GLITCH Lab Design Studio EOI

Lower Pool Design Studio Application RMIT University Landscape Architecture Semester 02, 2013 Tom Harper & Caitlin Perry

G\I T C H LAB - 1 . 0

Glitch Lab Beta Intensive Design Studio Application

Lower Pool Design Studio Application RMIT University Landscape Architecture Semester 01, 2014 Tom Harper & Caitlin Perry

G\I T C H LAB - 2 . 0

Glitch Lab Beta Intensive Design Studio Application

1.0 Studio Outline:

‘Glitch’ lab 2.0 sets out to explore how such techniques of circuit bending, data moshing, reprogramming, image hacking, pixalating, warping etc., can be translated and integrated into the design process - in turn influencing the systems that operate within the landscape.

How as designers / Landscape Architects, can we begin to collate the known predictable variables, yet encourage the creation of faults or abnormal mutations? What does this interaction with the unknown bring to the design process and consequently our perception of the landscape?

A ‘Glitch’ is a transient fault in a system, or more specifically an artifact of an error. It is neither the cause, nor the error itself, but rather the product or visual manifestation.

It is a significant slip that marks a departure from our expected result and has no apparent purpose to its existence in the setting of perfect processes (Moradi, 2009). Glitches are typically rare occurrences, although paradoxically, quite easy to provoke. This makes them ideal mechanisms for being appropriated and used as a medium for design.

Our own imaginations are limited, and our aesthetic standards are some what skewed, this results in the human-generated design model often falling back on predictable trajectories. ‘Glitches’, on the other hand, offer us the opportunity to momentarily glimpse into the inner workings of complex systems and provide an infinite window into unpredictability through manipulation.

It is these often fleeting moments that reveal alternative possibilities for how we perceive, experience and ultimately design our built and natural environments.

This studio’s approach encourages and nurtures the unexpected as a integral part of the design process.

It capitalises on inherent, often unimaginable opportunities, thus opening the mind to alternative concepts and possible outcomes.

Engaging with the discourse surrounding ‘Glitches’, the studio will allow students to develop an understanding of the associated mechanics of systems, to in turn produce highly provocative new interpretations and insertions into the environment.

The recently published IOS maps as captured by Peder Norrby, reveal “a territorial architecture of spoofed Glitch Lab Beta Intensive Design Studio Application

cartography”; unimaginable warped landscapes, mangled buildings, and melted-looking formations; showing that imperfections can be a thing of true beauty (Holmes, 2013). In the case of these maps, the ‘glitch’ is revealed through the misalignment of the texture mapping; a two dimensional image applied on to the surface of a three-dimensional model. What this offers us, the viewer, is an altered reality of the world through a distorted technological lens. Analysis into this provokes speculation into the varaible alternatives of the ‘what ifs’. The paradox of the emerging landscape which operates between the physical and the virtual, allows for critical discussion of the current discourse within Landscape Architecture, and the use of technology as a tool for exploration.

Music, art, and software programming have embraced the potentials for generating ‘glitches’ during the making process for quite some time. This has seen the evolution of new systems, genres, sounds, aesthetics and operations never before produced.

Within the discourse of Landscape Architecture, there is the opportunity to embed these techniques and methods as form finding exercises, as well as understanding and unpacking the complex systems playing out on site. The studio will attempt to break free of generic design process often found within the professional practise, offering an alternative to rigid and often structured design processes.

The studio will be positioned through a range of theoretical readers focused on landscape systems, complemented by a variety of identified landscape architecture practices and their projects that have embedded and experiment with the concepts of ‘glitches’.

Representational techniques such as abstract mapping, modelling, and scaled drawing will form a crucial component to the exploration and gathering of usable data, in the development of generating interventions for the chosen site; the redundant AMCOR Paper Mill in Alphington. The site occupies 16.5 hectares of land wedged between the Yarra River and Heidelberg Road. With the paper packing company relocating to other premises, its vacation has made the site and its now redundant buildings available for redevelopment.

‘Glitches’ within this context offer the ability to engage with the historic, environmental, social and economic forces associated with the site, and the surrounding natural and artificial systems. It is important for the students to engage with this site both on a physical and systematic level, to open up the potential to incorporate ‘glitches’ in a variety of ways, scales and time frames.

The process of creating a ‘glitch’ is an involved process, which can only be developed when one understands their tools and their operations. In order to design ‘glitches’, students must first understand the inherent operations of natural / artificial systems or circuits.

This found knowledge will be utilised in context to unpack and deconstruct these systems found on-site and or within the surrounding area.

In the studio, students will be required to explore a chosen ‘glitch’ from the ‘taxonomy of glitches’ provided.

This ‘operation’ will be used as an analytical tool to initially reveal hidden opportunities, to in turn translate this understanding into a generative form process. This may include digital (Rhino) or physical modelling and or vector or pixel image generation (Adobe Suite).

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(cont.)

2.0 Studio Methods:

3.0 Studio Outcomes:

4.0 Practices:

Students will be required to:

Upon successful completion of this studio, students will have the ability to:

Daniel Liberskin Karres en Brands Landscape Morphologies Lab Lattitude Luis Callejas LCLA MAD Architects Nicholas de Monchaux Peg Office Landscape + Architecture Peter Latz & Partners Philippe Rahm Sean Lally - Weathers Stoss Landscape Urbanism Liam Young - Tomorrow Thoughts Today Unknown Fields Division

- chose from a selected ‘taxonomy of glitch’ operations and techniques. This will form the the ‘lens’ for the studio and future analytical and design work of the student.

- chose an aspect of the site to explore their chosen ‘glitch’ operation.

- analyse a natural / artificial system on their chosen area of the site or surrounding area.

- research other projects that have utilised a similar method in form finding. These can be found in either architecture, graphic design, music and or other related design disciplines.

- explore design ideas through the studio agenda and methods.

- test, communicate and resolve ideas through a digital and analog methods (for example, models, drawings etc).

- develop a practice of reflection in relation to their design work and progress throughout the studio.

- demonstrate an understanding and engagement with the site through their design outcome.

- work and contribute as a collective to the emerging discourse of the ‘glitch’.

- explore generative design ideas through the studio agenda and proposed methods.

- understand the workings of a chosen natural / artificial system.

- experiment with various representational tools and methods.

- develop appropriate design processes and begin to consciously explore and experiment with design.

- develop a practice of reflection in relation to their design work and progress throughout the studio.

- demonstrate an understanding and engagement with site through their design outcome.

- derive, from an existing situation, a spatial and operational vocabulary and articulate through the medium of Landscape Architecture.

- position their work within the relevant types of landscape / space.

- develop appropriate design processes and begin to consciously explore and experiment with design.

- explore design across a variety of scales, engaging with and employing appropriate materials and conventions.

- explore and utilise diagramming techniques as generative mechanisms for design.

- Have an understanding of thickened ground.

5.0 Artists: Adam Ferriss, Angela Lorenz, Daniel Crooks, JODI, Karl Klomp, O.K. Parking, Rosa Menkman

6.0 Definition: Glitch: A short lived fault in a system.

Circuit bending / Data Bending: creative customization of the circuits / systems.

Data Moshing: Noticeable distortion of media (including images, audio, and video) caused by the application of lossy data compression.

Taxonomy of Glitches: 2.0 Disrupt, disturb, distort, snag, flaw, fault, defect, hitch, kink, mutate, warp, hijack, slip, err, overload, pixelate, morph, fracture, mishap, bug, celluloid, compression, collapse, cracklebox, feedback.

Glitch Lab Beta Intensive Design Studio Application

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Intensive Design Studio Application RMIT University Landscape Architecture Summer School, 2014 Tom Harper & Caitlin Perry

G\I T C H LAB - B E T A

Glitch Lab Beta Intensive Design Studio Application

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0.0 Contents

03

1.0 Biography 1.1 Tom Harper 1.2 Caitlin Perry

Glitch Lab 1.0 Semester 02 2013

Lower Pool Design Studio Application RMIT University Landscape Architecture Semester 02, 2013 Tom Harper & Caitlin Perry

G\ITCH LAB-1.0

05

2.0 Studio Outline: 2.1 Methods 2.2 Outcomes

08

3.0 3.1 3.2 3.3

Studio Material Theory Practices Artists

Glitch Lab Beta Intensive Design Studio Application

Glitch Lab Beta Intensive Summer Studio 2014

Intensive Design Studio Application RMIT University Landscape Architecture Summer School, 2014 Tom Harper & Caitlin Perry

08

4.0 Definitions 4.1 Taxonomy of Glitches: Beta.

09

5.1 Proposed Studio Schedule 5.2 Assignments / Tasks 5.3 Detailed Schedule

G\ITCH LAB-BETA

Glitch Lab Beta Intensive Design Studio Application

14

6.0 6.1 and 6.2 6.2

Appendix Online Material, References Tutorials.

Previous Studio Outcomes Reference Images

Lower Pool Design Studio Application RMIT University Landscape Architecture Semester 01, 2014 Tom Harper & Caitlin Perry

G\ITCH LAB-2.0

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Glitch Lab 2.0 Semester 1, 2014

Follow us Website: www.glitchlab.com (coming 2014)

Glitch Lab Beta Intensive Design Studio Application

Instagram #glitchlab Pinterest http://www.pinterest.com/ tomharper/glitch/

Glitch Lab Beta Intensive Design Studio Application

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1.0 Biography

Tom Harper BDes (LArch)(Hons) Registered Landscape Architect (AILA) (In Progress) thomas.harper@rmit.edu.au / contact@tomharper.info +61 (0)404 235 777

Graduating with honours from the Landscape Architecture program at RMIT University in 2007, I have since worked locally and abroad, both academically and professionally.

These experiences have enabled an expanded understanding of innovative Landscape Architecture and associated design discipline practice, skills, and theoretical concepts. Over the past four years I have engaged with both Undergraduate and Master programs on a number of levels including, Design studio initiation and leadership, primary lecturer and guest lecture, student critiquing sessions and assisting on international study tours. I have enjoyed these engagements with students, as they have allowed me the opportunity to reflect and further develop my theoretical and practical capabilities within my own personal research interest areas.

Working within two different Landscape Architecture programs, I’m currently working along with Dr. Jillian Wallis for the delivery of the Master Design Thesis program at the University of Melbourne. At RMIT University I concurrently co-lead with Caitlin Perry a self initiated Design Studio that explores software and technological influence on how we reimagine post-industrial sites, whilst also delivering lectures and practical components of an introductory Design Communications subject.

outcomes of research projects through various web, digital and print media. Throughout this time I forged meaningful relationships with industry, government agencies and professional and academic institutions, with the ability to engender trust. My experience at OUTR allowed for the exploration into many facets of design and research through speculative and professional projects.

Prior to OUTR, I was employed at Karres en Brands in the Netherlands for over two years as a Landscape Architect, during which time I worked on a range of varied projects throughout Europe, both individually and collaborative in multidisciplinary teams. Under the guidance of Bart Brands, one of the more significant projects I led the design work for was Park Rijnhaven; a â‚Ź15 million urban park and waterfront design in the centre of Rotterdam. Subsequently, I assisted Bart in the delivery of an intensive Design Studio in 2010, which focused on this project.

Leading up to my current professional academic engagements, I worked for the past three and a half years at OUTR as a Research Fellow. My key responsibilities within OUTR included the management of research projects, funding acquisition, implementation of adaptive Landscape Architecture modelling programs, the exploration of a diverse range of representational drawings, modelling and capturing Glitch Lab Beta Intensive Design Studio Application

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1.0 Biography

Caitlin Perry BDes (LArch)(Hons) info@setsquarestudio.com +61 (0)401 914 388

Since Graduating in 2007 from RMIT University with a Bachelor of Design - Landscape Architecture (1st Class Honours) I have worked predominantly in the field of University Tutoring, Residential Architecture and Interior Design, as well as Urban Design. Over the last 6 years I have tutored within the Landscape Architecture Department teaching design studios ranging from 1st to final year students as well as a variety of levels of communication classes.

This allowed me to explore, through my students work, contemporary ideas of Landscape Architecture as well as the importance of generative representation within the discourse.

Taking a group of final year students to Central Australia in 2010 as well as CoTutoring the Lower Pool Studio ‘Glitch Lab 1.0’ (with Thomas Harper) in 2013 were particular highlights within my teaching career. Both classes allowed me to further define and explore my own interest in representation.

Glitch Lab, in particular, pushed the students to engage with technology and stretch beyond conventional design processes. Both were a very collaborative environment.

Working simultaneously for the large scale Architecture and Urban Design firm NH Architecture (2007 - 2009) allowed me to explore the role of the 3d or virtual reality within the design process from an office/professional practise perspective. I employed this on various large scale projects such as the redevelopment of MYER and the redevelopment of Pentridge Prison (into residential, commercial and public open space). From 2009 -2013 I was employed at Residential Architects Chamberlain Javens Architects. It was within this time that I began to enhance my understanding and interest into materiality and the human scale within design.

Glitch Lab Beta Intensive Design Studio Application

The last year has been of particular importance to me as a designer as I have set up my own design firm ‘Setsquare Studio’ and truly refined my research interests. At the end of 2012 I exhibited (in collaboration with Architect Ella Leoncio and Sound Artist Robert Bravington) the installation ‘Geyser’ as part of the Melbourne Fringe Festival. This was my first opportunity to set my own brief, design and physically construct an entire project from start to finish. In the absence of water, ‘Geyser’ explored the potential for architecture to create environments of sensory bathing.

Through the use of sound, light, form and texture it aimed to heighten ones awareness of their body/senses in space. Temporarily, Ephemerality and Materiality were all key components to the installation and are also ideas that I explore across all realms of my design and teaching life. My interest in installation art has continued into 2013 as I am currently working with the ‘Right Now’ organisation to design a light scape for the 2014 ‘White Night’ Festival. It is centred around homelessness within the CBD and questions the notion of private and public space. Within my own private work I like exploring how conceptual design can be grounded through an innate understanding of materiality and form.

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2.0 Studio Outline:

‘Glitch’ lab beta sets out to explore how such techniques of circuit bending, data moshing, reprogramming, image hacking, pixalating, warping etc., can be translated and integrated into the design process - in turn influencing the systems that operate within the landscape.

How as designers / Landscape Architects, can we begin to collate the known predictable variables, yet encourage the creation of faults or abnormal mutations? What does this interaction with the unknown bring to the design process and consequently our perception of the landscape?

A ‘Glitch’ is a transient fault in a system, or more specifically an artifact of an error. It is neither the cause, nor the error itself, but rather the product or visual manifestation.

It is a significant slip that marks a departure from our expected result and has no apparent purpose to its existence in the setting of perfect processes (Moradi, 2009). Glitches are typically rare occurrences, although paradoxically, quite easy to provoke. This makes them ideal mechanisms for being appropriated and used as a medium for design.

Our own imaginations are limited, and our aesthetic standards are some what skewed, this results in the human-generated design model often falling back on predictable trajectories. ‘Glitches’, on the other hand, offer us the opportunity to momentarily glimpse into the inner workings of complex systems and provide an infinite window into unpredictability through manipulation.

It is these often fleeting moments that reveal alternative possibilities for how we perceive, experience and ultimately design our built and natural environments.

This studio’s approach encourages and nurtures the unexpected as a integral part of the design process.

It capitalises on inherent, often unimaginable opportunities, thus opening the mind to alternative concepts and possible outcomes.

Engaging with the discourse surrounding ‘Glitches’, the studio will allow students to develop an understanding of the associated mechanics of systems, to in turn produce highly provocative new interpretations and insertions into the environment.

The recently published IOS maps as captured by Peder Norrby, reveal “a territorial architecture of spoofed

Glitch Lab Beta Intensive Design Studio Application

cartography”; unimaginable warped landscapes, mangled buildings, and melted-looking formations; showing that imperfections can be a thing of true beauty (Holmes, 2013). In the case of these maps, the ‘glitch’ is revealed through the misalignment of the texture mapping; a two dimensional image applied on to the surface of a three-dimensional model. What this offers us, the viewer, is an altered reality of the world through a distorted technological lens. Analysis into this provokes speculation into the varaible alternatives of the ‘what ifs’. The paradox of the emerging landscape which operates between the physical and the virtual, allows for critical discussion of the current discourse within Landscape Architecture, and the use of technology as a tool for exploration.

Music, art, and software programming have embraced the potentials for generating ‘glitches’ during the making process for quite some time. This has seen the evolution of new systems, genres, sounds, aesthetics and operations never before produced.

Within the discourse of Landscape Architecture, there is the opportunity to embed these techniques and methods as form finding exercises, as well as understanding and unpacking the complex systems playing out on site. The studio will attempt to break free of generic design process often found within the professional practise, offering an alternative to rigid and often structured design processes.

The studio will be positioned through a range of theoretical readers focused on landscape systems, complemented by a variety of identified landscape architecture practices and their projects that have embedded and experiment with the concepts of ‘glitches’.

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2.0 Studio Outline:

Representational techniques such as abstract mapping, modelling, and scaled drawing will form a crucial component to the exploration and gathering of usable data, in the development of generating interventions for the chosen site; the redundant AMCOR Paper Mill in Alphington. The site occupies 16.5 hectares of land wedged between the Yarra River and Heidelberg Road. With the paper packing company relocating to other premises, its vacation has made the site and its now redundant buildings available for redevelopment.

‘Glitches’ within this context offer the ability to engage with the historic, environmental, social and economic forces associated with the site, and the surrounding natural and artificial systems. It is important for the students to engage with this site both on a physical and systematic level, to open up the potential to incorporate ‘glitches’ in a variety of ways, scales and time frames.

The process of creating a ‘glitch’ is an involved process, which can only be developed when one understands their tools and their operations. In order to design ‘glitches’, students must first understand the inherent operations of natural / artificial systems or circuits.

This found knowledge will be utilised in context to unpack and deconstruct these systems found on-site and or within the surrounding area.

2.2 Studio Methods: Students will be required to: - chose from a selected ‘taxonomy of glitch’ operations and techniques. This will form the the ‘lens’ for the studio and future analytical and design work of the student.

- chose an aspect of the site to explore their chosen ‘glitch’ operation.

- analyse a natural / artificial system on their chosen area of the site or surrounding area.

- research other projects that have utilised a similar method in form finding. These can be found in either architecture, graphic design, music and or other related design disciplines.

- explore design ideas through the studio agenda and methods.

- test, communicate and resolve ideas through a digital and analog methods (for example, models, drawings etc).

- develop a practice of reflection in relation to their design work and progress throughout the studio.

- demonstrate an understanding and engagement with the site through their design outcome.

In the studio, students will be required to explore a chosen ‘glitch’ from the ‘taxonomy of glitches’ provided.

This ‘operation’ will be used as an analytical tool to initially reveal hidden opportunities, to in turn translate this understanding into a generative form process. This may include digital (Rhino) or physical modelling and or vector or pixel image generation (Adobe Suite).

Glitch Lab Beta Intensive Design Studio Application

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2.0 Studio Outline:

2.3 Studio Outcomes: Glitch studio is situated within the redundant AMCOR Paper Mill in Alphington. The site occupies 16.5 hectares of land wedged between the Yarra River and Heidelberg Road. With the paper packing company relocating to other premises, its vacation has made the site and its now redundant buildings available for redevelopment.

The final outcome for the studio is in response to this redundancy and should be a new or retrofitted occupation/s of site generated through a thorough investigation into Glitch generation and alteration of landscape systems found on site.

This should be achieved through a variety of representational techniques including both conceptual and scaled drawings, models and visualisations with each weekly assignment contributing and incorporated into the final presentation/catalog.

Each individual will be allocated a cross section area of the site measuring approximately 50m wide by 350m deep. This area will pass through the Yarra River, redundant factory and existing residential land. The student is expected to engage with a variety of forces, be that the historic, environmental, industrial, social and economic conditions on site as well as the surrounding natural and artificial systems. As the semester evolves the individual cross sections should begin to engage and interact with the cross sections of their peers, opening up potential for collaboration within the studio environment.

the Glitch was created is crucial and rigorous testings into the mechanisms and variable factors ingrained within the Glitch should be executed.

It is important for the students to engage with this site both on a physical and systematic level, and to incorporate ‘glitches’ in a variety of ways, including scales and time frames.

Upon successful completion of this studio, students will have the ability to: - work and contribute as a collective to the emerging discourse of the ‘glitch’.

- explore generative design ideas through the studio agenda and proposed methods.

- understand the workings of a chosen natural / artificial system.

- experiment with various representational tools and methods.

- develop appropriate design processes and begin to consciously explore and experiment with design.

- develop a practice of reflection in relation to their design work and progress throughout the studio.

- demonstrate an understanding and engagement with site through their design outcome.

- derive, from an existing situation, a spatial and operational vocabulary and articulate through the medium of Landscape Architecture.

- position their work within the relevant types of landscape / space.

- develop appropriate design processes and begin to consciously explore and experiment with design.

- explore design across a variety of scales, engaging with and employing appropriate materials and conventions.

- explore and utilise diagramming techniques as generative mechanisms for design.

- Have an understanding of thickened ground.

Through their developed ‘Taxonomy of Glitches’ the students should explore the potential to provoke unimaginable opportunities both within their chosen system and the materiality of the landscape. An understanding of how Glitch Lab Beta Intensive Design Studio Application

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3.0 Material

3.1 Theory: Boeri, Stefano and Koolhaas, Rem. Mutations, Actar, 2001 Bulent Çambel, Ali. Applied Chaos Theory: A Paradigm for Complexity, 1992 Cascone, Kim. ‘The Aesthetics of Failure: “PostDigital” Tendencies in Contemporary Computer Music’, Computer Music Journal 24.4, 2000.

Foucault, Michel.

‘First Preface to Histoire de la folie à l’âge classique’, 1961.

Gleick, James.

Chaos, Penguin Books, 1988 Gombrich, Ernst Hans Josef.

The Sense of Order: A Study in the Psychology of Decorative Art, London: Phaidon Press, 1984.

Hegarty, Paul.

Noise/Music: A History, New York: Continuum, 2007.

Lotringer, Sylvere and Paul Virilio. The Accident of Art, Semiotext(e): New York, 2005.

Kwinter, Sanford.

Far from Equilibrium: Essays on Technology and Design Culture, 2008 Manovich, Lev. ‘Post-media aesthetics’, disLOCATIONS, Karlsruhe: ZKM, Centre for Art and Media/Centre for Interactive Cinema Research, University of New South Wales, 2001.

McLuhan, Marshall.

Understanding Media: The Extensions of Man. New York: McGraw Hill, 1964.

Glitch Lab Beta Intensive Design Studio Application

3.2 Practices: Menkman, Rosa.

‘A Vernacular of File Formats’, August 2010, http://rosa-menkman.blogspot. com/2010/08/vernacular-of-fileformats-2-workshop.html.

Moradi, Iman.

Glitch: Designing Imperfection, Form + Code in Design, Art, and Architecture, 2009 Russolo, Luigi.

The Art of Noises, trans. Barclay Brown, New York: Pendragon Press, 1986.

Schaeffer, Pierre.

Traité des objets musicaux, Paris: Le Seuil, 1966.

Shannon, Claude E. and W. Weaver.

The Mathematical Theory of Communication, Urbana, Illinois: University of Illinois Press, 1949.

Smith, Richard and Jannuzzi, Michele.

Dotlinepixel: Thoughts on Cross-Media Design, 2003

Daniel Liberskin Karres en Brands Landscape Morphologies Lab Lattitude Luis Callejas LCLA MAD Architects Nicholas de Monchaux Peg Office Landscape + Architecture Peter Latz & Partners Philippe Rahm Sean Lally - Weathers Stoss Landscape Urbanism Liam Young - Tomorrow Thoughts Today Unknown Fields Division

3.3 Artists: Adam Ferriss, Angela Lorenz, Daniel Crooks, JODI, Karl Klomp, O.K. Parking, Rosa Menkman

4.0 Definition: Glitch: A short lived fault in a system.

Circuit bending / Data Bending: creative customization of the circuits / systems.

Data Moshing: Noticeable distortion of media (including images, audio, and video) caused by the application of lossy data compression.

Taxonomy of Glitches: Beta.

Disrupt, disturb, distort, snag, flaw, fault, defect, hitch, kink, mutate, warp, hijack, slip, err, overload, pixelate, morph, fracture, mishap, bug, celluloid, compression, collapse, cracklebox, feedback.

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5.0 Studio Material

5.1 Assignments / Tasks Glitch Lab beta will be broken into 8 ‘Phases’ across two and a half week period. This will include an interm and final presentation along with guest lectures + conversations and set assignments. Building upon the knowledge of Glitch Lab 1.0, this intensive studio has refined and a stregthened criteria which has enabled it to be condensed it into a series of workshops and assignments to produce the same rigour as an 12 week studio. We will take advantage of already sourced base material and developed templates from Glitch Lab 1.0.

Proposed Schedule: 2.5 weeks Phases: 8 Presentations: 2 Lectures: 2 Workshops: 8 Phase 01 Introducing the Glitch.

An introduction into the discourse of Glitches will occur during Phase 01.

The students will engage with a variety of disciplines including electronics, glitch art, music and design to further their knowledge. The intention of this Phase is to give the students a basic understanding into the current application of glitches, their operation, potentials and material and non material qualities. The students will also be exposed to the ‘Taxonomy of Glitches’ to which they will select one to explore further and bring to site.

Workshop: Glitch Personality Part 01: Glitch Persona Generation (Hand Collage + GIF)

Glitch Lab Beta Intensive Design Studio Application

Part 02: Dissecting Glitch Persona (2d Elevation + Characteristic Analysis) Part 03: Construction of 3d Glitch Persona (Clay + Latex or other material Model) Phase 02 Data Collection Phase 02 is centred around data collection. The students will be introduced to site and a variety of systems that are ingrained within it.

As well as attending a site visit the students will be expected to select either an artificial or natural system from site and develop a thorough understanding of that system’s toolbox through research. The ‘Taxonomy of Glitches’ will allow the students to create inventive and highly explorative techniques for gathering useful site analysis whilst beginning to speculate on how they might use this to produce glitches.

Part 01: Introduction to Systems + System Selection Part 02: System Research + Collection (RMIT Library) Part 03: Data Collection Techniques (RMIT Library) - Diagramming + Mapping Techniques - Smart Phone App + Software Research Part 04: Writing ‘Data Collection’ Strategy

either an artificial or natural system from site and develop a thorough understanding of that system’s toolbox through research.

The ‘Taxonomy of Glitches’ will allow the students to create inventive and highly explorative techniques for gathering useful site analysis whilst beginning to speculate on how they might use this to produce glitches.

Part 01: Entire Class to walk around periphery of site - familiarise previous functions of buildings, history of site and periphery conditions (Yarra River + Residential + Chandler Hwy. Part 02: Students to undertake manual and smartphone mapping.

ASSIGNEMENT: Students to refine, redraw and collate onsite Data Collection.

GUEST LECTURE / CONVERSATION: via skype. tbc Rosa Menkman, Amsterdam, Holland Lecture: Glitch Studies Manifesto.

Phase 04 INTERM PRESENTATION with external critique. TBC

Phase 03

Part 01: Students to present Glitch \ Persona, Data Collection + Onsite Mapping.

Speculate on initial findings/hunches/ opportunities.

SITE VISIT

DIAGRAMMING WORKSHOP

Phase 02 is centred around data collection. The students will be introduced to site and a variety of systems that are ingrained within it.

As well as attending a site visit the students will be expected to select

By Phase 04 the students should start to draw connections across their systematic glitch/s and their glitch operational explorations. The students will be asked to translate their data collected from site and other materials Pg: 13 of 18

5.0 Studio Material

back onto site through a series generative diagramming techniques.

Part 02: Diagramming Workshop - Redrawing and constructing Generative Diagramming techniques.

Phase 05 GUEST LECTURE / WORKSHOP Robert Bravington, Melbourne, Australia. Lecture / Workshop - Circuit Bending Part 01: Guest Lecture: Circuit Bending - techniques and results through the manipulation of circuits.

Data Moshing Phase 05 asks the students to engage with the glitch from both a systematic and formal approach . Initially they will be ask to deconstruct their chosen system using the representational technique of diagramming. Once they have a thorough understanding of the variables/toolbox unto which their system operates they will aim to create a glitch within it from their ‘Taxonomy of Glitches’, reinventing the potentials for its operation. At the same time the students will be interacting with their site analysis from Phase 03 and exploring this analysis through conceptual modelling and formal explorations.

ASSIGNMENT Continuation of the students work to date. To be completed over the first weekend.

Phase 06 FINAL DRAWING SET By now the students should have strong individual briefs/research Glitch Lab Beta Intensive Design Studio Application

agendas that they are pursuing and testing rigorously as well as an understanding into how their cross section site sits within the broader studio site. Phase 06 helps the students explore their chosen briefs across 3 scale structures - the suburb, the site boundary and the human scale. Each scale presents particular questions from a systematic, functional and material approach on how their new system sits within a broader context. As a minimum each Phase will require scaled plans, sections and detail demonstrating the students explorational intent.

WORKSHOP - MASTPERPLAN (LARGE) Using the large scale CAD plans supplied in class, students are required to draw and develop their Masterplan for the Amcor site. This Masterplan will draw on reference from the students previous body of work, diagrams etc. to demonstrate the areas of intervention in relation to your specific design agenda/abstract.

Students will be asked to consider various techniques to represent your proposal.

Part 01 - ‘Thicken’ Masterplan - Scale 1:500 WORKSHOP - SECTIONAL / ELEVATION (MEDIUM) Students will be required to construct Longitudinal Sections that cuts through your entire Masterplan.

This section will sit below your Masterplan and represent how their design functions while showing the relationships they have engaged with as a whole.

Past 01 - Section - Scale 1:500 & Scale 1:100

WORKSHOP - DETAIL PLAN Students will be asked to take their completed Masterplan and are required to draw a minimum of three detailed (zoomed in) plans of your intervention to an appropriate scale (either 1:100, 1:200). These detailed plans will be strategic moments within their Masterplan where their design is doing particularly interesting things, demonstrating the ‘Glitch’. These detailed plans swill also include an element of change over time, through layering of data and or transparency.

Part 01 - Detail Plan - Scale 1:100 / 1:200 Phase 07 PRODUCTION Students will be required to self lead the production of their individual projects, being able to demonstrate self reflection, ability to formalise and project the completion of the individual projects.

TROUBLESHOOTING Students will be layout their work to date and find the gaps within their projects. All students will have the ability to troubleshoot any drawing / software issues.

Phase 08 CATALOG Building upon the templates provided students will be required to layout their work within a catalog format.

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4.0 Studio Material

5.2 Detailed Schedule

Day 01

lecture: Introducing the Glitch

In class Lecture & Workshop (+ Introduction, course guide online, course outline + Schedule)

Understanding ‘Glitch’ operations + Building up knowledge of ‘Glitches’

Workshop: Glitch Personality

Part 01: Glitch Persona Generation (Hand Collage + GIF) Part 02: Dissecting Glitch Persona (2d Elevation + Characteristic Analysis) Part 03: Construction of 3d Glitch Persona (Clay + Latex or other material Model)

Compile + Curate a catalog of 5 Glitches from different mediums/ practises/genres etc. Dissect the toolbox and mechanisms for each.

Day 02

RESEARCH: DATA COLLECTION

Part 01: Introduction to Systems + System Selection Part 02: System Research + Collection (RMIT Library) Part 03: Data Collection Techniques (RMIT Library) Diagramming + Mapping Techniques - Smart Phone App + Software Research

Research into chosen system and prepare strategy for chosen site analysis technique/s

Day 03

SITE VISIT

Part 01: Entire Class to walk around periphery of site familiarise previous functions of buildings, history of site and periphery conditions (Yarra River + Residential + Chandler Hwy. Part 02: Students to undertake manual and smartphone mapping.

Compile/ curate/ redraw site analysis + system research on site.

Homework: Students to refine, redraw and collate onsite Data Collection.

GUEST LECTURE / CONVERSATION: tbc

Glitch Lab Beta Intensive Design Studio Application

Rosa Menkman - Glitch Studies Manifesto

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Detailed Schedule (cont.)

5.2 Detailed Schedule (cont.)

STUDENT PRESENTATION Day 04

(with External Crit) TBC Part 01: Students to present Glitch Persona, Data Collection + Onsite Mapping.

Speculate on initial findings/hunches/ opportunities.

WORKSHOP: GENERATIVE DIAGRAMMING TECHNIQUES

Part 02: Diagramming Workshop - Redrawing and constructing generative diagramming techniques.

Developing techniques to design and employ their glitch onto their systems.

GUEST LECTURE & WORKSHOP: TBC

Robert Bravington - Circuit Bending

Systems manipulation (applying the glitch)

WORKSHOP: DATA MOSHING

Part 01: Employment of their data, systems through their development of various digital and analog techniques.

Day 05

Day 06

ASSIGNMENT

Students will complete set assignments over weekend.

Re-draw/ remake systematic glitch

Day 07

ASSIGNMENT

Students will complete set assignments over weekend.

Development of Design Brief/Abstract

Day 08

FINAL Drawing SET

Employment of various drawing techniques that engage with scale and notions of time.

WORKSHOP: MASTPERPLAN (LARGE)

Part 01 - ‘Thicken’ Masterplan Scale 1:500

Day 09

WORKSHOP: Section (medium)

Part 01 - Section - Scale 1:500 & Scale 1:100

These detailed plans swill also include an element of change over time, through layering of data and or transparency.

Day 10

WORKSHOP DETAIL PLAN (SMALL)

Part 01 - Detail Plan - Scale 1:100 / 1:200

Engagement with the construction of space and materiality.

Glitch Lab Beta Intensive Design Studio Application

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5.2 Detailed Schedule (cont.)

Day 11

WORKSHOP: Layout and Project Refinement

Students will be layout their work to date and find the gaps within their projects.

Day 12

Troubleshooting

All students will have the ability to troubleshoot any drawing / software issues.

Day 13

Production

Students will be required to self lead the production of their individual projects.

Day 14

Production

Students will be required to work independently of their individual projects.

Day 15

Production

Students will be required to work independently of their individual projects.

Day 16

PRINTING

Printing of all panels and supplementary work for the presentation.

Day 17

Student presentation

(with External Crit) TBC

catalog

Students will be able to take on constructive feedback from the final presentation and work up for their catalog submission.

SUBMISSION

Building upon the templates provided students will be required to layout their work within a catalog format.

Glitch Lab Beta Intensive Design Studio Application

Self reflection, ability to formalise and project the completion of the individual projects.

Working on their final drawing set to be able to communicate their design intent.

Ability to get final constructive comments from the critiques and use this in the further development of their catalogs.

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6.0 Appendix:

6.1 Online Material, References and Tutorials.

Glitch Description http://thecreatorsproject.vice.com/ blog/creativity-bytes-abrief-guide-to-glitch-art Glitch Projects / Database http://glitchfiction.com http://www.dataisnature.com/ http://www.glitch.organised.info/ http://glitch.me.uk/ http://working.gli.tc/ http://www.gamescenes.org/glitch/ http://knowyourmeme.com/memes/ datamoshing Glitch Artists http://adamferriss.tumblr.com/ http://www.beflix.com/ http://oculasm.org/glitch/ http://qubik.com/ http://cmyka.tumblr.com/ http://danieltemkin.com/ http://nickbriz.com/ Glitch Galleries http://www.flickr.com/groups/glitches http://www.flickr.com/groups/ databending http://yearoftheglitch.tumblr.com/ http://glitchgifs.tumblr.com http://www.tumblr.com/tagged/ data%20bend http://weburbanist.com/2013/03/18/ image-hacking-40glitch-art-photos-paintings-videos/2/ http://designingimperfection.com Databending http://bitsynthesis.com http://www.hellocatfood.com http://blog.animalswithinanimals.com http://pixelnoizz.wordpress.com http://rosa-menkman.blogspot.com

Glitch Lab Beta Intensive Design Studio Application

Online Tutorials Technical info on image fileformats A Vernacular of File Formats - how images in different formats. http://rosa-menkman.blogspot. com/2010/08/vernacularof-file-formats-2-workshop.html Compression http://www.coryarcangel.com/thingsi-made/uploads/Main/OnC.pdf Overview of Glitch Nick Briz’s Glitch Codec Tutorial (focus on video) http://www.youtube.com/ watch?v=hOemlx2sBIo&feature= relmfu Altering data http://www.fizzpop.org.uk/blog/anintroduction-to-databending/ Hex Editors http://praseodym.deviantart.com/ gallery/#/d2t0wt4 Glitching Vector Files http://www.hellocatfood. com/2009/09/08/bending-apenguin/ Intentionally misusing software to alter image files The WordPad effect http://blog.animalswithinanimals. com/2008/08/databending-andglitch-art-primer-part.html Cachemash (or: Photoshop Truncation Glitch) http://danieltemkin.com/blog/post/ Photoshop-TruncatingGlitch.aspx http://www.flickr.com/photos/ eaubscene/7752697504/

Sonification Primer http://blog.animalswithinanimals. com/2008/09/ databending-and-glitch-art-primerpart.html Sonification with Audacity http://www.hellocatfood. com/2009/11/16/databendingusing-audacity/ Datamoshing http://bitsynthesis.com/2009/04/ tutorial-datamoshingthe-beauty-of-glitch/ http://www.youtube.com/ watch?v=tYytVzbPky8 Automated Glitching Techniques that require writing or altering code to produce a series of images Webcam Streams http://www.fizzpop.org.uk/blog/ playing-with-webcam-streams/ http://pixelnoizz.wordpress. com/2011/04/26/what-adifference-a-very-useless-tutorial-2/ Processing http://chipmusic.org/forums/ topic/772/databending-inprocessing/ Warped Maps http://www.postcards-from-googleearth.com/ http://www.flickr.com/ photos/pedernorrby/ sets/72157632277119513/ http://theamazingios6maps.tumblr. com/

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Glitch Lab 1.0 Exhibition Poster Tom Harper & Caitlin Perry, 2013 This poster illustrates the emergent themes that students were engaging with throughout the semester.

Glitch Lab Beta Intensive Design Studio Application

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Ashkan Honarvar Photo manipulation, 2011

Top: Daniel Crooks, Portraits, 2012 Lambda photographic print; framed 130 x 130 cm Left: Requiem, Lucas Sim천es, Portraits, 2012 Layered collage

Daniel Crooks, Portraits, 2012 Lambda photographic print; framed 130 x 130 cm

Dmitry Karpov Robert De + Niro Digital Illustration

Glitch Lab Beta Intensive Design Studio Application

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Lower Pool Design Studio Course Outline RMIT University Landscape Architecture

Gjon Mili, 1942, Nude descending staircase

Étienne-Jules Marey, Air movement study, 1901

Untitled, 2013 http://payload157.cargocollective. com/1/8/273503/5457074/q01%20Into%20 Dust.jpg

Will Gowland, Here be Dragons: The Unstable Landscapes of GPS, Unknown Field Division, 2011

Peder Norrby, Tricky roundabout, Stockholm, 2013, (screen capture), Apple iOS 6 Maps

Daniel Crooks, Static No.12 (seek stillness in movement), 2009-10 (video still), HD video (RED transferred to Blu-ray)

Glitch Lab Beta Intensive Design Studio Application

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Aerial of Amcor Paper Mill, Alphinton North View

Adjacent vacant land to Amcor Paper Mill, Alphinton North View

Internal landscape of Amcor

Glitch Lab Beta Intensive Design Studio Application

Redundant paper making infrastructure within the buildings onsite

Redundant paper making infrastructure within the buildings onsite

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