All posts filed under: Experience and scenic design

DesignTalks follow-up

Studio Swine

  DesignMarch, Reykavik opened with DesignTalks, a full day of inspiring talks lead by internationally renowned designers and design thinkers at the architectural astounding Harpa. Part of the impressive line-up was Anglo-Japanese Studio Swine, co-founded by Architect Azusa Murakami and Artist Alexander Groves. They gave an exceptional talk sharing their unique approach to design and explained their nomadic way of working. Operating across a wide range of disciplines, Studio Swine’s work has gained an international audience within and beyond the design world. Their first proper encounter came as a heart-warming surprise to the audience, having been trapped in Milan after an RCA school trip, due to the volcanic eruption of Eyjafjallajökull back in 2010. They have not left each other’s side since. (HA caught up with them briefly before their talk.) Studio Swine was founded on the basis of cooperation of the architect and an artist and the result of this cooperation is quite extraordinary. How do you deal with the different perspectives of Art, design and architecture during your work?  Azusa: “Architecture – able …

The visions of Gagarín

Experience and scenic design taken far and wide

In the past few years, the company known as Gagarín has been making a name for itself in the field of scenic experience, with its client base consisting mostly of corporations and institutions intent on crafting a media message and creating an interesting experience for their customers. Author: María Kristín Jónsdóttir / Photographs: Gagarín Examples of this include the Canadian Museum for Human Rights and the Eldheimar volcano museum in the Westman Islands – two projects that, while very different from one another, both employ interactive multimedia to encourage active participation from guests and deepen their understanding. We were curious about Gagarín’s visions, and paid them a visit, posing a few questions for their project manager, Ásta Olga Magnúsdóttir. HA: You often employ unorthodox methods to encourage audience participation, in effect making the spectator part of the show. What’s the key to good scenic design, and how do you make use of your specialized knowledge to achieve the desired user experience? A good storyline is essential to a good exhibit experience, and our special ability …