Chrysalis 2020
Chrysalis is my master thesis project at the Design School in Kolding Denmark. I am currently working in collaboration with Givskud Zoo in Givskud Denmark. Chrysalis, also known as Verdensmålsarena is mini arena designed to facilitate an interactive environment for teaching the zoo guests the seventeen points of the United Nations sustainable development goals. Chrysalis is currently in the first building stages and should be complete by the end of April 2021.
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This project found its way through concepts of appropriation of nature and biomimicry. Appropriation may imply stealing or borrowing of ideas but if used in the right way it can bring interest and a sense of familiarity.
Chrysalis also held some of the base theories in Outdoor education or the Scandinavian, 'udeskole.' Teaching became the main priority of the arena. The UN Sustainability Development Goals held particular focus. A didactic realm with elements of interactivity helped to shape its aesthetic values. Collaboration with Givskud zoo looked at the impact of play on teaching and atmospheres in play. Experience and perception of space and interactivity was experimented through models and design based research including interventions and game play. |
Do aesthetics impact learning? How do we experience a space and does the experience increase motivation to learn? The design of Chrysalis was strongly influenced with a theory that motivation in learning is increased through an attractive visual design.
Appropriation of sea glass. Glass as we know may not belong on the beach, though being made of sand in the first place brings it full circle. It returns to its place of origin although altered in form. Soft, polished edges and translucent surfaces, it tells of its journey. Like the broken glass of a bottle, Chrysalis took its first inclinations from nature and from playful interventions in an educational institution. Combining associative game play with children and forms taken from nature, softened its sharp edges and gave it its own story. |
Cultures in Play 2019
Cultures in play was a project in my first year at The Design School in Kolding. A master degree in 'play' one may think "is that a thing?" But surely it is as serious as a kids intention to play. This project was dear to my heart because it was based on my own childhood memories. Constructive play is still an important aspect in my work. It is evident in most everything I do. Nowadays kids are spending less time outdoors and many kids can’t tell you what they did the day before because of time spent on screens. Parents are driving them everywhere. Their time is structured and micromanaged by parents who have strong concerns for safety. Scheduled playdates are increasingly common and there is a huge push for academics and a race to college.
What defines quality of play? And what are the values? Is it togetherness, parental attention, Father/son , Mother/daughter , is it the excitement level, the length? I believe it's measured by the memories that come after and the longer we remember them and the more dear they are the higher the quality. We just don’t pay much attention to the memories in our concept of play because they seem maybe intangible. ….But …I think it becomes a measure of how we know how our childhood was.
What defines quality of play? And what are the values? Is it togetherness, parental attention, Father/son , Mother/daughter , is it the excitement level, the length? I believe it's measured by the memories that come after and the longer we remember them and the more dear they are the higher the quality. We just don’t pay much attention to the memories in our concept of play because they seem maybe intangible. ….But …I think it becomes a measure of how we know how our childhood was.
"Beef Stew" as it was entitled, was designed to be a 'build self' or kit car. It was inspired by the soapbox car culture ultimately created out of 1930's races in Akron, Ohio. The primary aim of this project was communicated to offer children and their parents bonding time through constructive collaboration over a period of time and to focus on 'quality' of time spent together. Targeting and combining specific age groups was a challenge though they seemed to corespond well as there always tends to be an interest in cars no matter the age or gender and just as well many parents in western societies are reminiscent of their first driving experience. The car was built from about 90 percent recycled material including plywood and recycled bicycles. The design decisions were carefully researched by myself with a strong intent to focus on sustainability and the UN's sustainable development goals.
Kinder Project 2018-19 |
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Kinder is a collaborative project with Ferrero chocolate company, makers of Kinder in Italy and is still under contract. Working with Kinder's values and mechanics we were tasked with creating a product suitable for children in a particular target group. The project started at the beginning of our masters program at the Design School Kolding in Denmark. Our methods of idea generation included creating narratives that could ultimately produce or guide us into a cohesive direction. Visiting toy stores and keeping up with the current trends were also utilised in efforts to get an initial understanding of user experiences. We referenced also our own play experiences and what we were interested in when we were young. With these methods in mind we determined that whatever we created had to allow the child to explore, experiment and should be buildable and just the same indulge a big impression in a little package. In a small school we studied a class of children in an attempt to gather information in regards to experience and expectations while they each entertained themselves with a Kinder Surprise© . Ultimately a design was produced and prototypes were submitted to Kinder where they would evaluate them with their stipulations in mind. My group, consisting of Catherine Lucas of France and Frederikke Ryhl Toft of Denmark and myself were later awarded with acceptance of our design. Collaboration was generally held on a remote network basis due to long distances. The intention of this course was to learn fundamental play theory and develop analytical skills in terms of understanding play experience. Due to a non-disclosure agreement with Kinder I am not at liberty to display the prototype that was chosen until the release day.
Collision Theory Experimental short film (in process)
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Collision Theory is an extra curricular project that comes out of my interest for film. This is a project developed in my spare time while I write my master thesis at the Design School Kolding. The film idea emerged from a dream. The story encompasses the life of a scientist who has somehow learned that the love of his life is on a different parallel and time than his own. Little does he know that a group of special helpers clad in white are helping him find the secret. His only hope of finding her is to develop a chemical reaction based on a collision theory of reactions to pass through time. The framework of the film is stripped down to its bare bones in a way that creates an abstract expression yet holds somewhat loosely to the narrative. The majority of the film is in black and white shifting occasionally to color at high points in the film. The actors are students from Himmerlands Ungdomskole here in my little town. The project is filmed, directed and edited by myself. My daughter Anja Heath will be writing the music for the film. Collision Theory is currently being edited with Adobe Premier Pro and is hoped to be finished before the spring of 2020. Please check back on occasion for the uploaded video.
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Opus A study in the elements of composition. 2019
Opus was a study of the basic elements of composition in 2019 at Design School Kolding, Denmark. The first half of the project held a focus on producing a product that teaches composition to students through various methods that touched base with the very basic but most common forms of learning such as visual, aural, verbal and social. These teaching products ultimately materialised as 'discussion cards' that addressed the elements of composition and employing each of the learning styles. Keeping up with technology, I sought to include a QR code that would link a specific element to a specific work of art or artist that focussed on it. The cards would teach them about line, shape, space, value, form, texture, and color by analysing a small work of art printed on the card. The second half consisted of allowing children to arrange physical objects to tell a story (see photo below). The intention was to teach them about how design elements work in some paintings and other works of art.
The project became more of a personal endeavour to further improve my own knowledge of composition. I studied Rudolph Arnheim's structural net which refers to Gestalt's theory of visual balance. This led me to a better understanding of how abstract art influenced other styles of art over time. It also led me to investigate the Bauhaus movement which brought me to the Russian Artist, Kandinsky in which later had a major influence on my study. I learned how to better use the elements in my own art and in communication.
The project became more of a personal endeavour to further improve my own knowledge of composition. I studied Rudolph Arnheim's structural net which refers to Gestalt's theory of visual balance. This led me to a better understanding of how abstract art influenced other styles of art over time. It also led me to investigate the Bauhaus movement which brought me to the Russian Artist, Kandinsky in which later had a major influence on my study. I learned how to better use the elements in my own art and in communication.
Foofaraw! A game for emotional intelligence 2019
Foofaraw was an experimental game developed for children to better recognise positive and negative emotions in other people through facial expression and body language. The game is set up in a similar manner to charades, although in the play they were expected to guess the actor's emotion while acting out the situation. Two cards are randomly drawn by the actor, one with a specific emotion and one with a situation to act out such as riding a bicycle or painting a picture. Theoretically the actor would become more focused on acting out the emotion. In turn the spectators might explicitly better understand the specific emotion by watching how the person acts it out. One aspect that was learned was that many emotions are expressed in very blank ways... in other words not outwardly expressed. Most children know what anger or happiness looks like, yet what they might learn is that specific expressions are not one in the same. The intention was not to normalise or stereotype facial expressions despite the manner in which we generalize them, but help children think of how to use their bodies to show how they are feeling.
This project was designed while attending the Design School of Kolding, Denmark. The intention was to create a product that would bridge play and learning in an applied play experience. The aim was to understand how I could advance design solutions through user observations instead of using personal perspectives and ideas as an adjunct within a project. The game was designed by myself in the spring of 2019. The original design utilized working knowledge of Adobe programs and laser cutting machines used to accurately cut out the playing pieces. Photography was also used in recording user experiences.
This project was designed while attending the Design School of Kolding, Denmark. The intention was to create a product that would bridge play and learning in an applied play experience. The aim was to understand how I could advance design solutions through user observations instead of using personal perspectives and ideas as an adjunct within a project. The game was designed by myself in the spring of 2019. The original design utilized working knowledge of Adobe programs and laser cutting machines used to accurately cut out the playing pieces. Photography was also used in recording user experiences.
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The Rebuzzler A study in self branding. 2019
The Rebuzzler was a project at the Design School Kolding meant to improve or learn new skills within communication disciplines. Along with a history of commercial advertising I utilized my experiences and newly acquired knowledge in filming, film editing, script writing, costume and location setting to create a whimsical and humorous position of sustainability and our excessive use of single-use plastics. The intention was to create an absurd or caricatured view to push our thinking and see a different angle into our habits.
Seraphim 2017
Photo: Yurii Casper Bulanov
Seraphim was my bachelor project in the spring of 2017. The work was designed and built by myself. The project was based on experiential design and creation of atmospheres. This whale was designed as a fully functional and maneuverable puppet. The design was drawn to resemble a full 1:1 scale of a new born humpback whale. The artefact was to include an architectural aspect meant to show its full construction and working functions. With concerns of weight, full attention was applied to materials and manipulation of them. The construction allowed for one puppeteer to manipulate tail and head functions through the use of rods and cables. The overall structure weighed 45 kilograms and was five meters long. The intention of Seraphim was to raise awareness to the ongoing slaughter of whales and dolphins in the Faroe Islands. The performance was made for the exhibition at Aalborg University which included myself as the puppeteer and my twin daughters. The intention was create an experience that may leave an indelible memory on the spectators. The work continues to be ongoing. More can be seen on AAU’s website at http://www.art.aau.dk/art-projects/6-semester/show/seraphim.cid317689
Take a look at the short video below.
Take a look at the short video below.
Chloe, a multimedia performance 2016
Chloe was a part of a performance piece that was conceived out of the novel, “Invisible Cities” by Italo Calvino. This was our fifth semester project in the fall of 2016. The work “Out of Sight” was experimental based with technological aspects and a focus on lighting and video projection. Chloe took its part with a conception to reveal the personalities of its wonderfully obscure characters from the book. Lighting had a strong importance to the piece as it had to represent emotional factors such as sensuality and passion as well as fear and desire. Filters were used to change the representative light colors and as well the intensity and dimness was taken into account to show aspects of day and night. The choreography was accompanied by an abstract video that depicted Venetian architecture and symbolic attributes that carried nuances of sensuality, desire and even shame. The use of masks are a classic form of Aristotelian theater. We used them to show the two sides of personality. When we removed our masks, it was to reveal our desires. Chloe was created by myself, Tenna Hansen, Magda Hertzberg and Merle LaPort Petersen. Information on AAU’s website is available at www.art.aau.dk/art-projects/5-semester/show/out-of-sight.cid300662
A YouTube video can be viewed at: https://www.youtube.com/watch?v=0QJi3Q3QffE
A YouTube video can be viewed at: https://www.youtube.com/watch?v=0QJi3Q3QffE
E.I.S. Embodied Interactive Swing 2016
E.I.S. was developed in the forth semester of 2016 as a group project with an intention to exhibit at the 2017 DGI convention in Nørresundby. We were tasked with developing a design to temporarily accommodate the activities of the convention and to promote social interaction. The development of the swings was to entice a user to relax with a friend. Its pivotal overhead suspension allowed for a three axis rotational movement and with the use of accelerometer and gyroscopic technology the user, based on his/her movements would experience color changes in the LED display mounted inside the canopy. The concept was to create three units that would utilize wireless technology and would sense user interaction and create a self sustaining communication between them. A twelve volt solar panel with battery back up provided the power needed to control the LED's, micro processor and communication electronics. EIS was designed and produced by Tenna Rasch Hansen, Merle LaPort Petersen and myself. My responsibilities included the base construction and handling of the metal work. More can be seen at: www.art.aau.dk/art-projects/4-semester/Show/e.i.s---embodied-interactive-swing.cid261999
Clangor 2016
Clangor was created in collaboration between Art and Technology students from AAU and students from Gothenburg University in the forth semester of 2016. Clangor is a conglomeration of scrap metal and interactive analog pressure switches that control push-pull solenoids located throughout the space. The solenoids were used to strike specific surfaces creating an untuned symphony of raw sounds. The aim of this project was to work with the space and to consider using multiple surfaces to attain specific sounds and lighting. My personal involvement dealt mostly with the electronic development. We worked to sort of de-digitize in this world of technology, and bring it to a more basic and simple form. The piece’s organic design was the center piece of the space’s soundscape.
A short video of the creative process can be seen below.
A short video of the creative process can be seen below.
WiDa (Wind Data) 2015
WiDa is a work of art based on data collected from the Anholt wind farm in the Kattegat. Its polyhedral forms encapsulate addressable LED lamps that light up by power generated from a dynamo and a hand cranked bicycle wheel. Its purpose is to display the data in light form. The data is derived from a lidar (laser, radar) that takes measurements at varying heights. Wind speed and dispersion are represented by the level of lamps and intensity of the light. A pale orange to blue green indicates calm to breezy wind where red indicates storm conditions. Special attention to the polyhedral shapes and their patterns reveal their forms through light projection and shadow. WiDa was a group semester project created in the forth semester of 2015.
More can be seen at www.art.aau.dk/art-projects/3-semester/show/wida.cid229736
A short video can be seen below.
More can be seen at www.art.aau.dk/art-projects/3-semester/show/wida.cid229736
A short video can be seen below.
Chameleon 2015
Perception is the key focus with Chameleon. Can we see the forest through the trees? We perceive ourselves when we come back to nature. Chameleon was originally designed for Kultur Mødet in Nykøbing, Mors, Denmark in 2015. Two sets were planned to be produced. The concept was to reflect nature back to the viewer revealing a change in perception. These two site specific pieces were to be discreetly situated along the trail in the woods of the meeting place so that it would only be seen at a point when the revolving mirrors would briefly face the stationary center mirror and give the viewer an infinity glance of his/herself in nature. There are two motor driven, double sided mirrors that turn on a platform. The center mirror remains stationary. The mirrors turn continuously until a passer-by activates the underground stop switch that freezes the motion for five seconds and would give every spectator a differed view of the surrounding greenery or him/herself. This group project was created in the second semester of 2015. My responsibilities in this project were the primary construction and the pulley system to allow the rotation of the mirrors. More information can be found on Aalborg University’s website at:
www.art.aau.dk/art-projects/2-semester/show/the-chameleon.cid180238
www.art.aau.dk/art-projects/2-semester/show/the-chameleon.cid180238
PhytoPlastic 2014
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Bioluminescence
An ambient light sculpture that concerns itself with micro-plastic pollution in our waters
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The darkness is a playground for these insipid figures of light. Phytoplankton is the life force of thousands of species of marine animals, but when micro plastics become mistaken for them they endanger all sea life who ingest them. We saw an opportunity to raise this awareness by creating a piece that would impart the likeness of the naturally occurring microscopic plant life through the use of plastic itself. Phytoplastic was derived out of a group in the fall of 2014 with a concern for the sustainability of marine wildlife. With a simulated movement of the sea, its long plastic strands light up and then wanes to darkness again. Underwater sounds accompany the piece to facilitate a meditative atmosphere. The intermittent lighting was achieved by the use of warm LED’s and capacitors which when came in contact with the power circuit through the edge of the soup cans would cause a momentary glint of light and then fade. More on this piece can be found on AAU’s website at: www.art.aau.dk/art-projects/1-semester/show/phytoplastic.cid155857
YouTube video can also be seen below
YouTube video can also be seen below
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