Building Environments
Create a temporary (3–4 week) exhibition featuring an artist (or issue*) currently on exhibit at one of the three museums. In addition to their existing work, develop virtual interactions that provide an immersive experience
Target audience: Generally, people in Oakland. Specifically, students, faculty and staff in the College of Fine Arts and those with an interest in art and immersive experiences.
8/31/21
Things to consider when creating a space:
- Height of building: from the most surface-level question, is there enough space? How can we make use of both the horizontal and vertical attributes?
- Readability of text: is the font size appropriate? How comfortable is the eye level? Is the number of words overwhelming and/or difficult to register?
- Psychology of human walkways: How can we separate the space so that we subconsciously follow the natural flow and eliminate potential congestion/confusion?
- Conditions of the artwork: What lighting, props, or any assisting pieces will best present the work to its highest value?
Next I visited the Miller Institute to observe Jacolby Satterwhite:
Spirits Roaming on the Earth temporary exhibition.
VISITING THE MILLER INSTITUTE
Permanent Considerations
Like Tay said, the layout is smaller than expected. While the ceilings are tall, the room itself is very rectangular with white walls and sharp corners. I need to consider the fact that these are qualities that cannot be removed, but can be altered through temporary installations.
Removable layouts
Contrary to the other times I visited the Miller Institute, this particular exhibition was much more immersive, and exhibited virtual qualities that previous showcases did not possess.
Walls: the normally stark white walls were painted over in black to remove light and soften the corners of the ceiling and walls. Additionally, the first floor exhibition possessed very few dividing walls, which is rare.
Corners: next to the bathroom, a sharp corner was rounded out by a removable, black semicircular pillar that propped up a T.V. this not only allowed an additional work (the television video) to be seen, but it also distracts visitors to back away from the normally angular edge, now blended into the black medium. Instead, they step away to watch the video.
Furniture: many of the large screens had benches that not only allowed visitors to relax while viewing, but also subconsciously gave an indication of the distance they should maintain between the viewer and the screen, and at what angle.
Signage: Contrary to many exhibitions, there was little text. The only sign was a large, overhanging description of the artist and his work. However, the title was large, the paragraphs were evenly structured and clearly visible to the eye.
Digital and Immersive properties (all floors)
Satterwhite’s exhibit is unique in which visitor’s are able to interact more with his work. For example, there are television screens and headphones for audio. Oculus VR headsets are placed in areas with swivel chairs that require little movement, so that people can have the full 360 experience without wandering about.
For the first floor, a film was placed over the doors so that sunlight wouldn’t filter through the windows and wash out the video projections. Tracklights are used to spotlight the pieces, but are also dim enough so that the videos are still bright and prominent.
On the second and third floors are a series of television sets, pictured images, and headphone sets. The headphones are placed at eye level, while the screens are slightly higher above. Moreover, the ceilings were noticeably shorter than that of the first floor.
POTENTIAL ARTISTS:
The first artist that I was drawn towards was Jennifer Angus’ insect exhibition at the Mattress Factory. I’m fascinated with her concepts surrounding climate change, impact on the Anthropocene, and the consideration of even the lowest of life forms.
“Climate change, colony collapse and many of the most urgent issues of our time — including gun violence, systemic racism, and genocide — are human-centered devastating facts of contemporary life. And all are areas where individuals, one by one, can make a difference.” -Angus
Another artist that I was interested in was Shikeith’s Feeling the Spirit in the Dark, an installation devoid of materials, instead relying on narrow spaces and lights to convey the message.
“It’s a real multiplicity of ideas, and seeing that the images are projected on the sail, they do spill off onto the walls,” said Autry. “And the images are reflected in the water.” However, she added, “It’s also got this extremely stark, very sheer quality. He’s stripped it down to just what it has to have.” -Curator LaTanya S. Autry on Shikeith
9/4/21: Solidifying concept
Although I was really excited to explore a historically-stimulating artist theme coupled with a pervasive issue, I realized that Jennifer Angus’ work would be difficult to translate into a smaller exhibition. Not only are the annex’s large and fully occupied with work (making it difficult to implement virtual properties), but Angus’ work already showcased a micro-to-macro progression; therefore, I felt that any form of modification and/or usage of technology would dampen it’s original intent. Shikeith’s work, on the other hand, left more room for the conceptual understanding, alongside audio and color aspects
Given that we are promoting an artist’s installation and not our own, I needed to convey Shikeith’s prime messages, which involve physical and protective boundaries, nuances of racial terrors, and an uncomfortable feeling of the uncanny.
Moodboard:
Moodboard Explanation:
Shikeith’s main pieces and installations within the Mattress Factory depict Black brutality, sacrifice, and protection in various situations. For example, the picture on the bottom left corner of the moodboard is a photo of one of his installations: “Feeling The Spirit In The Dark". This piece discusses the purification and religious rite of passage of enslaved Africans, while creating symbolism of a protective boundry. Hence, spaces, passages, hallways, and doorframes should play a key role in this installation. Another one of his pieces, “The Beauty of Recovering What Has Been Lost”, 2020 showcases another one of his common themes (eroticism) and the sacrifices black people have made in exchange for hope. This moodboard is contrived of a dichotomy of beauty and horror, forcing the visitor to understand the ramifications of humanity and violence, while acknowledging the feeble beauty that exists from these trials.
As a result the main color palette is a progression within itself. What starts off as the clean, almost sickly-like isolation of the cream and black, will slowly transmorph into a dark, almost claustrophobic-like space of narrow hallways and dark pathways. The blue is a primary motif color in many of his pieces, as this color alongside the LED lavender symbolizes protection and serenity. Many of the text choices and textures of the darkest color is smeared, almost remiscicent of horror scenes. It’s the kind of fear that makes your heart drop, that has reality crashing onto you and forcefully bringing you to the existence that is a cruel world tallying bodies upon bodies.
Moreover, the installations themselves are contrived of minimalism, white space, and narrow hallways. While Shikeith already takes advantage of digital mediums, he makes good use of space and minimalistic qualities in both the layouts and the materials of the installations themselves. Hence, many of the images in this moodboard contribute a vast amount of white space, while also including a digital aspect. The last photo on the bottom right is the glass paneling of a photo I took myself. I liked the translucency of the glass, and thought that it would provide solid material for the museum installation.
To mold the room with Shikeith’s hands requires the burdens of barely-acknowledged struggles. Whatever they carry, must be heightened to the highest order of intangible pressure. Visitors need to feel horror, but not fear; guilt and discomfort that refuses to be washed away while they gaze amongst the scarring stars. But despite this, despite the deeply concerning empty space and narrowing halls, they cannot ignore the somber beauty in the watchful solitude.
Interaction Inspiration Sources:
Will they look up and notice the abnormalities of the stars? Or look down and feel their hearts drop at the smudged fingerprints on the ground.
9/6/21: Solidifying concept cont’d
Elevation Plan
First, we created a map to scale of the real Miller Institute, taking elevation, doorframes and elevators into account.
Next, I created a rough sketch of an installation and walkway proposal. While this will still need modification, I think it is a good start on what qualities of the artists’ work will need to be implemented and how; In addition, it allows me to visualize the space and interactions so that I can develop further virtual augmentation qualities.
Using this, I began drafting some storyboard iterations. What started off as a few rough sketches and ideas turned into more developed concepts on the various exhibition areas, and how they each connect and interact with one another.
9/9/21
Interaction Research:
https://www.youtube.com/watch?v=ybkvEqv0ST4
https://sonicstate.com/news/2010/01/06/does-white-noise-at-work-stress-you-out/
Notes:
- Government-mandated corridors requires a minimum of 4-feet (48 inches) width
- Two-way mirrors are commonly 13/16 ratio inches
- White noise can reach 50dB of white noise before it starts increasing stress levels, headaches, and a general feeling of uncomfortableness
- Put film on the front door to diffuse outside light
Overall rationale:
- Many of Shikeith’s work follows a string of themes, motifs, and an overarching progressional journey. These are integral to the physical layout and immovable pieces to this museum installation.
- There should be a limited number of people entering the Miller Institute. This is not due to failure of accommodating a proper amount of space; rather, it’s to respect the artist’s work and understanding. For example, one of his pieces is intentionally small and follows a dead end so that they are surrounded by “black sound.”
- Walls should be curved to adhere to the original piece, but also naturally aid the visitor to a subconscious pathway.
- Interactions require immediate reactions, but should also follow Shikeith’s motifs. For example, many of his pieces depict a black man’s journey escaping their haunted upbringing. Therefore, another timed, second interaction alluding to consequences or fears would deepen the understanding of his work.
Emphasize a story/journey:
- Hand sensor interaction (1): lack of trauma understanding, curiosity-driven, voyeurism
- Hallway/Autoeroticism(2) + Feeling the Spirit in the Dark Exhibition(3): Moving from place to space. The act of transgression and sexual ecstasy → usage of white noise to contrast discomfort and pain to protection.
- Projection hallway (4): tracing back to the consequential actions and horrors of (1). Symbolic and provides a more literal narrative to Shikeith’s message of the afterlife of slavery and what haunts Black queer, male-embodied people in society
- The Beauty of Recovering What Has Been Lost- hanging dicks exhibition (5): conflicting views of the most visible and brilliant part of the Ursa Major constellation and the traumas of the underground railroad. As the glass penises flicker (from new visitors at the entryway) the current visitors are further reminded of the progression from (1) and (4).
Interaction Ideas:
The premise of building interactions is largely centered on heightening prexisting works/factors, especially ones that are already installation-based and belong to someone else. Therefore, I decided on interactions that primarily affect other areas in the exhibit (such as hallways).
- Hallway Sensor: As visitors enter the main hallway, a motion sensor calculates the distance between them and the end of the hallway. A low vibration of white noise will gradually increase until 50dB, creating a ringing sound of subconscious uncomfortableness Shikeith’s piece on Autoerotism will also be placed at the end of the hallway as a visual stimulant, so that the white noise isn’t noticed as easily.
- Double-interactive time-based hand scanner: At the beginning of the exhibit, an angled window is visible to view a section of the final installation. Next to the window is a hand scanner. Upon scanning a hand, it triggers two interactions:
- Immediate interaction: the final exhibition (visible in a small window at the beginning of the museum) will have the lights flicker immediately after someone presses their hand to scan, followed by artist information appearing on the screen next to it. This gives the impression that hand → triggers light + artist information
- Timed interaction: in reality, the hand scanner is also part of the fourth part of the exhibit: the projection hallway. After they scan the hand in the lobby, the palm shape is saved and multiplied amongst numerous others. These hands will be projected as smeared palms moving and banging against the opaque walkway.
However, after talking to Peter and Daphne they brought up the consideration of separating the artist’s work from ourselves. After this discussion, I felt that I was pushing too much of my own initiation onto this exhibition, and tried to tone down the interactions so that they don’t effect the artist’s original work. Thus, I scrapped the second idea and started thinking of a different interaction to replace it.
9/14/21: Prototyping Interactions
One of my main interactions is the hallway sensor, so I developed a proximity sensor to auditory response via TinkerCAD.
I attempted to add an LCD monitor to calculate the distance while the program was running, but it wouldn’t function. Given that this addition isn’t entirely necessary for implementing the interaction and is theoretically meant to be hidden, Tay said I could overlook it (lol).
9/16/21
9/19/21
I revamped my parti diagram to accomodate for the new door in the Feeling the Spirit in the Dark piece in order to improve the one-way directionality of the museum exhibit. Moreover, I included the small platform area, as the installation is not completely walkable.
I also created a second parti diagram, where it indicates where each interaction is and what part of the museum it effects. The red and yellow gradients are where the white-noise proximity hallway and the weight-to-text projections are, while the green gradients are where the interactions take place.
Finalized Interactions:
I then drew up small storyboards indicating parts of the museum exhibit, particular the areas that required some form of interaction.
Updated final interaction: The final interaction takes place in the installation with glass penises. Upon entering the curved room, visitors cross the first threshold, and text is immediately projected onto the wall. However, the text is flipped, and once visitors step closer the text disappears (as they are now away from the threshold). Upon closer inspection, they find that they were actually grime-covered penises. After this realization, they curve around and exit the room.
However, right at the exit are two parts: a mirror and the second weight-sensor threshold. Once visitors head towards the exit and inevitably stand in front of the mirror placed there, the text projection is triggered once more. Now that the visitor is standing in front of the mirror, they can now read the text as well.
Therefore, there is a progression throughout the entire museum exhibit: the inquiry of something beautiful and hopeful from looking through the small window, to the confusion from backwards text, to the horror and realization upon closer inspection of the work, to the finale of standing in front of your reflection, amongst the work and the now-displayed story.
Final Photos:
SketchUp Model:
Elevations:
Visualizations:
Self Reflection:
What kept you motivated?
This project really excited me because I greatly enjoy visiting immersive environments and museums for the last few months. When I saw the temporary Continuity exhibition in the Asian Art Museum and the Open House Target in The Metreon, it opened a world of different perspectives for what I could accomplish in design. Thus, the concept of designing a museum layout, heightened by virtual experiences,
What internal/external distractions did you battle?
Work-wise, there were moments when I struggled with what I wanted to accomplish as opposed to what is suitable for the prompt in terms of physical v.s. digital models. I have a lot of expectations for myself, and occasionally it’s difficult to separate what is right and wrong went I felt unsure about myself and the direction I was taking.
Moreover, the final week of this project I had a lot of bad luck and experiences outside of academics, and my week was very mentally taxing to go through. I found it more and more challenging to focus on the task at hand, despite my enjoyment and interest in it. However, as a person that prioritizes work first I did my best to persevere and prevent it from distracting the list of deliverables I had yet to produce.
How did you sustain effort over time?
I think the content in class definitely kept my efforts and spirits high: content-wise, every class felt like rush in the best way. In such a short period of time I was able to create a to-scale model, created a digital model via SketchUp, learned Arduino, watched a TEDx video about LittleBits, and improved my Photoshop skills. I think that this constant stimulation of new explorations greatly kept me sustainable throughout the project. Even those that I have a slight distaste for, such as the C++ coding portion in Arduino, was still overridden by my interest in learning new softwares. In short, I am grateful for all that I have learned in these four short weeks.
When reflecting on this project, I do think about the success of my design choices themselves. I hit a roadblock quite a few times, and ended up having to scrap many potential interactions in favor of respecting the artist’s work. Above all, I wanted to solidify the concept of a progressional journey of greater understanding. Looking back, I’m surprised I was able to come up with these interaction ideas that primarily rely on support, or the supporting aid of the artist’s work. I got to experiment with auditory functions and angled perspectives, and how to use those to greater emphasize the “big reveal.” When I think about it like that, I feel like I’ve come a long way regarding environments design thinking, and the ability to come up with digital interactions that aren’t just slapping on a projection or QR code.
