Very nice proposal post and accumulation of your research into one document.
Here are some thoughts.
1. Seems like you should include Robert Stadler as an item in your research since you’ve used an image of his work in your composite image. What will YOUR object look like?
2. I think it is worth thinking about the title. Right now it is a bit of a play on words and I want to be sure it means what I think! I IMAGINE you mean the “satisfaction of isolation” but “Isolated Satisfaction” is interesting because it can have a few meanings, for example it can mean that your satisfaction itself has been isolated. So it’s like taking all of your satisfaction and sequestering it in one place. It tends to have a more conceptual feel than I think you might be after!
3. I think between Stadler and the comfort shell it appears that this idea has been adequately done as a GENERAL idea before. When i say GENERAL I mean that neither of their designs seem to have any special relationship to a particular space. They could be installed anywhere.
So I think you need to ask,
Why this space? And how might the object you create be specific to the Making Center? How can its form, placement, materials begin to reflect something about the site?
In terms of site specificity, what is the ideal place for the object? Is there a way that it can be clear to us, based on the PLACE it is installed, that it really could only be here?
What might the user experience be like to be inside your object? What does the USER see when they are inside? Also It is worth noting that just because they are using the device and are perhaps “invisible” sonically, they are still visually visible! What is the impact of having others seeing you with your head in a box? Does it matter?
This brings up the question of whether or not there’s a critical angle here. What does the piece say? does it comment on anything (about culture, psychology, technology, etc) or does it exist solely as a useful object? It is OK for it to simply be useful, but It is worth considering any UNINTENDED readings that come from its use, or the appearance of someone using it (for example seeing someone with their head in a box might provoke unintended associations)
4. Technical
You neglected to give any details about the piece. What is it made of? How big will it be? How do you think you will sound proof it? Where will it be installed and how? Does it need to hang? If so, are there any features in the ceiling that it might hang from?
If you intend to fabricate this, you need to begin material exploration right away. It would be good to see a series of tests!
Also, here’s a really great new 99% Invisible episode about REVERB. It also includes the idea of Passive sound modification (like sound proofing materials) as well as Active sound modification (using electronics). The episode includes Emily Thompson whose intro to The Soundscape of Modernity we read in class.
Very nice proposal post and accumulation of your research into one document.
Here are some thoughts.
1. Seems like you should include Robert Stadler as an item in your research since you’ve used an image of his work in your composite image. What will YOUR object look like?
2. I think it is worth thinking about the title. Right now it is a bit of a play on words and I want to be sure it means what I think! I IMAGINE you mean the “satisfaction of isolation” but “Isolated Satisfaction” is interesting because it can have a few meanings, for example it can mean that your satisfaction itself has been isolated. So it’s like taking all of your satisfaction and sequestering it in one place. It tends to have a more conceptual feel than I think you might be after!
3. I think between Stadler and the comfort shell it appears that this idea has been adequately done as a GENERAL idea before. When i say GENERAL I mean that neither of their designs seem to have any special relationship to a particular space. They could be installed anywhere.
So I think you need to ask,
Why this space? And how might the object you create be specific to the Making Center? How can its form, placement, materials begin to reflect something about the site?
In terms of site specificity, what is the ideal place for the object? Is there a way that it can be clear to us, based on the PLACE it is installed, that it really could only be here?
What might the user experience be like to be inside your object? What does the USER see when they are inside? Also It is worth noting that just because they are using the device and are perhaps “invisible” sonically, they are still visually visible! What is the impact of having others seeing you with your head in a box? Does it matter?
This brings up the question of whether or not there’s a critical angle here. What does the piece say? does it comment on anything (about culture, psychology, technology, etc) or does it exist solely as a useful object? It is OK for it to simply be useful, but It is worth considering any UNINTENDED readings that come from its use, or the appearance of someone using it (for example seeing someone with their head in a box might provoke unintended associations)
4. Technical
You neglected to give any details about the piece. What is it made of? How big will it be? How do you think you will sound proof it? Where will it be installed and how? Does it need to hang? If so, are there any features in the ceiling that it might hang from?
If you intend to fabricate this, you need to begin material exploration right away. It would be good to see a series of tests!
Also, here’s a really great new 99% Invisible episode about REVERB. It also includes the idea of Passive sound modification (like sound proofing materials) as well as Active sound modification (using electronics). The episode includes Emily Thompson whose intro to The Soundscape of Modernity we read in class.
http://99percentinvisible.org/episode/reverb-evolution-architectural-acoustics