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PATH

A PASSAGE FROM PLACE TO PLACE
NOT A PLACE IN ITSELF
NOT A PLACE IN ITSELF
PLACEMAKING
Placemaking is a term that began to be used in 
the 1970s by architects and planners to 
describe the process of creating squares, 
plazas, parks, streets and waterfronts that will 
f
attract people because they are pleasurable or 
interesting. Landscape often plays an 
important role in the design process.
http://www.wikipedia.org/
Placemaking is the art of creating public "places
places of
the soul" that uplift and help us connect to each
other and to our environment.
—PPS member

PLACEMAKING
PLACEMAKING
PLACELESSNESS
NOWHERE
Placemaking is the art of creating public "places of the soul" that uplift and help us
connect to each other and to our environment.
—PPS member

•Creating landscapes
Creating interest
•Creating interest
•Connecting to the environment (outside environment perhaps)
•Creating places of pause
•Creating places for human connection and interaction
•Since you are ‘NOWHERE’, we are dealing with a blank slate which 
can allow you to chose to be anywhere you want to be (perhaps 
virtually)

MAKING ‘SOMEWHERE’
SEEING SOMEWHERE
BEING SOMEWHERE
SCENARIO ONE_wonder leads to discovery
A projected video is pixelated until a motion sensor senses
a stopped presence. A person who pauses brings the
projected image into focus. Slowing down one’s pace or
stopping slowly unvails an image leading to discovery.

A landscape of pause furniture is put in place to encourage


and facilitate discoverability. The furniture responds to
traffic volumes, as to not impede movement during times
of high traffic. A people count is set up at both ends of the
corridor, calculating traffic volume each minute in order to
continually optimize a furniture setup for the space. The
space is adjusted according to occupancy, with a fitting
ratio of landsape to passage area.
SCENARIO ONE. v2_
wonder leads to discovery

A bottom portion of a projected video is pixelated


until a stationary presence in sensed. The projected
sky remains unfaffected by human movement and
interaction with the art piece; only the city interacts
by revealing itself when movement slows and stops.
The bottom part of the video comes into focus allow-
ing people to discoved the projected image of an
iconic skyline one piece at a time, the way they would
do so if physically present in a new location. Putting
the puzzle pieces together, one would eventually
realize the geographical location of the live feed.

The corridor space changes throughout the day


according ot the volume of traffic, with a landscape
emerging as the corridors die down. Walls slide out
becoming hills to sit on and take in the projected
view. The passageways become intentional places of
pause, impeding movement, strongly suggesting rest.

As to nature of the projected videos, they would be


non-stop real time videos of sunrises in the east end
of the PATH, sunsets in the west end, with middle of
the day images in the central PATH corridors. PATH
users would witness, throughout the day, different
cities beginning or ending their day as it happens.
SCENARIO TWO_a place that follows you
The projected video is pixelated and illegible until a presence is sensed in front of it,
whether the presence be moving or stationary. The image comes into focus only for as
long as the person is occupying the space in front of it. A crowded, fast paced corridor will
respond in images going in and out of focus at a rapid rate, visualizing the energy of the
space. This scenario allows one to discover a space on one’s own terms, and at a pace
adapted to their movement.
SCENARIO THREE_memory, discovery, play
Grid-like arrays of sensors are implanted into the flooring system of the PLAY SQUARE.
Every time someone inhabits or passes over a tile with a sensor, a corresponding image
located somehwere on a pixelated puzzle wall responds. The longer you stay on a tile, the
sharper the image becomes; also, the longer you stay, the longer it takes for the image to
fade back into pixels. Collaborative efforts can make large pieces of a wall come into focus
revealing a significant chunk of the projected video. The walls become registers of the
inhabitation of the space.
RESPONSE TO SENSED CHANGE_
speed of response as the indicator of location

The closer one is to the centre of the PATH, the quicker


the sensors actuate change. For example, on the
periphery one has to stay some time to make
pixelated image come into focus; while in the centre,
once a presence is sensed the change is almost
instantenous.

RARAMETER_
speed of video response
pixelating/blurring--focusing/sharpening cycles

FAST - FAST
PACED PROJECTED
CENTRAL VIDEO
ENVIONMENT RESPONSE

MEDITATIVE,
SLOW- SLOW
PACED PROJECTED
PERIPHERY VIDEO
ENVIRONMENT RESPONSE
PARAMETER_nature of projected images

Depending on which zone one finds oneself in the PATH system, the nature of projected images changes.
The west side provides a constant live feed of images of sunsets around the world, the central zone proj- WEST CENTRAL EAST
ects daytime scenery and activity, while the east projects live videos of the rising sun over iconic skylines.
Time remains frozen in the differnt zones as the live feed cameras “chase” the sun around the globe.
PARAMETER_nature of projected images

The project proposes an ancient method of navigating,


based on the simple principles of the sun’s location in
the sky; it is a universal truth across the globe that the
sun rises in the East and sets in the West. The path
system temporally “travels” across the globe following
the sun, constantly providing windows into alternative
time zones, showing how a day passes through differ-
ent cities and continets. Time in the PATH is a constant;
only the geographical location of projected videos
changes.

The project adresses the multicultural aspect of


Toronto and its inhabitants. It places in their daily
path something they can connect to, a piece of nostal-
gia, a memory of their motherland. The video is
projected with the hopes of making people pause in
the PATH.

5 cameras are installed in various locations in China. These


cameras would play live feed from China in the appropriate
“designated time zones” of the path. A visitor of the path system
would have the opportunity to watch the day unforld in China
throughout the day, in different locations of the PATH system.

5-8 am 9am-11 pm 12-2 pm 3-5 pm 6-9 pm


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STANDARD TIME ZONES OF THE WORLD

TONGA
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STANDARD TIME ZONES OF THE WORLD

HAWAIIAN
ISLANDS
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STANDARD TIME ZONES OF THE WORLD

Anchorage
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STANDARD TIME ZONES OF THE WORLD

Los Angeles
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STANDARD TIME ZONES OF THE WORLD

Denver
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STANDARD TIME ZONES OF THE WORLD

Mexico
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STANDARD TIME ZONES OF THE WORLD

New York

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STANDARD TIME ZONES OF THE WORLD

Manaus
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STANDARD TIME ZONES OF THE WORLD

Buenos Aires
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STANDARD TIME ZONES OF THE WORLD

South Georgia
and the South
Sandwitch Islands
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STANDARD TIME ZONES OF THE WORLD

Itseqqortoomiit
(Scoresbysund)

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STANDARD TIME ZONES OF THE WORLD

London

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STANDARD TIME ZONES OF THE WORLD

Paris

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STANDARD TIME ZONES OF THE WORLD

Istanbul

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STANDARD TIME ZONES OF THE WORLD

Moscow

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STANDARD TIME ZONES OF THE WORLD

Samara

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STANDARD TIME ZONES OF THE WORLD

Perm'

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STANDARD TIME ZONES OF THE WORLD

Mumbai
(Bombay)

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STANDARD TIME ZONES OF THE WORLD

SINGAPORE

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STANDARD TIME ZONES OF THE WORLD

Beijing

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STANDARD TIME ZONES OF THE WORLD

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Tokyo

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STANDARD TIME ZONES OF THE WORLD

Sydney

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STANDARD TIME ZONES OF THE WORLD

Magadan

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STANDARD TIME ZONES OF THE WORLD

Auckland

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STANDARD TIME ZONES OF THE WORLD

Itseqqortoomiit
(Scoresbysund)

Anchorage Magadan

Perm'
Moscow
London
S
Samara
Paris

Denver New York Beijing


Istanbul

Los Angeles T
Tokyo

HAWAIIAN
ISLANDS

Mexico Mumbai
(Bombay)

Manaus SINGAPORE

TTONGA

Sydney
Auckland
Buenos Aires

South Georgia
and the South
Sandwitch Islands
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PATH TIME ZONES_
frozen time
A scheme was devised which divided the
PATH into the 24 STANDARD TIME ZONES
of the world. The project gives time a
spatial dimension. Each of the zones
preserves a certain hour of the day; live
feed from places where the assigned hour
is at that moment real time is projected in
the space. Inhabitants of the PATH are
given the opportunity to not only go to a
new space and geographical place, but
also to a chosen time of day.
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PATH TIME ZONES_
frozen time
A scheme was devised which divided the
PATH into the 24 STANDARD TIME ZONES
of the world. The project gives time a
spatial dimension. Each of the zones
preserves a certain hour of the day; live
feed from places where the assigned hour
is at that moment real time is projected in
the space. Inhabitants of the PATH are
given the opportunity to not only go to a
new space and geographical place, but
also to a chosen time of day.
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PATH TIME ZONES_

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A scheme was devised which divided the
PATH into the 24 STANDARD TIME ZONES
of the world. The project gives time a
spatial dimension. Each of the zones

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preserves a certain hour of the day; live
feed from places where the assigned hour
is at that moment real time is projected in
the space. Inhabitants of the PATH are

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given the opportunity to not only go to a
new space and geographical place, but
also to a chosen time of day.
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PATH TIME ZONES_
time as a system of organisation
Time in the PATH system is organized in a continuous manner,
allowing inhabitants to create cognitive maps of the space.
The PATH system is given a layer of information and an
organizing system that people intuitively understand, easing
thier common frustration with being lost and being unable to
tell direction. One always understands that 3 is before 4, and
that 5 follows it. The PATH TIME ZONES system makes no
relation to the above ground map; rather it creates a new and
completely unrelated basic system of organization and
sequencing.
PATH TIME ZONES_
time as destination and journey
The PATH TIME ZONES system allows one to travel the journey
of a full 24 hour day in a fragment of that time, always experi-
encing real time during the journey. Or alternatively, on a
whim, inhabitants of the PATH can travel to a particular
desired time (and location) and expereince the activities
associated with that time (and location), escaping the reali-
ties of Toronto’s real time.
TONGA
HAWAII
ANCHORAGE
LOS ANGELES
DENVER
MEXICO
NEW YORK
MANAUS
BUENOS AIRES
S. SANDWITCH IS.
ITSEQQORTOOMIITT
LONDON
PARIS
ISTANBUL
MOSCOW
SAMARA
PERM’
MUMBAI
SINGAPORE
BEIJING
TOKYO
SYDNEY
MAGADAN
AUCKLAND
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TONGA
HAWAII
ANCHORAGE
LOS ANGELES
DENVER
MEXICO
NEW YORK
MANAUS
BUENOS AIRES
S. SANDWITCH IS.
ITSEQQORTOOMIITT
LONDON
PARIS
ISTANBUL
MOSCOW
SAMARA
PERM’
MUMBAI
SINGAPORE
BEIJING
TOKYO
SYDNEY
MAGADAN
AUCKLAND
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TONGA
HAWAII
ANCHORAGE
LOS ANGELES
DENVER
MEXICO
NEW YORK
MANAUS
BUENOS AIRES
S. SANDWICH IS.
ITTOQQORTOOMIITT
LONDON
PARIS
ISTANBUL
MOSCOW
SAMARA
PERM’
MUMBAI
SINGAPORE
BEIJING
TOKYO
SYDNEY
MAGADAN
AUCKLAND
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TAKE PART IN THE EDUCATION
TORONTO TIME PATH _let Toronto witness your world
_GIVING TORONTO WINDOWS INTO WORLD CULTURE AND EVERYDAY RITUALS
If you know of an interesting every-
day ritual which is particular to your
county/city of residence, SHARE IT
WITH TORONTO! Fill out the below
form and we will send you a camera
kit for you to install, so that we can
capture the event as it happens ev-
eryday and play it live to our Toronto
PATH visitors. DOWNLOAD FORM

24 HOURS LIVE_ 0 PLAYBACK.24 LIVE


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Click on a time to be taken to place
where that time is real time. See what
the people in the Toronto PATH system
are seeing right now.

24 HOUR city archive_


ITTOQQORTOOMIIT

23 PLAYBACK.1 LIVE

Click on a city to view the last 24 hours


S. SANDWICH IS.
BUENOS AIRES

of footage recorded in 24 different lo-


LOS ANGELES
ANCHORAGE

cations within that city, giving you

SINGAPORE

AUCKLAND
glimpses into local culture and hourly

MAGADAN
NEW YORK

ISTANBUL
MOSCOW

customs of that particular location.


MANAUS

LONDON

SAMARA

MUMBAI
DENVER

SYDNEY
MEXICO

BEIJING
HAWAII
TONGA

TOKYO
PERM’
PARIS

24 HOUR time archive_ 23 PLAYBACK.1 LIVE

Click on a particular hour to see where


our cameras have been today to wit-
ness that particular hour and the activi-
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ties associated with it.

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