balancingage

m e t r o p o l i s of the

m u l t i t u d e

Balancing age

design led Futures 2011-2040

Victoria uniVersity oF Wellingtonschool oF design

Made and published by Balancing agecharles chenDaniel collinsonlulin Dinglaura JollyRuth Sumnergina Van BerloJohn Won

Printed & Bound by .............................

First edition, 19 June, 2011.

Printed in new Zealand in accordance with the hand-in requirements for Design led Futures Paper 2011

3 0 0 0 6 2 0 8 2

Balancing age ltd.c/o Design led Futures Victoria University of WellingtonSchool of architecture and Design139 Vivian StreetPO Box 600Wellingtonnew Zealand

contents

Preface - - - - - - - - 4

acknowledgments - - - - - - 6

contributors - - - - - - - 8

introduction - - - - - - - 10

concept - - - - - - - 18

narrative - - - - - - - 26

Benefits - - - - - - - 54

conclusion - - - - - - - 66

Bibliography - - - - - - - 68

appendix - - - - - - - 70

preface

“The council wants to create an envi-ronment where people are able to main-tain the balance between retaining and expressing the individual culture that defines who they are and being part of the wider community they live in. it is the balance between these two fac-tors that enables people to retain their sense of self and their overall health and wellbeing.”

Wellington city council‘cultural strategy’

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We are a group of industrial and Digital Media Design students undertaking a Design led Futures Paper at Victoria University of Wellington.

Our brief is to conceptualise a fu-ture for the city of Wellington in the year twenty-forty. The client is the Wellington city council.

Our approach is a provision of one of the basic needs for survival -shelter.

By combining this elemental ne-cessity with ideas of collectivism, connectivity and community, we have established a new equilibrium in the organised complexity of so-ciety.

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acknoWledgments

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“sounds cool” -carlo ratti, mIt

Firstly We’d like to thank our tutor Helen for her dedication and prior insight into the topics at hand.also thanks to Ross for his natural ability to veer us off-course, reveal-ing new roads and opportunities.

a big thanks goes to the amazingly talented make-up artist ellen Jean for taking the time to make us look ‘aged’ at the beginning of the pro-ject, this really helped us to get in the role of what the future may be for us.

Thank you Professor Richard Faull, Director of the centre for Brain Research at the University of auckland and specialist in neu-rodegenerative diseases of the hu-man brain. not only is Professor Faull new Zealand’s top neuroscientist, he also has a very poetic, almost ar-

tistic take on the scientific way of thinking. an incredible man, with an incredible brain;

Special thanks to Meena Kadri, from the Death and Diversity pro-ject at the Office of ethnic affairs and the Wellington Museums Trust for our chats about diverse cultural rituals.

Thanks to carlo Ratti; architect and MiT sense lab professor, for his brief yet illuminating response to an email questionnaire.

Thanks to the Software consult-ant/Developer, for the indepth and stimulating discussion about the future of technology and aug-mented reality.

and finally thanks to the Welling-ton city council for the oppotu-nity to enlighten you with a bit of creativity.

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contrIbutors

Charles ChenClimate ExpertThe first time i used a computer was in sec-ond grade. i remember mouse control being a bit strange to get use to at the start. it is hard to imagine that in just 10 years it has become part of your everyday life.

Daniel CollinsonForm DesignerMy first memorable ex-perience with technolo-gy was when the Sharp gX10 cell phone came out which was one of the first camera phones to be released in new Zealand.My family had a Japa-nese international stu-dent at the time and he brought one. i thought it was the coolest phone ever.

Gina Van BerloCompany Directorin 1996 our primary school purchased four computers, and we were lucky enough to get one for our class. We had to make a class roster of who would turn the computer on and off each day. i was third on the list and re-member going home to tell my dad that i was turning the computer on the next day!

What was your first memorable experience with technology?

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Laura JollyPhotographerin 1996 i got my first film camera. i had no previous understand-ing of technology. Unfortunately i never got to develop a single roll of film because i opened up the back and touched something i shouldn’t have. i couldn’t grasp the concept that it was bro-ken, because it didn’t look broken.

Lulin DingFilm-makeri hopped on the plane from china to new Zealand when i was five, i never thought about the action of go-ing onto the aeroplane to go to another coun-try as a big deal. i did not realize its im-portance until i spoke to someone that had never flown before, and that was a lot of people during that time.

John WonSocial SpecialistMy most memorable experience with a tech-nology was getting a game Boy. This changed the revo-lution of gaming where i was able to play any-where and anytime. i would spend many hours playing these ad-dictive games.

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Ruth SumnerWriter and EditorMy first memorable experience with tech-nology was when i was about 9 years old.a boy in my class at school called Reuben got a talking watch which told the time in an american Woman’s voice. The novelty wore thin pretty fast.

IntroductIon

“each agent understands itself not as part of the mass, but as an individual cooperating with others through center-less networks.”

-Sumrell & Varnelis, Blue Monday

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This is a ‘swarm’ of organised complexity composed of single units that sense and respond with their neighbours to fashion an evolving shelter form that flows with the tides of commuters, and expands and contracts with the el-ements and the reassurance of hu-man touch.

These ‘portable shelters’ stem from the heart of the city, Wellington’s railway station; where the foot-paths act as the arteries and veins flowing through and (re-)connect-ing Wellingtonians resulting in the symbiotic relation between social and material to blossom and har-monise with the surrounding envi-ronment.

Here-by turning the act of transit (under the guise of the theory of relativity) into a refining time for physically and literally re-connect-ing with society, thus re-gaining our social interactions from the culture of commodity.

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in the future, the new alchemists will be a million individ-ual pixels resonating to the golden chorus of collectiveness.

The precarious relationship be-tween transience and permanence will be in a balanced state of equi-librium by the year 2040 in Wel-lington.

This is highly influenced through Design and achieved through the power of connections.

Through looking at the transitory space between the past and the fu-ture; a concept is created to pro-vide you with a safe and enjoyable commute to the year 2040.

-by r. sumner

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TRanSience, travelling, transpor-tation, commuters, time, environs, time-lines, tides, generational, aging, ripening, liberty, cloud, diversity, distributed, fash-ion, patternes, swarm, rhythms

balance

TRanSience, travelling, transpor-tation, commuters, time, environs, time-lines, tides, generational, aging, ripening, liberty, cloud, diversity, distributed, fash-ion, patterns, swarm, rhythms

Balance, relationships, communi-cation, interacting, emotion/feeling, so-cial, connections, systems, butterfly effect, multitude, culture, value, community, nar-rative, brains/nervous system, responds, meta sensory, complexity, collective, equi-librium

PeRManence, screen, armor, structure, individual, preservation, pre-vention, shelter, protection, tool, unit, security

By 2040 a commuter’s shelter will stroll with you, protecting you from the bitter southerly wind, or shading you from harsh UV rays.

This form of network technology acts as a public access shelter that embraces the elements and one an-other.

That’s the key, an electromagnetic pixel swarm that responds to the environs and a commuter’s posi-tive charge.

-by r. sumner

shelter

“Come in she said I’ll give you, shelter from the storm” -Bob Dylan

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shelter is one oF the basic human needs For surViVal, it’s Form has eVolVed along With us.

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generatIons

The creation of a time man-agement timeline is the perfect example of the lack of foresight one can have in everyday life. To see oneself beyond the mere tasks ahead and project thirty years into the future is an inconceivable task.

Thus our first experiment was the creation of each group member’s individual timelines of the future. This was a lot more difficult a project than initially perceived; to imagine where one would be in a year, 5 years, a decade from now is hard enough without a clear enough imagination to place one-self in the situation.

One can easily read about what the future may bring, watch multiple science fiction movies, listen to BBc broadcasts of scientist’s pre-dictions of the future, but at the end of the day, we just won’t know what the future holds until we get there.

This provoked our next experi-ment where-by we hired a profes-sional make-up artist to help us to become aesthetically aged.

-by r. sumner

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“nothing lasts forever, nature in-vented reproduction as a mecha-nism for life to move forward [...] and makes us a link in the evolu-tion of life [...] the regeneration of life.”

-Louie Schwartzberg

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IteratIons

The permanent umbrella form is designed to be a beautifully sculpted installation of art, yet it also provides practical shelter for Wellington’s pedestrians.

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consumers are increas-ingly seeing umbrellas as stylish fashion accesso-ries and companies as a very economical form of advertising.

inspired by origami this system allows for in-dividuals to carry their own umbrella but also allows multiple people to connect the shelters together.

Pixels contain a simi-lar bacteria to that of a firefly; which generates bio-luminescent proper-ties. This occurs at night time when the reaction happens with the atmos-pheric pressure and tem-perature.

Static electricity and static charge is how the pixels maintain their buoyancy and store energy as they feed off pedestrian’s pos-itive charge.

The malleable tessellated screens mean that they can mould an form to dif-ferent shapes.

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a symbiotic relationship is created where the pixel hitches a ride as the com-muter receives shelter and an opportunity for social interaction.

exponentIal groWth

in lieu of Moore’s law of expo-nential growth, the ever-dimin-ishing scale results in what is left behind from each generation/it-eration.

Our group answer to the earth’s waste resource problem is that once the ‘pixels’ are defunct, they become anti-matter.

as the design of the pixel is such that when in motion it is an ex-panded form.

Once static they shrink to dust and thus are attached onto the exterior of buildings to form a slow grow-ing protective facade.

-by r. sumner

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Dust /d^st/ n. & v.n. 1a earth or other solid matter in a minute and fine state of subdivi-sion, so that the particles are small and light enough to be easily raised and carried in a cloud by the wind. b fine powder of any material (pol-len dust, gold dust). c a cloud of dust. 2a dead person’s remains (honoured dust). 3 confusion or turmoil (raised quite a dust). 4 archaic or poet. the mortal hu-man body (we are all dust). 5 the ground; the earth (kissed the dust). 6 an act of dusting (give the table a dust).

-by o.e.d

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technology

issues of longevity and immortal-ity arise, and are dealt with.

Thus perhaps it’s not one’s lifespan that increases from the introduc-tion of technologies, but the very inverse; Ones value of the life-time increases from the use of a tech-nology.

-by r. sumner

Technical data sheet of pixels opposite.

the Future oF technology can per-haps be a place We Would Want to liVe in, Where technology does not directly alter us, but We still use technology as a beneFicial tool.

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form

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The core is the main component of the pixel and is the central pow-erhouse containing the circuitry and all the technology.

The core is a sphere due to the aer-odynamic principles that allow the pixel to flow through the air with less drag.

The ‘leg’ strands are inspired by the fronds of a dandelion seed which help the seed to float and adhere to different surfaces, this applied con-cept enables the pixel to attach to buildings and each other to form transient urban shelters.

The long slender strands help the pixels to securely interlock with each other to form a dense surface

and create a rigid yet flexible shel-ter.

Furthermore the strands act in a similar fashion to fibre optic wire in that the tips light up at night time to create a bio-luminescent spectacle.

-by d. collinson

the reasoning behind the Form oF the pix-el is mainly Function.

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The narraTIVe

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Once at thier des-tination, the pixels are released onto the building facade to form a protective barrier.

The pixels are made in laboratories un-der the railway sta-tion.

They are released in the doorways of the railway station.

When the carriers connect, they en-able the pixels shel-ter to spread and thus making the shelter stronger.

connecting to the flow of commut-ers, whom are the ‘bees’ to transfer the ‘pollen’.

nerVouS STaTIon

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The pixels run on swarm logic, with no central office in command; they are a decentralised intelli-gence.

For example the largest man-made self-organising systems are cities. This is where we start from, the city centre. (Ref image left)

The Wellington Railway Station is the heart of Wellington city.

Where-by the transportation and communication systems stemming from this are the city’s nervous sys-tem, and humans are the synapses travelling and interacting through these systems.

The addition of symbolism in the city adds an extended layer of nar-rative to the vibrant culture of Wellington.

“an evening Post editorial in 1914 described roads as ‘the arteries and veins of the social system of a country’.”

-developing economies, historic overviews of Wellington.

To further enforce this ideal the pixels are grown in a laboratory that is housed directly underneath the Wellington Railway station, keeping true to the original ana-tomical concept.

-by r. sumner

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The ‘pixels’ are created in Wel-lington, through a collaborative work effort of our digital fabrica-tion units, designers and scientists.

They are spread via the com-muters passing through the rail-way station, where-by the pixels ‘hitch’ a ride on some-one to get to their destination; much like the cross-pollination between plants through the aid of bees.

-by r. sumner

laboratory

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manufacture

From the initial testing of the individual unit strains through to the germination of entire colonies, the ‘pixels’ are produced under the intense scrutiny of quality assur-ance, ensuring a safe and reliable pixel for public usage.

Right are the individual batches in process of testing, image opposite is the mass produced quantities of the pixels during their fermenta-tion process, almost ready for re-lease into the railway station.

-by r. sumner

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The pedestrians possess a posi-tive charged electric field which when they walk through the train station doors gather positively charged pixels.

The pixels are attracted to the pedestrians due to their positive charge thus the force and accelera-tion is in the direction of the field (pedestrians).

When the pixels reach the end of their life they lose their posi-tive charge and become negatively charged attaching to buildings which possess a negative charge.

-by l. ding

electro-magnetIsm

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When the pixels find a rhythm in the tidal streams of commuters, they hitch a ride until the commut-er reaches a more permanent po-sition; such as a piece of architec-ture which they attach to, to form a second protective barrier over the bricks and mortar.

The pixel’s behaviour of pattern seeking will ultimately affect the way we commute; the patterns we create will be to get the best from the pixels in terms of their protec-tive abilities, under the guise of strength in numbers.

The movement is likened to the way a tide reveals and conceals the shore; the way it ebbs and flows at a rate similar to the currents of hu-man traffic.

commuters

We are concentrating on the com-mute to the future; how we are go-ing to get there, this is where the value lies.

another guiding force is man’s sense of belonging and empathy within a group, which is increased in walking (to commute as op-posed to driving) as communica-tion is 90% non-verbal, through ‘enforced’ social interaction you will hear a lot more.

Wellington is a very walk able city, working off this notion coupled with our concept’s repercussions; it can be the most human city in the world.

-by r. sumner

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the pixels are like any other technology in the Fact that their ‘raison d’être’ is seeking out patterns.

“in the future, our networks will be caressed by a million invisible hands, seeking patterns in the digital soup, looking for neighbors in a land where everyone is by definition a stranger.”

-p.126, Johnson, S. emergence. Balancing age 37

The design question is how a swarm of pixels could respond to the basic human need for shelter.

The answer will come from the following shared sources (much like the organised complexity of a swarm)

• bottom-up software• bees and ants ‘localised’ com-

munication systems• how the weather impacts• pixel evolution• pollen dispersion/anatomy• tidal patterns/timing/flow

Much like a cloud (of pollen, dust or water molecules or a swarm (of bees, birds or fish etc) the ‘shelter’ will morph and mutate and mul-tiply to shape-shift to ones daily commuting needs.

-by r. sumner

sWarms

“The notion of swarm intelligence is indebt-ed to the new science of emergent systems which proposes to ex-plain how a large num-ber of independent agents, each subscrib-ing to simple rules, can produce complex structures such as the stock market, cells in a body, ant colonies, fractal geometries, cit-ies, beehives, or open source software.”

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socIal

The process of bonding within a swarm of pixels holds similar properties to atoms when bonding to form molecules.

Two pedestrians must be within a certain distance to form a shelter. This idea was influenced by the so-cial behaviour of penguins.

Penguins have a method of sur-viving in cold harsh conditions by huddling together in crowd of thousands to incubate each other.

By having more people surrounded in groups, this would amplify the shelter in strength and size while having the opportunity for social interaction between pedestrians.

-by J. Won

the experience oF engaging in a social interac-tion With others strengthens the pixel shelters, alloWing them to be greater and more reinForced.

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Human-to-human inter-action is still the key aspect when it comes meeting a ran-dom person on a street and starting a conversation.

Pixel technology can provide valuable background infor-mation to such encounters and can reinforce the connec-tivity since they lend them-selves to content sharing.

Pedestrians can exchange in-formation implicitly and ex-plicitly, using the Pixel tech-nology.

-by J. Won

socIal InteractIon

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TouCh & feeL

Have you ever walked through a cloud, or run from a wall of en-croaching fog as per Mark Hel-prin’s novel, a Winter’s tale;

“people are picked up by a wall of cloud that engulfs the city and then deposited in other times and other places.”this tender soft cloud enveloping embrace is what the pixel network will feel like.

-by r. sumner

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facade attachment

as the constant wave of tran-sient commuters exit the train-sta-tion, newly manufactured micro-scopic bubbles trickle down and explode forming a protective skin of shelter onto the moving pedes-trians.

Upon contact the individual parti-cles secrete an organic fusing agent which allows them to link together and release the internalised fila-ments that latch onto one another in order to create a strong protec-tive coat.

When the carrier comes in close contact with the final resting place (a specific building) the protective

layer releases off the carrier much like a butterfly shedding its co-coon, using a fluid magnetic pull-ing motion.

The magnetic force and particle filaments enable the skin to attach to the designated building in order for it to become specialised pre-serving architectural skin that con-stantly adapts to weather change.

-by g. Van berlo

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archItecturefacades

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The skin that the defunct pixels form over the architecture is a ben-eficial addition much like the Japa-nese tradition of charring wood to treat it, or the way steel naturally creates a layer of rust that acts as a protective skin-like layer.

The ‘pixels’ will work in the same fashion on deteriorating buildings around Wellington, much like a blood clot does for a wound, or sap/resin does for a tree, or a fill-ing does for a decaying tooth; the ‘pixel-pollen’ technology will heal the buildings, preserving them be-yond our own lifetimes at least.

-by r. sumner

The urban buildings act as the immortal souls of the city, rather than the inhabit-ants; Therefore a nature/structure/system of repair and preservation is addressed.

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fractal groWth

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This is modelled by using simple fractal growth where the pixels’ pattern is reoccurring at different intervals.

The repetitive pattern follows that of a growing object that expands and contains self cloning proper-ties, similar to that of culture acting as a microorganism of growth e.g. Pollen, mould, spores of growth, and the literal culture.

This means that at the simplest form are triangles; This develops into more complex patterns in-volving more tessellation to intro-duce a wider range of movements to accommodate the changing weather.

The pixels are made at the train station before it starts spreading using pedestrian tides that travel through the area daily on a ritual commute.

Once you arrive at your destina-tion the pixels strengths the build-ing by covering the exterior using the geometric patterns.

This growth is spread over a period of multiple years, the tessellations over time will eventually cover the sky to block extreme UV rays and replace the missing Ozone layer that’s in the area of Wellington cBD.

-by l. ding

The pixels are a variety of complicat-ed geometric man made patterns that mimic natural biological growth.

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tessellatIons

The high capacity of pixels in the formation of its structured form are represented in the im-agesto the right.

The tessellations detatch from the exterior of buildings within a close proximity to generate a protective shelter over pedestrians.

-by l. Jolly

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benefIts

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Rain Shelter

illumination for safe guid-ance at night

UV Protec-tion from the sun

Blue light therapy

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bubbles of ‘ d a n d e l i o n ’ spores

The pollen pixels provide wa-ter resistance by interlocking with multiple other pixels, providing a tightly weaved surface.

The pixel structure is made up of a central core with multiple wil-lowy fractal strands which weave together tightly with other pixels strands.

raIn

as they are microscopic they make it almost impossible for the water to penetrate though the strands and get to the person underneath.

This concept is much like the wa-terproof properties of gore-Tex and the dense polymer strands.

-by d. collinson

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Sun protection is provided first-ly by the shade which the shelter forms as well as the dense tightly woven pixel strands.

The shelter becomes denser and more UV protective when a group of people are together as more pixels are utilized to provide the shelter.

The sun protection is much the same as the rain protection in that the pixels strands interlock and weave together to form a tightly formed surface.

-by d. collinson

sunlIght

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“Without the sun, there would be no weather. every type of weather we experience occurs because the heat of the sun keeps the earths atmosphere constantly in motion. This atmosphere is at once life’s circulatory system and its skin.”

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lIghts/nIght

By 2030, the Wellington city council will have replaced street lights in the city centre for illumi-nescent pixels that guide pedestri-ans commuting within the city.

The bioluminescence required to provide people in Wellington with a sense of safety after dark.

The pixels have been designed specifically for this purpose; in addition to the period of initial research leading up to 2040; tourism in new Zealand’s capital has escalated with travellers across the world coming to marvel at this phenomenon; the new ‘southern lights’ emit a glow not like anything seen before.

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The illuminative quality is a natu-ral light source, derived from a class of small-molecule substrates called luciferins. luciferin’s can be found in some bacteria, fireflies’, earthworms, and a variety of underwater organisms.

The oxidisation that occurs when the pixels are released into the air fabricates energy in the form of light to produce a luminescent glow.

Scientists in the Wellington based lab work to mass produce lucifer-in’s and to gain further knowledge on the optimisation of the various types to use them in more severe conditions.

-by d. collinson

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lucIferIns

Scientists have been able to con-trol the colour change by a imitat-ing the signal and sending it to the pixels so that different colours can be seen hazed over the city.

-by l. Jolly

a limitation of the luciferin is that it can only produce yellow light.

Due to the international appeal Wellington received in response to the pixels, scientists in the Welling-ton laboratory developed a way to further enhance the experience of observing the pixels.

Through genetic research and ex-perimentation they have combined luciferins with chromatophores. chromatophores are cells contain-ing layers of pigments that enable a chameleon to change colour.

They enlarge and shrink when sig-nalled from the brain, causing pig-ments to mix and produce differ-ent colours.

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“imagine a skyscraper at night, Some people on the top floor work till midnight, while some on the lower floors may go to bed early. if you studied the patterns long enough, you could tell the time just by looking at which lights are on.” -David eagleman, assistant professor of neuroscience at Baylor College of Medicine

in addition to illuminating the Wellington city, the pixels use the embedded leDs for countering seasonal affective disorder.

Seasonal affective Disorder (SaD) often occurs with the change of the season, that results in our in-ternal body clocks being unable to cope with the change, thus devel-op depression or what some refer to as ‘the blues’.

in most cases of treating SaD full sunlight is preferred, light therapy is an alternative way to counter this by producing 2500 lux:.at 30.5 to 35.6 centimetres away from per-son, for two hours a day.

lIght therapy

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This will improve the moods of the pedestrians living in Welling-ton.

light therapy can be used for oth-er disorders, healing wounds and skin conditions.

-by l. ding

Morning light therapy improves mood and biological rhythms.

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conclusIon

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The most logical solution to im-prove on todays sheltering systems was to analyse and adapt them to provide specific protection for a Wellington commuter.

When the carrier makes physical contact with the bubbles the indi-vidual particles secrete an organic fusing agent which allows them to link together and release the inter-nalised filaments which are used to latch onto one another in order to create a strong protective coat.

as the constant wave of transient commuters exit the train-station, newly manufactured microscopic bubbles trickle down and explode forming a personalised protective skin of shelter onto the moving pedestrians.

-by g. Van berlo

“Our networks will grow smarter in the coming years, but smarter in the way an immune system or a city grows smart-er, not the way a child does.” -p.128 Johnson, S. emergence.

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Balancing age 69

70 Balancing age

appendIxFront cover: Lulin with umbrella and pixels on grid paper graphite on butter paper and grid paper by R. Sumnerback cover: road photograph by R. Sumner

inside cover spread: commuters graphite on butter paper by R. Sumner

p.5 Design led Futures logo from www.designledfutures.com

p.8 Portraits c/o corresponding authors.

p.11 honey Bee with Pollen coated legs mixed media by D. col-linson

p.12-13 Timeline horizon Photograph by R. Sumner

p.14 Commuters with umbrellas graphite on paper By J. Won

p.15 rainy day graphite on paper By l. Jolly

p.16-17 Portraits of Lulin before and after photographs by l. Jolly, aged make-up by ellen Jean.

p.18-19 from l-R; rainy day graphite on paper By l. Jolly, permanant urban night lights graphite on paper By l. Jolly, ori-gami umbrella mixed media By g. Van Berlo, tescellated personal shelter card sculpture By g. Van Berlo, Swarm interaction with

commuters graphite on paper by g. Van Berlo, pixel waterfall mixed media By l. Jolly, Dandelion bubbles rendering By D. collinson

p.20 exponential growth chart graphite on graph paper by R. Sumner p.21 Pixel comparison Photograph by D. collinson

p.22 pixels in the future image by D. collinson

p.23 Technical data sheet content by l. Ding & D. collinson, Photograph by l. Jolly

p.24 pixels photograph by l. Jolly

p.25 Digital fabrication rendering of form by D. collinson

p.27 railway station and Laboratory excavation ink and graph-ite on paper by R. Sumner, railway doors mixed media By l. Ding, commuters graphite on butter paper by R. Sumner, Greek marble sculpture Photograph by R. Sumner, Tescellated fa-cade mixed media images by l. Ding p.28 map of Wellington graphite on butter paper by R. Sumner

p.29 nervous system vs railway station ink and graphite on paper by R. Sumner

p.30 Laboratory rendering by R. Sumner

Balancing age 71

p.31 railway station and Laboratory excavation ink and graphite on paper by R. Sumner

p.32, 33 Laboratory photographs by R. Sumner

p.34 lulin Photograph by R. Sumner with post-production pixel tescellations by l. Ding

p.36 tescellated umbrella commuters Mixed media by g. Van Berlo

p.37 commuters graphite on butter paper by R. Sumner

p.39 collective nouns a1 poster by R. Sumner

p.40 origami umbrella mixed media By g. Van Berlo

p.41 Swarm interaction with commuters graphite on paper by g. Van Berlo

p.42-43 social Interaction Post-production video stills by J. Won

p.44 Inside a 4-D TV Mixed media collage by R. Sumner

p.45 Greek marble sculpture Photograph by R. Sumner

p.46-47 personal shelter card sculpture By g. Van Berlo

p.48-49 Tescellated facade mixed media images by l. Ding

p.51 Developmental fractal growth of pixels over urban form mixed media image by l. Ding

p.52-53 tescellated star sculpture mixed media By l. Ding

p.55 rain on an umbrella skin photograph by l. Jolly, sun-shine mottled through cloud photograph by R. Sumner, ‘southern lights’ visualisation image by c. chen, blue light therapy mixed media collage by R. Sumner, Dandelion bubbles rendering By D. collinson

p.56-57 rain on an umbrella skin photograph by l. Jolly

p.58 Sunshine mottled through cloud photograph by R. Sumner

p.59 sunshine through pixels rendering by c. chen

p.60-61 tescellated star sculpture mixed media By l. Ding

p.62 Illumenescent Pixel visualisation rendering by D. collinson

p.63 ‘southern lights’ visualisation image by c. chen

p.65 blue light therapy mixed media collage by R. Sumner with post production facial lighting by l. Ding

p.66-67 Dandelion bubbles renderings By D. collinson

“collective intelligence…is not purely a cognitive object. intelligence must be understood here in its etymological sense of joining together (interlegere) as uniting not only ideas but people, constructing society.”

-Pierre Levy, Collective Intelligence: Mankind’s emerging world in cyberspace.

in association with:

Victoria University of Wellington

Design led Futures 2011

Balancing ageStudent group

Wellington city council

3 00062 08211