 71
11
Research Deviation Social Bus Stops
The alternative iteration seeks to explore the interactions at bus stops. As previously mentioned, these spaces are never a destination, but a transitional space, usually void of interaction and atmosphere. This proposal attempts to introduce the opportunity for conversation.
The proposal looks to form adaptable seating that forms
One of the perceived problems with the space is the orientation of the
temporary social clusters that face
seating, directing the user’s sight outward, preventing eye-contract
one another, intending to promote
between users. The proposal looks to form flexible seating that forms
small intimate spaces.
temporary social clusters that face one another, intending to promote small intimate spaces.
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Chapter Eleven pg. 72
Chapter Eleven pg. 73
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Appendix - Risk Assessment
Assessed by: Philip Price
Endorsed by:
GENERAL RISK ASSESSMENT FORM Describe the activity being assessed: Entering and Engaging with Design Research Project
Philip Price 09/05/2018
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Date complete d
Philip Price 09/05/2018
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Risk By whom Level and by when
Review date(s):
Awareness of first aid box location and first aider for treatment.
Awareness of first aid box location and first aider for treatment.
S L
Date of Assessment: 09/05/2018
action is necessary.
possible, reduce the risk further
action is necessary.
1 1 Negligible- No further
Additional Control Measures
Who might be harmed: Visitors and Organisers How many exposed to risk: Risk Level
2 1 Negligible- No further
S L
Make users aware before entering the space of potential claustrophobic spatial qualities.
3 2 Tolerable- Where possible, reduce the risk further
Existing Control Measures
Claustrophobia - Risk of invoking individuals fear of tight spaces
Ensure elements are attached/fixed appropriately.
1 1 Negligible- No further
Hazards Identified (state the potential harm)
Overhead Collapse- Risk of panels falling
Advise users not to interact with the screen for undue length of time.
2 2 Tolerable- Where
action is necessary.
Over Exposure to LightingEye Strain
Ensure elements are attached/fixed appropriately.
Advise users not to interact with the space for undue length of time.
Collapsing Panels – Risk of panels falling from wall.
Disorientation - Risk of invoking individuals due to spatial conditions
Page ! 1 of !2
Chapter Eleven pg. 74
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