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This report describes the design of a tool for online art collaboration; a virtual workplace for New Media art. The project is executed under the authority of the TU Delft, at the faculty of Industrial Design Engineering, as part of the master Design for Interaction. The client is Born Digital, an organization that supports collaborations between New Media artists both within a national and an international network. Key-points of both the virtual and physical ways in which Born Digital manifests itself are the creation of art, the sharing of knowledge and creativity, and the development of a multidisciplinary network. The term New Media art refers to art that is created by using new media technology, and encompasses a great number of artists and disciplines. The focus of this graduation assignment is limited to the creation of static visual art, created for commercial or educational purposes. Disciplines that are related to this assignment are graphic design, illustration, photography, typography, cartoons and any other possible art forms that involve image manipulation. As a means to explore the world of the New Media artist, interviews were conducted. The goal of this approach was to gain understanding in the thoughts, considerations and actions of the potential users of the online platform. Also, the web-based project management tools Huddle and Basecamp were examined. Their features were investigated and compared to the intended functionality of the Born Digital platform. An analysis of the version control system Subversion showed how this software is able to streamline and organize files in a collaborative project that is executed online. In differently setup user tests, user behavior was observed and analyzed. Step by step, improvements were made to a prototype. The conclusions of the of the target group analysis and the investigation of existing technology, as well as the outcomes of the user tests, were used to state a list of design requirements. This list served as a basis for the design of an interface of the platform. Finally, a last user test was executed to validate the design. The graduation projected resulted in a concept for a web-based tool for the collaborative creation of static visual art. It is designed in such a way that it smoothly and intuitively guides its users through the intended interactions, meanwhile inspiring them and motivating them into participation. In this virtual environment, New Media artists have the opportunity of starting new and innovative collaborations.

The interesting thing about art is that it bonds people, no mather where you come from or who you are. Fore that reason and also because my own interest in art, I’ve tried to learn things about Kumasi via art. Especially crafts are an important heritage for Kumasi. Art is an instrument to express yourself, it’s good for the self-esteem of residents and students and also can create social cohesion. It’s important to conserve this. Not only to tell history, but also to stimulate the new generation and keep the talent. One important way to do this is to improve the existing art school in Kumasi; the Faculty of Art at the KNUST Campus. The prob¬lem of the current accommodation is mainly the lack of space. The challenge is to improve this faculty at the current building plot. Therefore the objective is to make a proposal design for the restoration and renovation of this faculty. The enlargement of education space is mainly necessary for staff accommo¬dation, studio space, lecture rooms, art storage and place for symposia. In this way I try to contribute a little to preserve art and it’s benficial assets. LET'S MEET EACH OTHER The faculty is located in the Northern part of the KNUST Campus. A new entrance will be proposed, so that also residents of surroundings districts, like Ayigya, can visit the faculty and participate for instance painting workshops. At the current building site, there are hardly places to meet. However it could be an opportunity to create those places, where students and tutors can relax in the shadow or spend their lunch break. The current building ensemble exits of several longitudinal pavilions which function as classrooms. In the course of time this area has extended in the same typology. The atmosphere is pleasant and the ensemble appears like a small village. There is a little bit of green, but this could be increased. The concept is to take down some existing classroom pavilions, which have a low building quality. The renewal exits of new pavilions, which will be build in the same architectural typology as the existing ones, but in an innovated way. To shift them in a certain way, meetings places will be created. Only some large trees will cover these areas. When it’s to hot inside the classroom pavilions, lectures and presentations can be held outside now, ADAPTION OF SPACE Because of the water erosion in the area, the building site will be terraced. Terracing will decrease the speed of the water and therefore create water erosion control. The new landscape that will be constructed is the joining component that connects the old and the new pavilions. Because the levels of the landscape are all one step high, it’s also a place where you can sit on. As well some places can function as a podium where lectures can be held. When the landscape is in use, the outside space becomes suited to the needs of the students and tutors, but when it’s not in use, it’s just the green landscape itself. Therefore this new landscape can loan itself perfectly for the adaption of education space. A POINT OF VIEW From the board of deans there was the question to cluster the functions more. For that reason also a reorganization of the functions will take place. The workshops are grouped together now as one big family. Via a bridge this area will be entered. The five new workshop pavilions surround a large terrace on the first floor level. From here you can enter the pavilions on the first floor, but it’s also a communal area where larger events can be held or expositions can be organized. This place gives a great view over the rich vegetated campus area, in the direction of the district Ayigya.

The Repositionable Art Podium is a traveling building which uses modularity to adapt its form to new locations and changing space requirements of the exhibited art.

On the case of Lange Voorhout.

Between the Veluwe and the river the Rijn in the west of Arnhem is the KEMA terrein located in a park designed in beautiful english landscape architecture. The laboratories of KEMA (Keuringsdienst Elektrische Materialen Arnhem), designed in the thirties and realised in the Haagse School Stijl, are vacant these days. Our assignment was to choose a building and by doing research and analysing the context, find a suitable function for the building. I decided to make a museum for magical realistic art, a collection with about 1000 oil paint paintings, made by dutch painters in the thirties. My starting points for designing a museum specific for this collection where nature, use of dept, light and colour. My design for the museum was on the one hand the transformation of the giantic big hall of the highvoltage laboratory and on the other hand the expansion of 2000 m2, partly realised under the ground.

De stedelijke plekken van Varallo Sesia worden doorgetrokken over een locatie. Op deze locatie staat een door krimp leegstaand ziekenhuis die op deze manier nieuwe betekenis krijgt. Kunst word als kathalyserende factor gebruikt midden in deze locatie. Hierdoor worden bestaande krachten van Varallo Sesia verbonden maar ontstaat er ook een nieuw vertrekpunt voor kunst in Varallo.

Public art is the artwork in any media that has been planned and executed with the specific intention of being sited or staged in the public domain, which is accessible to all. Public art can be preformed in different manners: permanent or temporary, art installation or art promotion events or programs. For large public building projects almost all over the world it is required to allocate a certain percentage of the total construction budget (usually 1%) for the installation of public art if the total construction budget exceeds a certain amount of money. It is meant for encouraging the integration of art in the environment and to enable the art to be a part of citizen’s daily life. In the early days, the most common approach was to place a piece of still sculpture on a square, entrance or the lobby; however, nowadays more and more clients and architects are interested in how to merge art into a building in a more innovative and meaningful way. Architects are often requested by the clients to provide a proposal or a feasibility study for the public art issue. Accordingly, the goal of this study is to develop a design tool for the architects to facilitate the design process of integrating public art and the building project. To merge art and the environment, one of the approaches, which is also the main concept of this study, is to promote the artwork ,which is more contextual-based, able to provide certain function and interact with the users. Based on this concept, the key elements of the public art and the built environment were analyzed, the approaches for integration of art and the built environment were categorized, and the criteria of functional public art were specified as well. In the end, the design tool, a booklet, was developed and tested by a Taiwanese project, Wei-Wu-Ying Center for the Performing Arts in Kaohsiung.

This paper is the result of my graduation project for studio Maaike Roozenburg: ‘Design of an experience with responsive 3D audio augmented to replicas of seven porcelain cups and saucers.’ Museums offer a treasure chest of objects, stories, pictures and knowledge about our past and present. The rapid pace in which technology is changing allows the physical and the digital to blend together in new and innovative ways. The project started out with the research question: ‘How can smart replicas be used to reunite people with historical artefacten.’ ‘Smart replica’ is a new term and is used to identify copies of historical artefacts that were made using 3D scanning- and printing techniques to allow audiences to engage with them. The ‘smart’ refers to the property that the replicas are enriched with additional information by augmented reality. This project starts with analysing museums, exhibitions and historical artefacts. The main conclusion is that the encounter between an object and a layman visitor is hampered by old-fashioned notion of an exhibit. You can look at the artworks, but are not allowed to interact with the pieces. In the context of recreational activities a perception exists that an active engagement would lead to solely entertaining experiences. However, an active encounter can create a situation in which the visitor is stimulated to learn as well. With this the design challenge is set out: “Design an experience in which laymen are enriched by an active encounter with the historical artefacten.” The project started with two given means; replicas and augmented reality. Without knowing the relevance and meaning of these solutions, they have no functionality. Therefore the concept creation starts with finding the relevance and meaning of these means for the final design. Subsequently, the design challenge is translated into a vision in which the encounter between object and visitor should feel like a conversation between two people. The interaction qualities: understanding, satisfying, intriguing and integrity are set as requirements to elicit this vision. From these interaction qualities an experience was developed. The key feature is the response of augmented audio to the position of the visitor and the action of picking up an object. The design itself was tested and found valuable on multiple aspects; the addition of an ambient soundscape contributes the intriguing quality of the concept, the responsiveness of the audio contributes to the understanding quality and both the selected information and the ambient sound contribute to the satisfying quality. A final validation with Boijmans concluded that restrictions in the walkthrough of the experiences should be limited to answer better to the integrity quality of the Boijmans museum. This led to the final concept: An exhibition, in which the visitor downloads an app, places a headset on his/her head and walks by the different displays. This route is premeditated by the means of an obvious path, however, not forced upon the visitor by sound. While they walk by a display they are pulled in by ambient soundscapes triggering their thoughts and are presented with audio that tells the story of the cup and saucer. At every display they have the opportunity to engage more with the objects by picking up the object. This sets off the audio that informs the visitor with specific information that is connected to visual element on the object. In this way, the visitor walks by the displays and has the opportunity to choose as to what extent they want to learn. Regarding the control of the audio additional research is needed. The proposed controls (sensors that measure the distance between the visitor and artefact, thereby controlling the audio) were implemented after limited experimental explorations. The main limitation was that they were not validated in an environment where people were not consciously occupied with the control. Most significantly, this design process produced a concept in which untouchable artwork is transformed into commodities that tell a story.

Asger Jorn is a well known artist, especially his activities within the CoBrA group, Bauhaus Imaginiste and the International Situationist, after WWII contributed greatly to his international success. Besides his paintings, prints, ceramics and sculptures he produced a remarkable amount of theoretical work. In his early years, he repeatedly wrote on architecture and his ideas and concepts are still relevant for the contemporary discourse in architecture. Other than his artistic oeuvre, his theories received much less attention from scholars of architecture and art history, or philosophy. The overall goal of this research is, to expose this rather unknown part of the artist´s work, by highlighting his theoretical positions in architecture between the late 1930s and mid 1950s. Subsequently his opinions and motivations will be situated within the theoretical debate of his time and also be linked to some built architectures, which influenced and formed his conception of architecture and urbanism. Jorn´s position regarding the relationship between architecture and art on the one hand shows very well a harsh critique on modern architecture, but on the other hand it embraces both the options and the difficulty that derive from it. By developing the concept of an “Architecture Sauvage”, Jorn tries to lay out perspectives as to how Modern architecture can contribute to create the adequate environment for the everyday life of human beings, which even for contemporary architects today are remarkebly important.

Cultural heritage objects are increasingly being investigated using advanced non-destructive optical measurement techniques. Holographic and speckle interferometry based instrumentation allow dimensional measurement of objects at the tens of nanometer scale. For the structural diagnostics of artwork, double-exposure techniques are often used to locate defects, delaminations, voids and other structural features. Shearography is a speckle interferometry configuration that uses a close-to-common-path shearing interferometer configuration to give a direct sensitivity to displacement gradient at the object surface. This configuration is particularly useful for measurements outside the optical laboratory, as the stability requirements are much reduced compared with holography techniques. Terahertz imaging is a new category of sensor, used to investigate materials using electromagnetic radiation in the 0.1 to 10 THz frequency range. At these frequencies many materials become semi-transparent, so bulk structural diagnostics can be performed. Typically terahertz imaging is performed using a scanning pixel, or multi-pixel, sensor. In this manuscript shearography is first used to identify areas of interest of possible structural anomalies in the artwork. These regions of interest are then studied in more detail using the terahertz imaging instrument. Together the two instruments provide an analysis of both the surface and bulk structural features. The approach is demonstrated experimentally using a wooden panel painting.

Collaboration is an integral part of new media art projects. However, current collaboration tools do not provide enough support for new media artists. Bottlenecks include, trust, workflow, leadership, mental model of the team and fragmentation of tools. The project was carried out for Born Digital, a Utrecht based organization for new media and new creativity that strives to establish both a physical and a virtual workplace for new media artists. In this project, the situation of Born Digital was taken as a case for studying the process of remote collaboration, resulting in the notion that creating motivation, a shared goal and a shared understanding of skills, specialties and personalities in the first phase new media art projects is crucial for success. The tool that was developed during this project aims to support the first phase by providing a unique combination of shared experiences, multi-artist video conferencing and a variety of other ways for artist to artist interaction in a real-time setting, thus facilitating a rich first encounter between new media artists.

The work of architect Gerrit Th. Rietveld (1888 – 1964) is appreciated throughout the world. Many of the well-known buildings he designed have survived to the present. Some have been restored or refurbished, depending on the condition of the building, current needs of the building users, etc. Rietveld himself had a very clear vision about lifestyle, simplicity, restraint and use of space and building materials. His architecture reflects his vision beautifully. Some of Rietveld's buildings are likely to be affected by developments in the near future. Here, I will discuss his Amsterdam College of Art, which has been restored, and his Arnhem College of Art, which has been refurbished. The restoration and refurbishment approaches with Rietveld's philosophy of a sustainable way of life, sustainability considerations at the time of the restoration or refurbishment, and the current view will be compared in this paper. The approaches used to deal with these two are colleges were quite different and illustrate changing attitudes and may act as a pointer for future projects. These aspects fit in the conference theme’s of Building for Transformation. The De Ploeg factory in Bergeijk will be transformed in the near future and presents us with an opportunity to consider what options there are, bearing in mind Rietveld's philosophy. To what extent can we change a building like this and still consider it as a Rietveld design?

The visual examination of paintings is traditionally performed by skilled art historians using their eyes. Recent advances in intelligent systems may support art historians in determining the authenticity or date of creation of paintings. In this paper, we propose a technique for the examination of brushstroke structure that views the wildly overlapping brushstrokes as texture. The analysis of the painting texture is performed with the help of a texton codebook, i.e., a codebook of small prototypical textural patches. The texton codebook can be learned from a collection of paintings. Our textural analysis technique represents paintings in terms of histograms that measure the frequency by which the textons in the codebook occur in the painting (so-called texton histograms). We present experiments that show the validity and effectiveness of our technique for textural analysis on a collection of digitized high-resolution reproductions of paintings by Van Gogh and his contemporaries. As texton histograms cannot be easily be interpreted by art experts, the paper proposes two approaches to visualize the results on the textural analysis. The first approach visualizes the similarities between the histogram representations of paintings by employing a recently proposed dimensionality reduction technique, called t-SNE. We show that t-SNE (applied on texton histograms) separates paintings created by Van Gogh from those created by other painters. In addition, the period of creation is faithfully reflected in the t-SNE visualizations. The second approach visualizes the similarities and differences between paintings by highlighting regions in a painting in which the textural structure of the painting is unusual. We illustrate the validity of this approach by means of an experiment in which we highlight regions in a painting by Monet that are not very “Van Gogh-like”. Taken together, we believe the tools developed in this study are capable of assisting for art historians in support of their study of paintings.

We study the effect of stylistic differences on the nature of pictorial spaces as they appear to an observer when looking into a picture. Four pictures chosen from diverse styles of depiction were studied by 2 different methods. Each method addresses pictorial depth but draws on a different bouquet of depth cues. We find that the depth structures are very similar for 8 observers, apart from an idiosyncratic depth scaling (up to a factor of 3). The differences between observers generalize over (very different) pictures and (very different) methods. They are apparently characteristic of the person. The differences between depths as sampled by the 2 methods depend upon the style of the picture. This is the case for all observers except one.

We propose a novel method to probe the depth structure of the pictorial space evoked by paintings. The method involves an exocentric pointing paradigm that allows one to find the slope of the geodesic connection between any pair of points in pictorial space. Since the locations of the points in the picture plane are known, this immediately yields the depth difference between the points. A set of depth differences between all pairs of points from an N-point (N > 2) configuration then yields the configuration in depth up to an arbitrary depth offset. Since an N-point configuration implies N(N_1) (ordered) pairs, the number of observations typically far exceeds the number of inferred depths. This yields a powerful check on the geometrical consistency of the results. We report that the remaining inconsistencies are fully accounted for by the spread encountered in repeated observations. This implies that the concept of 'pictorial space' indeed has an empirical significance. The method is analyzed and empirically verified in considerable detail. We report large quantitative interobserver differences, though the results of all observers agree modulo a certain affine transformation that describes the basic cue ambiguities. This is expected on the basis of a formal analysis of monocular optical structure. The method will prove useful in a variety of potential applications.

In the projects 'Landscape Mirror' 2011 and 'Feed the Wind' 2012 students of the Master of Landscape Architecture of the TU Delft have made an interactive project that evolved over the course of Oerol, a unique yearly recurring festival on the Wadden-Sea island Terschelling for landscape theatre & art. Both designs are focused on making people aware of the landscape of the island. In 2011 the 10-day installation mirrored from the highest dune all different landscapes of the island -beach, dunes, forest, city and polder- onto the beach. A camera obscura, situated on the top of the dune, gave the opportunity to see the real as well as the mirrored landscape at once. Visitors first experienced the landscape through the eye of the camera before walking themselves into the area depicted there. Besides experiencing the spatial qualities of the island in the installation, the public could influence the space itself by building parts of the forest and preventing the city from flooding by improving the dikes of the polder. In 2012 visitors of the festival gained awareness of constant changes in the landscape on a much smaller scale: a garden. Geological changes were simulated. One project entitled 'Feed the Wind' demonstrated how the wind as a natural force shaped the land, and how man used this power to modify the island. In a garden designed and built by the students, visitors were asked to bring sand and fill it into an assemblage of foot pumps and bridges. Slowly the making of the Wadden Sea began. The project lasted 10 days. The unpredictability of the design and building process and the fact that the final result of the exhibition is not fully determined by the design make these installations valuable experiments. For our students building something, working in a team and the experience of the interaction with visitors during the construction was a totally new and rewarding experience. Unforeseen problems had to be dealt with directly instead of thinking about possible future scenarios on a drawing table. The Delft Chair of Landscape Architecture are happy to continue this experience next year, if funding and artistic programming of the festival will allow it. In the paper we would like to present this outstanding element of our curriculum as a very fruitful way of education. Our wish is to test our teaching through the exchange of ideas with colleagues in practice and education and to encourage others to similar experiences.

Post-Exodus or the involuntary prisoners of Architecture, is a project about corrupt well intended top-down pretentions. A project about when utopia becomes dystopia. About when the built environment becomes out of tune with experienced and desired reality. Accumulating to the point of large scale vacancy and crisis. The focus of the project will be the case of the Kleiburg flat, the last untouched piece of Bijlmer ideology. The project was done in the graduation lab 'Design as Politics' with the underlying theme 'In the Ghetto', in which a personal view on the definition of a ghetto was encouraged. In this project the ghetto is described as an urban area that resonates with negative associations, as a segregated area often associated with the social-economic-weaker section. Due to the unpopularity of the urban area, real-estate values drop, investors and project-developers stay away. Conditions deteriorate. For those who want to leave the ghetto but can not afford to do so, the ghetto becomes an urban prison. The title of the project plays with the idea of architecture's ability to manifest dreams and desires. As the exodus took place and people moved towards the better, they left behind the old. The exodus was for those who could afford to leave; those unable to escape the undesired urban conditions where left behind. Post-Exodus focuses on these deprived areas, on these places of undesired architecture. It searches how to become a desired place once again, even when the means are limited. The research investigates a South-American Prison situated in Bolivia, in the capital city of La Paz. In the old city center, on the old colonial spanish grid the prison of San Pedro stands. Hidden behind the stucco walls, upon passing the guarded gate, a unexpected vivid community is revealed; the self-regulating inmate population of San Pedro. The prison was inspired by the panopticon model (Pentonville, London) of Jeremy Bentham. Built around the nineteen hundreds, this ideological prison model proved to be one of unrealistic utopia. The penitentiary system could not live up to the build expectations. The conditions of the inmate population deteriorated inside the prison walls. Without a welfare state or governmental subsidies the prisoners where appointed to their own ability to take matters into their own hands. Escape was not an option, the solution had to come from within... The do-it-yourself attitude of the prisoners resulted in an unique bottom-up transformation of the old prison model. Over time the prisoners slowly adapted the building to fit their basic needs, constantly fighting for their rights and defending every square inch. They held no nostalgia of the past, adapting to the new reality of their needs, adapting the build environment at best to survive. Over time San Pedro Prison developed its own logic, a mini-society with its own micro-economy, micro-policies, democratic elections, a prison real-estate market, cafes, restaurants, fitness area, sauna's, pool halls, tv corners, shops, dentist, churches, ceremony square, football competitions, tourism, workplaces, jobs and even more.. The San Pedro Prison inspires to look in a different way at the built environment we inhabit. It inspires to think in a different way about our attitude towards buildings. It inspires to think in a different way about architecture. It inspires to see how in the worst conceivable conditions, the prisoners of San Pedro where able to transform their built environment into a more favorable condition, to suit their lives and needs better. Transformation as a continues process, attuning to the ever changing times. Kleiburg is dead, it's ideology faded in the face of reality. Time has changed, Kleiburg stood still. If Kleiburg is not to parish in irrelevance it must once more become a part of our dreams and desires. Emergent societal trends and changes must then form the basis of its transformation. In times of financial crisis, unpredictability and uncertainty the means are limited. The answers must not be sought in the top-down financial power of big project developers but in the power of the ordinary people; the power of the people dwelling and working in and around Kleiburg. The design investigates a bottom-up approach, a do-it-yourself attitude, a gradual growth towards a new future. To clarify such a development a scenario was written in which the existing local social and urban fabric where extrapolated into the Kleiburg building. The initial conditions are dictated by the structural possibilities of the Kleiburg flat itself. The installation of the 'Gate' marks the presence of an underlying democratic process. Spatial hierarchy determines the relationship of space and influence of individuals/collectives on the built environment. In a set of projects possibilities are designed, each design telling a different story, each story exploring a new theme, each theme adding to a bigger scale. By the time we look back at all the different designs we will witness the emergence of museum. A Bottom-Up-Museum symbolizing the deconstruction of the prestigious 'starchitect' object, reconstructed by ordinary people.