Final idea?

After the initial brainstorm which ended with three rough ideas, our group selected to work on the third  idea. Despite the fact that the idea perhaps was the least develop, our group found it very interesting to work with ways to inform/guide people without the use of visual aids.

Especially we became interested in using directional sound to guide people into the hidden paths in the greenhouse. The two greenhouses (Mediterranean and the Dessert) today already contains several small paths which today lacks some kind of information to show the guest that they are allowed on the paths. With the use of the directional sound it would be possible to some how afford for the use of these paths,  e.g. by whisper to the guest from inside the paths to draw their attention. 

This (still rough) idea would also follow two of Line's (our contact person from Væksthusene) wishes. In her guided tour around the greenhouses it was clear that Line wasn't a fan of posters or screens static placed in the greenhouses. It was also clear that it wasn't a mistake that the paths were hidden, since they sought to give it a secret/hidden feeling. Our take on this however, was that the paths at this point properly was too hidden, and therefore nobody would use them, removing the purpose. 

Selection of location/context

After the study of the possible locations in and around Stenomusseet and Væksthusene in Botanisk Have, we had to choose a specific location.

Of the possible locations we decided on the mediterranean and dessert sections of the greenhouses. The two rooms were similar except for the actual contents.

The rooms offered a layout, but didn't have any form of technology or interactive installed installations.

We made a initial brainstorm (which was done by first making brainstorm-questions, and then brainstorm on three of there questions) which came up with some ideas. We selected three

1) The first idea was using argumented reality (AR) to show how different plants is used in everyday life (e.g. oregano to pizzas).

2) In the second idea an iPad (or another device) could be used as an map over the greenhouses. On the iPad's map (or using the camera, with AR) new animals or plants (that wound not normally be in this area/climate of the world) could be introduced to the ecosystem, and the changes could be visible on the screen.

3) Non-visuel. This was perhaps the least refined idea, but centralized around not using visual aids like screens, posters and so on. Sound, sent or other senses could be used to either showing the country/area a specific area of the greenhouse represents, or somehow guiding the guest to use the small hiding paths.

Stenomuseet and Botanisk Have

After the initial space study of Aros, the Public Library and Musikhuset, we did a similar study of Stenomusseet and Botanisk Have, and made an assignment which included the summary of the study.

The assignment is appended

Space study

Today we have been walking around Aarhus, to study public spaces and analyze them from the five perspectives of Bek (1997). We have studied the inside spaces of the main public library of Aarhus, ARoS art museum and the music and theater house in Aarhus, Jysk Musik og Teaterhus (Musikhuset). For each of the three contexts, we chose a specific space, that we wanted to examine further. In the public library we chose the small children’s area, where small children can sit and read, play etc. In ARoS we chose a specific art installation by Tony Matelli, and in Jysk Musik og Teaterhus we chose the foyer. In the following, we will present the findings from our observations.

Children's section of the public library
ARoS art museum
Jysk Musik og Teaterhus

AROS - The meat installation

AROS - The meat installation

• The form aspect
- Size
- Surfaces
- Inputs
- Structural elements (columns, immersion)
- What elements could create or define space?
A very large high room, walls which is about 8-10 meter high, but open in the one side, so it does not feel like one room, but more a part of a larger room. The floor looks like polished concrete. It is very white, but illuminated with cold artificial light.

• The practical functional aspect
The space where the meat installation was situated at, was a very traditional museum space, where the installation was encased in wires to signal to the viewers, that they are not allowed to get close to, or touch the installation. There was a small path all the way around the installation, that invites the viewers to walk around the installation to see it from different perspectives.

• The scenographic-social aspect
- How can one understand the conceptual rituals?
- What are the rituals performed in the space?
- What expectations do people have, what should they do in the space?
- How can space indicate a certain behavior? Color, sound, light content?
The installations are enclored with wires, and podiums, to keep people from touching the installations. The installations are made as displays.

• The iconographic-important aspect
- How can a facility use known symbols?
- How can the involvement of symbols influence the use of a space?
???

• The visual-experiential or aesthetic aspect
- Visual aesthetics versus interaction aesthetics?
- We need to think how aesthetics underpin the desired use of the space
You feel “little” in the large room, making the room a dominant character.

Hovedbiblioteket (small children's section)

Hovedbiblioteket (small children's section)

• The form aspect
The small children’s at the library is a relatively small and compact area, with low ceiling and small glass walls (behind one of the wals, theres a bare area used for nothing, which is almost like hidden behind different items). From the area it is almost possible to see the whole childrens area of the library, giving a interesting overview, and seeing the library and it’s offerings from a new perspective. A very distinct staircase is leading up to the area. A special thing about this staircase, is that it is kind of separated, with small regular steps and larger steps, that needs very large, almost athletic steps, that is primarily used for sitting. The spaced is full of toys and icon figures (teddies) from different books and cartoons. There is no high-tech, all the toys are aimed at children at a low age.

• The practical functional aspect
The space is primarily a playing area for small children, but is also used for parents (or personel) storytelling. The space has wooden floors, and different types of carpets and other things for children to explore on the floor. It is a very open space, giving the ability to see many different interesting things around the space. The low ceiling of the rooms gives a type of intimacy, and it is possible that this is making the children feel like they fit into the space.

• The scenographic-social aspect
A library has a classic set of rituals, e.g. to whisper and generally be quiet. Even though there is space to use a playstation or a computer, it is the norm for the children to be relative quiet, and not make noise.
There are clear reading areas which affords for reading, and quiet-time.

• The iconographic-important aspect
- How can a facility use known symbols?
- How can the involvement of symbols influence the use of a space?
???

• The visual-experiential or aesthetic aspect
- Visual aesthetics versus interaction aesthetics?
- We need to think how aesthetics underpin the desired use of the space
The stairs was separated in large steps - for adults, and small steps - for children, or otherwise? Walking up the stairs, feeled like reaching a new exciting plateau.

Jysk Musik og Teaterhus (Musikhuset) - Front hall

Musikhuset - Front hall

• The form aspect
- Size
- Surfaces
- Inputs
- Structural elements (columns, immersion)
- What elements could create or define space?
Very large and clear room. Not a lot of furtiture or other objects.
The room is structured by the colums of lamps hanging from the ceiling. The floor is made of some sort of stone tiles. To the left of the entrance, there is a exhibition of several large posters by AAA-students. in front of the entrance the box office windows are places, with a lot of free space in front.

• The practical functional aspect
- What is this type of space?
- Kitchen, living room, bathroom, bedroom
- What types of spaces could you imagine to meet in a museum?
- What part of the room?
Used for exibition, buying tickets, standing in line for tickets, waitingroom for between shows.

• The scenographic-social aspect
- How can one understand the conceptual rituals?
- What are the rituals performed in the space?
- What expectations do people have, what should they do in the space?
- How can space indicate a certain behavior? Color, sound, light content?
Because of the large open area, it is easy to be in isolated groups, however, if the place is crowded, one has to walk a twisty route between the groups, thereby possibly meeting new people, at least for an “excuse me..”. The room is well lid, with a warm color, achieving a delightful space to stay in.

• The iconographic-important aspect
- How can a facility use known symbols?
- How can the involvement of symbols influence the use of a space?
???

• The visual-experiential or aesthetic aspect
- Visual aesthetics versus interaction aesthetics?
- We need to think how aesthetics underpin the desired use of the space
Very rough, very heavy looking, very solid. Looking like painted concrete (which it also is).