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Traces + Patterns at the Olympic Sculpture Park
Traces + Patterns at the Olympic Sculpture Park
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Traces + Patterns at the Olympic Sculpture Park
Architecture at its most powerful,
becomes an agent of change. This project started from a general, critical
observation of a place and developed into an intensely inquisitive analysis of
its use. These ideas and observations resulted in a very simple art
installation that transforms the act of experiencing a place into a work of
public theater.
In order to better understand how the
park was being used we conducted a series of observations from a neighboring
roof using time lapse photography. This
observation revealed that the public migration through the park did not follow
the designed circulation and that almost every patron traveled the park
differently. As the park has free
admission and is an extension of the waterfront, the public entered and exited
the park at random often shortcutting around exhibits and paths. The park staff
conversely expressed frustration with gaining feedback about how to better
engage the public users. Interestingly, the analysis footage indicated that the
medium bridging the relationship between the park and the public users are
pedestrian chairs that, by virtue of their familiarity, relate to the public
user but distract from the carefully designed and maintained park. This study
culminated in a series of time lapse films assigning colored tracers to each
patron. Such as in an ant farm, the observation revealed a layer of art that the
public was unwittingly creating atop the prescriptive park circulation and provided
previously unobtainable information to the park staff about trends and frequency
of path use. The process also identified the existing chairs in the park as the
sole elements of human scale and tactile connection. As such, the chairs serve
as “agents” of experience by their orientation to the art and view and the dynamic
social circumstances created by their relationship to each other. The resulting
intervention is composed of new chairs that can be configured in multiple
ergonomic positions relating to the mood and intended experience of the user,
and a storage system that nightly erases the public painting allowing for new public
art each day. A remote camera from a bird’s eye position documents the playful
configurations and displays the public art movies on a digital calendar inside
the public lobby and playing on the screens outside the entrance of the
downtown SAM.
becomes an agent of change. This project started from a general, critical
observation of a place and developed into an intensely inquisitive analysis of
its use. These ideas and observations resulted in a very simple art
installation that transforms the act of experiencing a place into a work of
public theater.
In order to better understand how the
park was being used we conducted a series of observations from a neighboring
roof using time lapse photography. This
observation revealed that the public migration through the park did not follow
the designed circulation and that almost every patron traveled the park
differently. As the park has free
admission and is an extension of the waterfront, the public entered and exited
the park at random often shortcutting around exhibits and paths. The park staff
conversely expressed frustration with gaining feedback about how to better
engage the public users. Interestingly, the analysis footage indicated that the
medium bridging the relationship between the park and the public users are
pedestrian chairs that, by virtue of their familiarity, relate to the public
user but distract from the carefully designed and maintained park. This study
culminated in a series of time lapse films assigning colored tracers to each
patron. Such as in an ant farm, the observation revealed a layer of art that the
public was unwittingly creating atop the prescriptive park circulation and provided
previously unobtainable information to the park staff about trends and frequency
of path use. The process also identified the existing chairs in the park as the
sole elements of human scale and tactile connection. As such, the chairs serve
as “agents” of experience by their orientation to the art and view and the dynamic
social circumstances created by their relationship to each other. The resulting
intervention is composed of new chairs that can be configured in multiple
ergonomic positions relating to the mood and intended experience of the user,
and a storage system that nightly erases the public painting allowing for new public
art each day. A remote camera from a bird’s eye position documents the playful
configurations and displays the public art movies on a digital calendar inside
the public lobby and playing on the screens outside the entrance of the
downtown SAM.
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