source: monogocorojp

いつでもどこでも携帯電話が繋がる=携帯の電波が身の回りに溢れている。という様に現代人の身体の廻りに溢れる様々なモノをキャプチャし身体に取り込むアンテナ。人の身体への影響を探るアート。
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source: di10rcaacuk

If you are in the right place at the right time, you (may) experience something fantastic.

DEVICE FOR EXPERIENCING THE INVISIBLE

The wearer of the device is placed in the center of the parabolic dish, becoming the focus point for invisible energy. In order to experience the extraordinary the wearer must go to sites of increased radio, paranormal, or electrical activity. Could the device lead to mutation, possible harm, or uncover new, previously unseen landscapes and instances? How much risk / danger will individuals put themselves under in order to experience this invisible fantastic?

DEVICE FOR EXPERIENCING LIGHTNING STRIKE

This device increases the user’s likelihood of getting struck by lightning. Energy from the strike is transferred to heat, used to brand the user, who following the experience is left scarred as a memory of the event. The device questions the dissemination of this experience, from the life threatening, to simple story, the transition from the fantastic to the banal.

DEVICE FOR DISAPPEARING (AT SEA)

This device offers the individual opportunity for a safe, temporary disappearance, experiencing an isolation seldom found on land. The occupier of the device is absorbed into the chasm, disappearing from view beneath the water’s surface. The device examines the relationship between the known above, and the unknown/ imagined world below sea level.
PROJECT CREDITS
Photographer: Hitomi Kai Yoda

Special thanks: Robert Friend, Marguerite Humeau, Ben Oliver. If you are in the right place at the right time, you (may) experience something fantastic.

DEVICE FOR EXPERIENCING THE INVISIBLE

The wearer of the device is placed in the center of the parabolic dish, becoming the focus point for invisible energy. In order to experience the extraordinary the wearer must go to sites of increased radio, paranormal, or electrical activity. Could the device lead to mutation, possible harm, or uncover new, previously unseen landscapes and instances? How much risk / danger will individuals put themselves under in order to experience this invisible fantastic?

DEVICE FOR EXPERIENCING LIGHTNING STRIKE

This device increases the user’s likelihood of getting struck by lightning. Energy from the strike is transferred to heat, used to brand the user, who following the experience is left scarred as a memory of the event. The device questions the dissemination of this experience, from the life threatening, to simple story, the transition from the fantastic to the banal.

DEVICE FOR DISAPPEARING (AT SEA)

This device offers the individual opportunity for a safe, temporary disappearance, experiencing an isolation seldom found on land. The occupier of the device is absorbed into the chasm, disappearing from view beneath the water’s surface. The device examines the relationship between the known above, and the unknown/ imagined world below sea level.
PROJECT CREDITS
Photographer: Hitomi Kai Yoda

Special thanks: Robert Friend, Marguerite Humeau, Ben Oliver.
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source: andrewfriendcouk

If you are in the right place, at the right time, you (may) experience something fantastic.

These projects deal with that which may seem extraordinary, unlikely, desirable (or not), confusing, or uncanny. I am interested in the fantastic experience, be it the conscious quest to achieve one’s personal (or indeed popular) fantasy, or the more sub-conscious seeding of a fantastic situation or construct through the actions of others. The fantastic has the power to engage the imagination, initiate dreams and trigger desires, excite, manipulate and confuse. the projects explore how one can, through the production of objects and services located in specific contexts, enable these fantasies.

The Quest is manifest through the devices – to experience the Invisible, Lightning Strike, and Disappearing (at sea), and the book Fantastic, documenting their development and realisation.
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source: designboom

andrew friend is a UK-based designer who is focused on designing experiences between people, technologies
and their surroundings. for london design week 2010, he presents his 3-part ‘fantastic’ project which is being
shown over two venues. the device for ‘disappearing at sea’ is being featured in ‘inter;alter’ at the space in between
and devices for experiencing the ‘invisible’ and ‘lightning strikes’ are displayed in the wellcome trust windows
on euston road.
‘device for disappearing (at sea)’ friend’s project deals with the notion of the ‘fantastic experience’, whether it be the conscious quest to achieve one’s personal (or popular) fantasy. the fantastic has the power to engage the imagination, initiate dreams
and trigger desires, excite, manipulate and confuse. ‘fantastic’ aims to explore how one can, through the production
of objects and services, located in specific contexts, enable these fantasies.
device for disappearing (at sea) this device offers the individual opportunity for a safe, temporary (and dry) disappearance, experiencing an isolation seldom found on land. the one who occupies the device is absorbed into its chasm, disappearing from view,
beneath the water’s surface. it examines the relationship between the know above, and the unknown / imagined world below sea level.
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source: sitrakacouk

I was born in Madagascar and grew up in Paris before moving to London in 2008. I have a mixed background in art and design; I hold a Bts in industrial design, a MA in graphic design & multimedia and graduated in 2010 from the Royal College of Art in Design Interactions.
I started freelancing in 2006 as a graphic and web designer then interaction designer before moving towards a speculative design approach.
I lived half a year in China in 2007, and worked as an Art Director for the StudioZero in Shanghai.
I also worked for Wieden and Kennedy as a researcher and creative technologist in their R & D Platform. Most of my work was dedicated to the exploration of new areas where the company resources and expertise could be used. As well as looking at ways of using technology and emerging technologies to create new experiences.
I’ve also co-founded a ‘speculative design’ collective with friends coming from computer science and architecture backgrounds: Good One.
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I have specialised in designing objects, artefacts and devices as a form of storytelling to question and excite. I usually use science as fuel to imagine new relationships between people and technology, whether it allows us to achieve something fantastic or perceive reality through a different prism.