The free standing entry is marked by rectangular sleeve of sandblasted aluminum, with a curved floor and ceiling, that remains open on two sides framing the Peace Center on one side and the Oslo City hall on the other. The perforations on the interior of the entry form a map of world-wide centers of conflict.
The entry is clearly operating in the realm of the Turner shock induced experience. Assuming that the entry comes with no written explanation of the perforation as areas of conflict, do you think that it is still able to result in a learning experience? Is it enough of a shock to create "an anxious need to find meaning in what has disconcerted us" (Turner 36)
The form of the entry is mimicked on the interior of the building by similar free standing black metal box. Its perforations represent major population centers that glow green or red depending on that site's level of conflict (peaceful to warring). Each puncture emits the sound of a voice speaking the respective city's language. This installation fits within Dewey's Experiential Continuum by building on the experience of the entry way and modifying the quality it. It illuminates the previous experience while providing incentive for future ones.
Do these two pieces foster experiences that erupt from shock while working withing a continuum of experience?
In a collaboration with artist and designer David Small, Adjaye created video displays that recount the life of Alfred Nobel and past Nobel prize winners. Here the content and the expected learning is clear.
Despite the difficulty of discussing what experiences would occur based sole on photographs, these examples as relative anomalies, will help illuminate ways in which learning experiences have been designed.
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