Building a Sense of Place across Channels - Part II

ANDREA RESMINIBUILDING A SENSE OF PLACE – PRACTICAL CROSS-CHANNEL DESIGN

WORKSHOP, UX AUSTRALIA 2013

PART II

PART 2. PLACE-MAKING

PLACE-MAKING IS A HUMAN-CENTERED WAY TO HELP ACTORS MAKE SENSE

OF COMPLEX SYSTEMS

SPACE & PLACE

SPACE IS THE BASE OF OUR SENSE OF EMBODIMENT, AND IT'S OBJECTIVE, IMPERSONAL

AND UNDIFFERENTIATED

PLACE INVOLVES MEMORIES, EXPERIENCES AND

BEHAVIORAL PATTERNS: IT'S PERSONAL, SUBJECTIVE AND

COMMUNITARIAN

TATOOINE

http://imagescart.blogspot.com.au

http://imagescart.blogspot.com.au

#1. PLACE IS SET APART

http://imagescart.blogspot.com.au

#2. HAS A NAME

http://imagescart.blogspot.com.au

#3. HAS BOUNDARIES

http://imagescart.blogspot.com.au

#4. HAS PERMANENCE

http://imagescart.blogspot.com.au

#5. AGGREGATES MEMORIES

http://imagescart.blogspot.com.au

#6. WORKS SELECTIVELY

http://imagescart.blogspot.com.au

#7. HAS QUALITIES

WHAT AND WHERE IS FB?

CHECK #2: FB IN SPACEDRAW FACEBOOK ASIF IT WAS A BUILDING

The Name of the Rose, J, Annaud

The Name of the Rose, J, Annaud

The Name of the Rose, J, Annaud

The Name of the Rose, J, Annaud

The Name of the Rose, J, Annaud

The Name of the Rose, J, Annaud

Scale model of the library

The Name of the Rose, U. Eco

INTERFACES ANDINTERACTIONS DIFFER

WILDLY

COGNITIVE CONTINUITYIS NOT

INTERFACE CONTINUITY

PRAGMATIC SPACE

PERCEPTUAL SPACE

EXISTENTIAL SPACE

COGNITIVE SPACE

ABSTRACT GEOMETRICAL SPACE

INTERFACES

ARCHITECTURES

IN-CH

ANNE

LCR

OSS-C

HANN

EL

d resmini where's that pic of Peter dancing naked on the table at the office?

http://www.flickr.com/photos/46037115@N04/4233027629/

@resmini where's that pic of Peter dancing naked on the table at the office?

http://gm25liveen.web-log.nl/george_michael_25_live_en/blog/index.html

COMMUNICATION ALWAYS IMPLIES A NUMBER OF

SPATIAL ASSUMPTIONS AND RELATIONSHIPS

NOT UNDERSTANDING HOW THESE WORK MEANS

CRAFTING A BAD CROSS-CHANNEL EXPERIENCE

PETER ->

WHY IS SPATIAL KNOWLEDGE SUCH A

POWERFUL WAY TO UNDERSTAND?

WE UNDERSTAND THE ABSTRACT BY MEANS

OF THE CONCRETE

ONCE UPON A TIME

ONCE UPON A TIME

ONCE UPON A TIME

SPACE TIME

PLACE

RHYTHM

LANGUAGE MUSIC

MATHEMATICS

HOW CAN WE DESIGNA SENSE OF PLACE WITHIN

A COMPLEX SYSTEM?

WE STUDY, ADAPT AND EXTEND THE LANGUAGES

AND GRAMMARS OF EXISTING MEDIA

THE TRIBUTE'S MONEY

THE TRIBUTE'S COMICS

2 1 3

SEQUENCE & RHYTHM

1

1

1

1

SCENE

AUDIENCE

CAMERA POV

... appears as an entirely new picture. The room suddenly disappears and the hand ... flashes up. Again when we have (seen that), it suddenly disappears and we are in the same room again

1 2

SCENE SCENE

SOMEWHERE ELSE

SCENE

CAMERA POV

AUDIENCE

OUTSIDE SPACE

SCENE 1 SCENE 2

CAMERA POV CAMERA POV

AUDIENCE AUDIENCE

SCENE

AUDIENCE

CAMERA POV

http://z.about.com/d/arthistory/1/0/I/n/gc_bm_0309_04.jpg

FILMS PRESENTA COMPLETE PLACE-MAKING

AND SENSE-MAKING LANGUAGE

MONTAGE AND CUT

ASSEMBLY

CROSS-CUTTING

MISE-EN-SCENE

SPLIT-SCREEN

EXERCISE #2

REFLECTIONS

PLACE-MAKING CHEATSHEET

#1 PLACE IS SET APART, IDENTIFIED AND IDENTIFIABLE#2 PLACE HAS A NAME#3 PLACE HAS BOUNDARIES#4 PLACE HAS TRANSIENT PERMANENCE#5 PLACE AGGREGATES AND REUSES BEHAVIOR + MEMORIES#6 PLACE WORKS SELECTIVELY#7 PLACE HAS DISTINCTIVE SOCIAL + FUNCTIONAL QUALITIES

KEVIN LYNCH'S SPATIAL PRIMITIVES CHEATSHEET

#1 PATHS#2 EDGES#3 NODES#4 DISTRICTS#5 LANDMARKS#6 WEENIES (THIS IS DISNEY'S, BUT USEFUL)

C. NORBERG SCHULZ RELATIONAL PRIMITIVES CHEATSHEET

#1 PROXIMITYESTABLISHMENT OF A CENTER#2 CONTINUITYDIRECTIONALITY OR PATHS#3 ENCLOSURESPERCEPTION OF AREAS OR DOMAINS

book

BUILDING A SENSE OF PLACE: PRACTICAL CROSS-CHANNEL DESIGNWORKSHOP, UX AUSTRALIA 2013

THANK YOU!andrearesmini.com

@resmini