Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design Spring 4-15-2013 Installation Art as a Means of Exploring Place and Activity Fragmentation in Interior Environments Resulting from Contemporary Digital Technology Cotter D. Christian Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Christian, Cotter D., "Installation Art as a Means of Exploring Place and Activity Fragmentation in Interior Environments Resulting from Contemporary Digital Technology." Thesis, Georgia State University, 2013. https://scholarworks.gsu.edu/art_design_theses/125 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. INSTALLATION ART AS A MEANS OF EXPLORING PLACE AND ACTVITY FRAGMENTATION IN INTERIOR ENVIRONMENTS RESULTING FROM CONTEMPORARY DIGITAL TECHNOLOGY by COTTER CHRISTIAN Under the Direction of Timothy Nichols ABSTRACT This thesis explores how information and communication technology creates activity fragmentation within the interior built environment. This paper analyzes the work of psychologists, philosophers, architects, artists, designers, and others who have considered our relationship to physical space as well as how technological advancements alter our behavior and perspective. In addition to reviewing current thinking on the topic, the research conducted also looks at how architects, artists, and designers, particularly of the late 20th century, responded to notions of fragmentation and disconnectedness often spawned by modernization. Through precedent analysis, a strong relationship between architectural design and installation art emerges. This thesis paper provides a foundation for a gallery installation that creates an experience for visitors, challenging their relationship to interior space. INDEX WORDS: Interior design, Installation art, Digital technology, Place INSTALLATION ART AS A MEANS OF EXPLORING PLACE AND ACTVITY FRAGMENTATION IN INTERIOR ENVIRONMENTS RESULTING FROM CONTEMPORARY DIGITAL TECHNOLOGY by COTTER CHRISTIAN A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in the College of Arts and Sciences Georgia State University 2013 Copyright by Cotter Douglas Christian 2013 INSTALLATION ART AS A MEANS OF EXPLORING PLACE AND ACTVITY FRAGMENTATION IN INTERIOR ENVIRONMENTS RESULTING FROM CONTEMPORARY DIGITAL TECHNOLOGY by COTTER CHRISTIAN Committee Chair: Timothy Nichols Committee: Dawn Haynie Stan Anderson Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2013 iv ACKNOWLEDGEMENTS This thesis project process owes much thanks to my thoughtful, creative, challenging, and supportive committee, Tim Nichols, Dawn Haynie, and Stan Anderson. Our engaging conversations opened my mind to ideas that will stay with me throughout my career, and I only hope that I can be as inspiring to my own students in the future. Most importantly, I’m grateful for the patience of my partner, Josh, tirelessly supporting all of my endeavors, willingly offering critique, and challenging my ideas on a daily basis. v TABLE OF CONTENTS ACKNOWLEDGEMENTS .......................................................................................................................... iv 1. INTRODUCTION .................................................................................................................................. 1 2. INFORMATION AND COMMUNICATION TECHNOLOGY ....................................................................... 3 2.1 Terminology and Limitations ......................................................................................................... 3 2.2 Mobile ICTs and Human Interaction .............................................................................................. 4 2.3 Benefits ......................................................................................................................................... 9 3. SENSE OF PLACE ................................................................................................................................ 10 3.1 Working definition of place ......................................................................................................... 11 3.2 Technology, Activity Fragmentation, and the Perception of Place .............................................. 16 3.2.1 Technology as a Spatial Concept ........................................................................................... 16 3.2.2 Modern Technology is Changing Association with Place ........................................................ 17 3.2.3 Concept of Disjunction........................................................................................................... 19 3.2.4 Activity and Place .................................................................................................................. 20 3.2.5 Place and Time ...................................................................................................................... 22 3.2.6 Augmentation of Place .......................................................................................................... 23 4. POSTMODERNISM AND MEANING ................................................................................................... 25 4.1 Reaction to the Modern Movement ............................................................................................ 25 4.2 Bernard Tschumi and the London Conceptualists ........................................................................ 30 4.3 Superstudio: Radical, Italian Neo-Avant Garde Architects .......................................................... 39 5. METHODOLOGY AND JUSTIFICATION FOR THESIS DESIGN PROJECT ................................................. 51 vi 5.1 Installation Art as Methodology for conceptual exploration of Interior Design Topics................ 51 5.2 Relational Aesthetics as Context for Installation Art Methodology ............................................. 65 6. SHOWHOUSE 1: YOU ARE [T]HERE .................................................................................................... 73 7. VISITOR FEEDBACK AND INSTALLATION CONCLUSIONS .................................................................... 79 8. CONCLUSION..................................................................................................................................... 86 REFERENCES .......................................................................................................................................... 88 APPENDICES .......................................................................................................................................... 91 Appendix A: Process Imagery and Diagrams ..................................................................................... 91 Appendix B: Installation Photographs ............................................................................................. 106 vii LIST OF FIGURES Figure 1. Church Used as Shopping Mall in New York City. ................................................................... 21 Figure 2. Tschumi, Bernard. Manhattan Transcripts. ............................................................................ 35 Figure 3. The Members of Superstudio. ................................................................................................ 39 Figure 4. Third City in the Twelve Cautionary Tales for Christmas: New York of Brains. ....................... 46 Figure 5. Superstudio, Quaderna Table. ................................................................................................ 49 Figure 6. The Continuous Monument: On the River, Project Perspective. ............................................ 50 Figure 7. Glo atl study #2. ..................................................................................................................... 53 Figure 8. Example of a site-specific installation. ................................................................................... 54 Figure 9. Filled-space installation: Waste Not. ...................................................................................... 55 Figure 10. Tate Thames Dig. .................................................................................................................. 56 Figure 11. Blur Building. ........................................................................................................................ 58 Figure 12. Institute of Contemporary Art, Boston – Digital Media Center. ........................................... 59 Figure 13. Institute of Contemporary Art, Boston – Digital Media Center. ........................................... 60 Figure 14. Genesis Trial. ........................................................................................................................ 63 Figure 15. Rikrit Tiravanija, Untitled, 1995 (Still). ................................................................................. 69 Figure 16. Thomas Hirschhorn, Concrete Shock. ................................................................................... 70 Figure 17. Installation Postcard Design. ...............................................................................................