Responsive Architecture

1.09 The Problematic of Responsiveness in Architecture Firas Safieddine

The Problematic of Responsiveness:

Advanced architecture through a looping spatial structure

Theory of Advanced Knowledge Faculty Manuel Gausa Jordivivaldi Piera March 13, 2017 IaaC

“...As a crude example of human-machine cohabitation, The Turk can also be viewed as a system of first-order Cybernetics. As described by twentieth-century scientist Norbert Wiener (1946), Cybernetics is the study of complex systems consisting of actors of diverse nature and origins, primarily of machines and organisms.

The study of such biomechanical ecologies as complete systems affected the organization of industrial manufacturing environments that require human-machine collaboration and led to the birth of Artificial Intelligence as a field of study. Further categorizations of Cybernetics lead to the definition of a “first order” described as observed systems, and a “second order” where the observer as well is a part of the system under observation (von Foerster 1981).”

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“This synchronization or singularity

between space and subject as a unified system that constantly informs each other in a continuous feedback loop creates a morphological relatedness in infinitesimal yet foreseeable transformation. Therefore, if architectural form storing encoded information of motion is a “first order,” then an architecture in formal transformation can be summarized as a more elusive design intent in the “second order.”

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What’s Next?

Figure 0 - A collage/photomontage pointing out the possible next step in architectural discourse interms of design process, thinking and actualization. “What is next?” is targeted towards Architecture’s Next status quo 4

The Problematic of Responsiveness:

Advanced architecture through a looping spatial structure Abstract The current trend of “intelligent/responsive structures” actualized by the interplay of sensors, computers and programs that produce predefined effects, triggered by a user or dweller and potentially impacting their actions is irrelevant to the project of an advanced architecture.

Against this problematic in some cybernetic devices - the static and predetermined input and output criteria - I argue for environments rather than devices, which monitor and grasp the behaviors and interests in order to generate spatial configurations and activity programs for them. Moreover to develop such systems to an extent the human being becomes an agent rather than an actuator; hence unconsciously manipulating the spatial structure just by the fact of being present, or absent.

The idea of architecture being responsive stems from an idea that proposes the impossibility of prediction of future conditions, and thus the very start was steps towards a flexible volumetric scheme- be it capsules, chambers, structural elements etc. - that was capable of being manipulated according to change in the program.

Moving forward, with the aid of advanced technologies architects could simulate environments, and try to replicate some; such as SEEK, on the other hand a different kind of model was on the table, URBAN5, which had what could be “the societal responsibility” of architecture, in which users would be told the influence of their choice prior the final decision, but this project is a great example of a disconnection in the internal structure since neither the choices of the inhabitants nor what happens consequently is monitored, stored or made benefit of. [A precondition for these abilities is that the building starts to “know” the inhabitant and is able to respond to contextual variations]. To build on this, an advanced version of such a project would learn from the decisions of the user, monitor everyday data, and implement it in a learning set for a more optimum performance. This way of thinking requires a constant [progressive] and context related response.

Note:

One of the interesting misconceptions is the confusion of “actuator” with “executor”.

In responsive systems, an actuator is one step prior to the actuator. As the actuator becomes more discrete, systems appear to be more autonomous.

The idea that architecture is made to accommodate is anti-architecture I believe; and if anything has been pulling back is the desire for more cute/cool/comfortable/ efficient/resilient buildings-whatever all these terms may mean-in that sense buildings become of no content, they become an un-noticeable negative to a positive social consumption. On the contrary buildings should not be backgrounds but Cover - Experimental neural network computer - Miles Dobson, 1991 Figure 1 - “Seek”by Nicholas Negroponte with the Architecture Machine Group , M.I.T. 1970 6

front-pieces; they should not accommodate* but be pieces of their own. Only then, buildings can function, stand up, and mean differently, it is a different connotation of these terms when spaces that do not look like they function become catalysts/ experiments for a new programme generation/experience.

There has been a thrive in the last decades to achieve a new kind of spaces of the twenty first century which is more dynamic, not only as having kinetic gadgets but rather having a more dynamic spatial structure. Since the second world war, all throughout the realization of the first computer, neural networks, the 60’s thrive for the machine, the Architecture Machine group at the MIT, numerous exhibitions, interface achievements - television, house-hold, art, etc.- and the ease of access to such technologies, architecture have had some moments of an encompassment; not many though. How relevant is that to evolve to an advanced architecture? And what would really be a challenge for the current status quo of architecture, to push the boundary and advance?

Has all that been actualized, an advanced architectural space must have a looping spatial structure.

Personalized Definitions Autocatalysis When in a reaction, one of the reaction products is also a reactant and therefore a catalyst in the same or a coupled reaction Looping architecture Endless. Architecture that acts according to data sets, generated as an interpretation of the spatial/users’ condition. In such case, a looping system would be an indeterministic, personalized and dynamic way with an end goal of manipulating the users’ experience through spatial control. Hence the building/system/space would be able to progressively generate a new set of rules to act upon. i Perceptual loop The permanent varying perceptual experience – a zeroth perception imprinted in memory builds up the perceptual sets, which influences the next time a subject experiences an environment.

Design method Is the systemic procedures that structure out how a project is being realized.

The Looping in the design method Is designing the preliminary system that makes up the process which will generate a space based on evaluations, simulations and learning. Starting from a ground [decision] an unexpected.

Causal Loop Diagram A diagram visualizing how different variables in a system are interrelated. .Positive causal link implies that the two nodes change in the same direction. .Negative causal link implies that the two nodes change in opposite directions A causal model An abstract model that describes the causal mechanisms of a system. The model must express more than correlation because correlation does not imply causation.

Judea Pearl defines a causal model as an ordered triple {U, V, E}, where;

.U is a set of exogenous variables whose values are determined by factors outside the model; .V is a set of endogenous variables whose values are determined by factors within the model; .E is a set of structural equations that express the value of each endogenous variable as a function of the values of the other variables in U and V.

Alleleomimes A range of activities in which the performance of a behavior increases the probability of that behavior being performed by other nearby animals. Allelomimetic behavior is sometimes called contagious behavior and has strong components of social facilitation, imitation, and group coordination. It is usually considered to occur between members of the same species 8

Responsive Architecture >>> Adaptive Learning Environments “Let us build machines that can learn, can grope and can fumble, machines that will be architectural partners, machines that can learn about architecture and perhaps even learn about learning about architecture. Architecture Machines.�

N.Negroponte 1970.

The BoLaGram BOdy.LAnguage.DiaGRAM a diagram-aide for parsing the complex, Mobius strip-like relationships that characterize spatial, psychological, architectural, cultural, narrative, and artistic relationships

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A: Source of authenticity or Authority C: Participating Subject C’: Fictim B: Anamorphic view structure

Figure 3 - A collage/photomontage pointing out the faults in what buildings really sense, and respond according to. “But, Who Are You?� is targeted towards responsive environments to perceieve the users in a different manner 12

Robots in Art Timeline 1920 – Capt A.J. Roberts 1956 – CYSP-1 Nicolas Schöffer 1963 – Electric Actors – Bruce Lacey 1964 – John Fare the Performance Artist using Robotic Props 1964 – K456 – Nam Jun Paik & Shuya Abe 1964-5 – Robot Art – Enrique Castro-Cid 1965 – R.O.S.A.B.O.S.O.M. – Bruce Lacey 1965 – Edward Kienholz “The Friendly Grey Computer” 1965-70 – Robert Breer 1966 – James Seawright 1966 – R/C Tortoise – Lalanne 1967 – Mate – Bruce Lacey 1967 – R/C “Arthur” – Jacques Monestier 1967 – “Kaliedophonic Dog”, “Rosebud Annunciator” (1969) – Stephan von Huene 1968 – Cybertheater – Lev Nusberg 1968 – Toy-Pet Plexi-Ball – Parkinson & Martin 1968-9 – “Homo Cyberneticum” (“Cybernetic Man”) series – Paul van Hoeydonck 1969 – Cybernetic Sculpture – Les Levine 1969 – Tim Hunkin “Mechanical Man” 1969-70 – SEEK Negroponte 1971 – “COSME”, Le Chevalier de L’Espace – Jeanne RenucciConvers 1973 – Japanese “Babot” – Shiro Takahashi 1975-6 – Jim Pallas “Blue Wazoo” 1976 – AARON – Harold Cohen 1976c – ON/OFF – Clayton Bailey 1978 – “Mechanimals” Illustrations by Murray Tinkelmann 1980 – Fuyo Robot Theater 1982 – “A2W2” the Andy Warhol Robot by Alvaro Villa 19xx – Dead Chickens 19xx – Arthur Ganson 19xx – Gilbert Peyre 19xx – Edward Ihnatowicz 19xx – Jim Whiting 14

19xx – Eduardo Kac 1991 – Kraftwerk’s Robots 19xx – Strandbeest – Theo Jansen 19xx – Chico MacMurtrie / Amorphous 19xx – Mark Pauline / SRL 19xx – Pask – Colloquy 19xx – Roland Emett 19xx – Tim Lewis 19xx – Kenji Yanobe 19xx – Kenneth Rinaldo 19xx – Norman White 19xx – Louis Philippe Demers and Bill Vorn 19xx – Daniel Depoutot 19xx – BBM 19xx – Paul McCarthy 19xx – Simon Penny 19xx – Alan Rath 19xx – Stelarc 2001 – Leonel Moura 2002 – Andrew Baldwin 19xx – Tim Hawkinson 19xx – Heri Dono 2003 – Christiaan Zwanikken’s Robo-Donkey 19xx – Chris Burdon Early Drawing, Writing and Painting Machines (under construction) 1770c – Jaquet-Droz Scribe 1772 Draughtsman 1760s – Friedrick von Knaus Philadelphia Doll – Maillardet Bros 1820 – Prosopographus, the Automaton Artist by Charles Hervé 1877 – John Nevil Maskelyne with Zoe 1895 – Pocock’s Mechanical Artist (Toy) 18xx – Georges Mieles / Robert-Houdin – Drawing Automaton 1920 – Marcel Duchamp – Rotary Glass Plates 1928 – “Gakutensoku” by Makoto Nishimura 1929 – Lady Drawing Robot 1955 – “Mr Robotham” with Writing Hand – Peter Holland 1955-59 – Jean Tinguely – prototypes & Meta-matics 1955-59 – Raymond Auger’s Painting Machine 1957 – Akira Kanayama –

Remote-control painting Machine 1960c – Bernard Smith’s Painting Machine 1964 – “Larry Flint” Painting Machines 1964 – David Medalla “Sand Machine” 1970 – David Jacobs – Pneumatic Drawing Machine 1976 – AARON – Harold Cohen 1977-8 – Anton Perich Painting Machine 1988 – Rebecca Horn Painting Machine (external link) 1982 – Arthur Ganson Writing Machine “Go Faster” 1984-6 – Theo Jansen Painting Machine 1993 – Tim Hawkinson “Signature” 1990 – Angela Bulloch Painting machine “Betaville” & “Mudslinger” 1995 1995 – Natasha Kidd Painting Machines 1996 – Mark Hoskin “Word Turn” 1998 – David Taylor – Pollockizer 1999 – Carlos Corpa Drawing Machine 2000 – Tim Lewis “Auto-Dali Prosthetic” 2001-4 – MEART – SymbioticA Rat Neuron Drawing Machine “Hex” Discworld computer output device Early Mechanical Talking Machines (under construction) 1770c- Friedrick von Knaus talking machine 1771 – Erasmus Darwin Wooden mouth 1769-91 – Baron Wolfgang von Kempelen 1778 – Abbe Mical Talking heads 1779 – Christian Kratzenstein’s resonators 1806 – Posch Speaking Machine (German) 1823 – Maelzel’s Talking dolls and The Turk 1828 – Robertson 1835 – Charles Wheatstone 1840 – Joseph Faber’s

Euphonia Alexander Graham & Melville Bell 1837 – R.R. Reisz 1922 – J. Q. Stewart’s Electrical analog of the vocal organs 1939 – Homer Dudley – Voder 1950 – Dunn’s Electrical Vocal Tract 19xx – Martin Riches – MotorMouth & Talking Machine 1999?- Nicolas Anatol Baginsky – “Elizabeth Gardner” 200x – Jim Whiting ElectroMechanical voice box 2004 – Maywa Denki “Seamoons” Artificial Vocal Cords 2005c – Waseda Talking Robots – Kentaro Takada and Atsuo Takanishi 2008 – Kagawa Artificial voice Early Musical Automatons, Androids and Robots (under construction) 1810 – Kaufmann’s Trumpeter 1839 – Menzetti’s Flute player 1967 – Pneumatic Rubber Tube Sound Sculpture – David Jacobs Other Art Machines (Australian) 1968 – Ken Reinhard’s “MiniComputer” Pop Art 1972-4 – Josef Stanislaw Ostoja-Kotkowski – Kinetic and Laser art 1973 – Trefor Prest’s BioMechanical Sculptures Pseudo Automata, Fakes & Robot costumes 1770 – “The Turk” Chess Player 1875 – “Psycho” Card Playing Automaton 1877 – “Zoe” Drawing and Writing Automaton 1882 – King Fu 1903 – Motogirl 1903 – Phroso the Mechanical Doll 1904 – Enigmarelle

1904 – “Zutka, the Mysterious” 1905 – Fontinelle – Auto-Man 1906-1935 – Ray A. Willis “Mechanical Man” 1910 – Das Moto-Baby 1910 – Moto-Phoso 1910 – Tin Man 1911 – Arthur Ross – The Mechanical Man 1912 – Moto Pheno 1920 – Shrozo the Robot Girl 1922 – Madam Radora 1922 – Maurice Francill the “Radio Wizard” 1923c- Claudo the Mechanical Man 1925c – “Rose-Marie” the Robot with Will Mackford 1925c – “Rose-Mary” the Human Automaton 1925 – Radiana – Prof. J. Popjie 1931 – Jose Lisso – Tiny Dunn 19xx – Mons. de Patou the French Mechanical Mannequin 1932 – “Mr. Robot” by William Hutter 1934 – “Ross Robot Mechanical Man” – Miss Sophie Ross 1935 – Alpha the Robot 1935 – Fake French “Robot Man” 1935 – Robota 1935 – Telepathovox 1938 – Rupert 1940 – Silo, the Zenith Mechanical Man 1940 – “Roll-Oh” the Domestic Robot 1945c – “Voltaire” – William Jean Arrendorff 1952 – Mr Rivets 1953 – Robot Costume – Westinghouse 1953 – Tobor from “Captain Video” 1954 – Gyro the Robot 1956c – Oom-A-Gog Robot 1957 – RuffNik the Robot 1957 – “Mr. Fantastic” Ushering Robot 1959 – Beatnik Lipton DUHAB 1966 – Able Mabel by M.W. Thring 1968 – Miss Honeywell 1972 – Drones from “Silent Running” 1976c – ON/OFF – Clayton Bailey

1976 – Super Dennis 1979 – Fubar D. Robot 2000 – BoilerPlate Hoax KENO – Robot Man 1905 – DeVahn – Female Dummy 1933 – Fred Allen Giant-M..

Unknown 1908 – Charcot 19?? – Japanese Unknown 1930 – Dr. Walfox (promotional) 1934 – Welsh Unknown Cyborgs and Enabling Technologies 1926 – Der Mensch als Industriepalast (Man as Industrial Palace) – Fritz Kahn Lindenberg-Carrell Perfusion Pump Two-headed Dog – Demikhov Severed Dog’s head and revival – Bryukhonenko 1960 – Clynes & Kline CYBORG 1969 -Paul van Hoeydonck CYB-sculpture Early Bionic and Artificial Neuron machines 1948 – ELMER – a new species of animal – M. speculatrix NERISSA – Grey Walter 1950- J.J. Coupling (John Pierce) 1951- “SNARC” – Marvin Minsky / Dean Edmonds 1955-59 – Raymond Auger’s Painting Machine inc Artificial Nerves 1958- Uttley / Andrew Conditional Probability Computer with trolley 1962- MELPAR Bionic Maze using ARTRONs 1957 – Perceptron – Frank Rosenblatt 1960c – Lernmatrix – Karl Steinbuch 196x – ADALINE / MADALINE – Bernard Widrow (Stanford) 196x – MINOS I,II & III 1963 – Cynthia – Lesti

(Andromeda) 1962 – Conflex 1 – Dr. Malcolm Uffelman (Scope) 196x – SOCRATES 1962 – MIND – Ford 1962-6- “STeLLA” – John Andreae & Peter L. Joyce 19xx – Electronic Frog’s Eye – RCA 1961 Cybertron – Raytheon 196x – Sceptron – Sperry 196x – Artificial Neuron – Bell Labs 1961 – Numa-Rete – Weston / Foerster 1963 – Artificial Neuron – Chubbuck / Bittner 1971 – SOPHIA

Gernsback 1928- Henri Piraux – “Philidog” 1934- Dussaud – Endomechanics 1939- Tolman – Sowbug Schematic

Hockey 1959-60 – Andrzej Harland – Artificial Turtle “CUPEL” 1960- Kretz / Angyan / Zemanek – “Machina Combinatrix” 1960s – Russian Cybernetic Cybernetic Era Tortoise – Unknown builder 1960- Stanford Cart 1948-49 Grey Walter – “ELMER” 1961 – APL-JHU “Ferdinand” & “ELSIE” Mod I 1949- Wiener Wiesner 1962-3- APL-JHU Hopkins Singleton – “Palomilla” Moth “Beast” Mod II pre-vision 1950- Grey Walter – “CORA” 1962-5- APL-JHU Hopkins 1950 – Tinius the Cybernetic “Beast” Mod II with extended Turtle – Rice University sonar & vision 1950 “Cybercar” Toy 1962-6- “STeLLA” – John 1951 – Edmund C. Berkeley – Andreae & Peter L. Joyce “Squee” 1962?- “Tortilla-2” Ukrainian Early Brain Control and Animal 1951-2 Paul-Alain Amouriq – 1962- “Icarus” – Orr Control Technologies Cybernetique Tortue (Tortoise) 1962- Otto Walter Haseloff – 1951 – TOAD Artificial Nuron “Hinz & Kunz” 1940 Project Pigeon – 1948 Line Follower – Householder 1963- Cautela & Mikaelian Project Orcon – B.F. Skinner 1952-54 Albert Ducrocq – Miso, – Conditioned Cybernetic 1945 – Radio Jockey by Job, Cesare, Barbara, RenardMachine Gernsback / Leslie et-al 1963c- Fred Chesson – BF Skinner – Skinner’s Box 1952?- MIT- unknown robot Cybernetic Dog 1956c – “Dog-Mobile” Dog1953 – Kubanoff – “Tim Turtle” 1964- R. Oettel – “Omega” controlled Walking Truck 1954 – Eichler / Zemanek – 1964 – Armand Delsemme – (Concept) – Iben Browning Vienna Turtle Cybernetique Tortue 1957 – Rat radio-control – Dr 1955 – Cross – Phototropic Snail 1964- Hans Moravec – Gengerelli 1956 – “CYSP-1” – Nicolas “ROBUG” 196x – Jose Delgado Schöffer 1964- “Fred” – John Holland 1964 – Marine Mammals and 1956 – Bert and Ivan Sutherland 1965- Hans Bielowski / Ordnance Recovery – “Beast” Zemanek- Schildkröte 1980 – Steinbach Space-suited 1957- Ivan Sutherland – 1965 – “ADROIT” – Leonard Dolphin “Machina Versatilis” Friedman 1956-57- Daniel Muszka – 1965- Russian Tortoise Artificial Beings “Szeged Katica” (Hungarian) 1965 – Russian Dog c1950s French – Dan Dennett’s 1966 – Russian Cybernetic 1870 – Artificial Man by Orin “Tati” Explorer Vasta 1957 – Vasiliev / Petrovsky 1966 – kybernetische 1910 – The Electric Vampire by (Russian) – “Beta” Schildkröte at Otto von F. H. Power 1958- Angyan – “Machina Guericke University 1920 – Rossum’s Universal Reproducatrix” 1967- Rosen, Nilsson, Raphael – Robots by Karel Čapek 1958- A.H. Bruinsma – “Cyber “Shakey” the Dog” 1967 – Bruce Lacey – “Mate” Pre-Cybernetic Era 1958- Welker – “Sparky” 1968- “Toy-Pet Plexi-Ball” – 1958- Uttley / Andrew Parkinson & Martin 1911- Toy Beetle Conditional Probability 1968 – Russian Cybernetic Bee 1912- Miessner / Hammond Computer with trolley 1968c – Johan de Boer – Electric Dog “Seleno” + 1958- Electrotechnical Institute Cybernetic Mouse Addendum in Kiev – “Tortilla” 1969- “Astor” – Aston University 1916- Steinbrook – Wireless 1958-60-62 Wojciechowski – 1969 – Russian Dog follows Dog “Azor” and “Super Azor” Dog cable 1920- Lux – Protozoon 1959 – Sverdlovsk Cybernetic 1969 – Russian Tortoise 1921- French Dog – Berger Toy Tortoise 1969- “Emma” – G. C. Brown 1923 1959 – Cybernetic Mice play 1970 – Peter Vogel – “MERV” 16 – The Electric Dog – Hugo Figure 3 - The story of experiments in art and technology 1960-2001. — Tokyo : NTT InterCommunication Center, 2003

1970 – Russian Tortoise 1971 – “Xee” – G.C. Brown 1972 – “Cyclops” – L.C. Galitz 1972 – Free Roving Machine – M. F. Huber 1972 – Cybernetic Penguin – (Russian) 1972-5 – Amosov – “TAIR” 1975- Beetle Construction Model 1975-99 – KYTRON by Rudolf Mittelmann

1975- Moth Model 1976- Heiserman – “Buster” 1976 – Tod Loofbourrow “Mike” / “Microtron” 1976- Gene Oldfield – “Entropy” 1977- Ralph Hollis – “Newt” 1977- “HILARE” 1978- Mark-IV QMC 1978- Peter Folk ‘s Inexpensive Turtle 1978- “Tee Toddler” Lightseeking Robot

1979- Frank DaCosta – Robot Pet 1979-80 “Hebot I, II and III” – John FitzGerald 1979 – Heiserman – “Rodney” 1980-82- ROBART-I Bart Everett 1980- SUPERKIM Meets ET-2 1982- SRI “Flakey” 1984- Moth – Gene Oldfield 1987c- “Herbert” by Brooks,

Note The following is intended as a constructive criticism of the status quo of advanced architecture. The main focus will be on idea of “responsive architecture” and more deeply into a particular form of responsiveness; I argue is key to achieving an advanced architecture.

Introduction For kickoff, the most common definitions of the term “responsive architecture”.

“Responsive architecture is an evolving field of architectural practice and research.

Responsive architectures are those that measure actual environmental conditions (via sensors) to enable buildings to adapt their form, shape, color or character responsively (via actuators).

Responsive architectures aim to refine and extend the discipline of architecture by improving the energy performance of buildings with responsive technologies (sensors / control systems / actuators) while also producing buildings that reflect the technological and cultural conditions of our time.”

Encountering this definition, responsive architecture should involve not only a direct structure of sense x actuate but a capacity of learning throughout a feedback loop. Responsiveness can happen in the design process -as a optimization process or an iterative generation- or in the actualized state of a project; hence an architecture in permanent mutation. In such a way, architectural spaces would exist as autonomous agents – this converts the subject to an agent as well, rather than a direct actuator [the executor is the following step.

On the other hand, I believe that improving energy performance has an irrelevant role in neither extending nor refining the discipline of architecture. Yet another interplay with nature i.e. ecologies, tends to be include more related instances, such as ecological thinking in the sense of the term which reflects upon life processes, interactions and adaptive behavior, the successional development of ecosystems, the abundance and distribution of organisms and biodiversity in a context or environment.

Tracing back the emergence of the concepts of responsiveness, interactivity and participatory architecture, it was clearly at a moment in time where enabling technologies and grounding theory started to happen.

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The Manhattan project, a 2.6 $billion -currently equivalent ~37 $billion- launched on the 13th of August, 1942 has changed physics, biology, chemistry on to ecology and physiology all the way to engineering, medicine and control system architectures.

Among the breakthroughs linked to atomic research – ref. Creager,”Life Atomic” : .Treatments for cancer, especially using cobalt-60; .Diagnostic tests still used widely in medicine; .An understanding of metabolic pathways, such as that for photosynthesis; .A clearer picture of how the human body absorbs and uses substances such as iron.

The modern understanding of ecosystems as environments in which matter and energy flow through living and nonliving components; Control system architectures, user interfaces and major breakthroughs in computing.Meanwhile a major paradigm was inflating; Cybernetics, which is in brief an approach for exploring regulatory systems—their structures, constraints, and possibilities. Norbert Wiener defined cybernetics in 1948 as “the scientific study of control and communication in the animal and the machine” but the term now would refer to any system control using technology.

Undermining the term, Plato using “cybernetics” in The Alcibiades was amongst the first recorded uses; it was in the context of “the study of self-governance” to signify the governance of people.

To put it in more practical terms, cybernetics -as in controlling a system by observing the difference between desired behavior and actual behavior and using

>> “Towards an Architecture in Permanent Mutation”

that as an input to guide the system – is one of the first major paradigms in terms of thought and technical progress that influenced control systems in general, such as in navigation, military, industries, art and certainly architecture

Note: This notion of cybernetics is a “closed loop” system as opposed to “Open loop” system which means the error is not used in the control, so essentially the system is blind.

This is okay if the system is simple, accurate and robust against perturbations.

From that point on, a lot of architectural experiments and trials began to sound feasible, and a new wave of thought in architecture started to take place, from an idea of a responsive architecture, to what now has become “the possibility of an architectural singularity. In that sense, the major objective is a simultaneous associative dynamic embodied by alterations in human experience and the space.

Here comes in the possibility of replication rather than simulation, one ultimate example is scientists and technologists have always tried to simulate a brain, but I suppose the major question is that would it be possible to replicate it? - To realize it? in more architectural terms. The same applies to what we experience, the reality we are in, and the possibility for these technologies to really realize a reality rather than simulate it.

On that note, the unconscious is what really is when we experience. Technically, all our experience is based on physical/electrical neuros-tuff happening in the brain brought through a filter called the unconscious. As pointed out by Lacan - who went beyond the proposition that the unconscious is what lays beneath the conscious world – Jung - to point out that the unconscious itself is structured, like a language.

This intricate structure, of what the unconscious could be is what can be analogous to deal with as a complex spatial structure, or how a space is actualized.

This thinking methodology applies to the author/architect and the subject. An autonomous architecture requires autonomy in the design process stretched to the realized state, which in the sense does not exist as a state but as alternating states, ever changing.

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Figure 5 - Yershรณv Diagram - 1963

Figure 6 - Reconfiguring the director-agent model to the agent-agent model of human-machine interaction.

“By replacing the origins, the presence and the author by arbitrariness, absence and machinic behavior, Eisenman has found the recipe for a non-conservative resistance, critical within the zeitgeist. He has become the first truly machinic architect not in the productivist sense, but in the purely ideological. Eisenman’s machine of absolute resistance is aimed at disengaging the traditional coupling between power and control to retain a critical control of the project without becoming a pure instrument of the zeitgeist.

His statement: “I have always been interested in control, not in power’ is very revealing as a way of understanding his projects.”

Alejandro Zaero Polo.

Hence, diagrams, notational systems, operational and iterative processes became the way to take hands off in the design process.

N.B. Artificial intelligence in a sense of trying to take as much steps as possible away from the final step, the more “indirectly controlled” layers a system can include, the more intelligent it appears to be. That is what was aimed at the possibility of disintegration of the author, and thus have an autonomous design process.

Stretching out to the realized/actualized phase, the user experience phase, architecture becomes the physical environment that alters our frame of reference as experience it. This physical experience, in the sense of experiencing a physical condition, influences a certain mental, psychological, emotional state in each person. Weather a building is at stasis, or in motion, weather if responds or not, is set to impact our physicality as well. Upon that, advanced architecture is that which has the capacity to perceive its influence upon other beings, such as us, in order to be autonomous and thus exist according to what the environment demands.

I set the main questions set to examine a advanced architecture as follows.

.Does it intake the user experience as input? .Does it project store history/memory/experience sets? .Does it act upon a set of rules that are previously determined or generated ones? .Does the system architecture include hidden layers?

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Upon these criteria, a project would have the ability of including a looping spatial structure i.e. to have a looping spatial structure does not imply a looping, previously set, action, but rather a looping way of being; in that sense, the system would each time self-produce a set of actions to execute. The executed is not the only unknown, but here the set of rules to act upon is unknown too, and is different in each iteration. To be capable of being autonomous in that sense, a system must include a “memory” which is the recorded results – influence of executed actions- in order to learn – use to compare and produce an optimal mode of processing; which means that the system includes an extra ingredient which is hidden layers.

Note: As artificial inelligence is viewed as the ability of machines/agents to look intelligent, thus having the ability to perceives its environment and takes actions that maximize its chance of success at some goal, it becomes a necessity to architecture because of the most critical relational point which is “cognition”, a term that has been forever been linked to the subject in architecture and not to the building.

Last but not least, spatial experiences are technically how we respond to certain spatial parameters, or to the space as a whole, but it can be really reduced to how we respond to a wide range of spatial conditions. We perceive the space, store the memory of this experience upon a huge stack –the perceptual sets- of all the previously stored experiences and then respond differently through a continuously changing filter. This implies prioritizing the spatial/emotional experience on a mere reduction of users to masses. Looping architecture should have the human experience, rather than simplistic parameters such as location, presence, height, etc. as inputs.

Furthermore, thinking about architectural space in that manner, brings up the idea of space becoming more similar to our perceptive/cognitive model, in the way of being, it’s a trinity of machines/agents humans and built environments which raise the possibility of what one can call “architectural singularity”. //////////////////////////////////////////////////////////////////////////////////////////////////////////

Digital Wall Jason Bruges

A wall in a hotel designed by Jason Bruges displays the basic type of how a space can change according to user experience, input it again and act differently. This project captures the users color, form, movement in space, position and the duration they spend and stanslate it through a given set of rules to a boolean series effecting the lightbulbs intensity and color displaying a manipulated silhouette of the user, and by that altering his/her experience, which triggers their behaviour and that is collected as input and so on.

The Digital Water Pavilion

carlorattiassociati | walter nicolino & carlo ratti Team: Carlo Ratti, M. Lai, W. Nicolino Carlo Ratti’s Digital Water Pavilion includes a dual structure in terms of the interactivity being set in prior – a proximity sensor evaluates how close a user is to the structure and due to set rules would stop or flow the water out to create patters, openings, and so user can enter. Parallel to that another set of rules and sensors, are used to allow or not, the direct control of closing the pavilion or not. It is to be noted that this project worked best when it actually stopped working - according to the rules- people started enjoying unexpected interaction.

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Architecture des Humeur R&Sei(n)

Architecture des Humeur discusses the possibility of an architecture inspired from the human state, understood through bio-chemical mapping of the human body and transferring these inputs – recorded as moods – through highly complex mathematical processes into structural formations, sent after to a mobile 3d printer that executed the chore. What is significant in this project is the mechanizing the design process and the building process totally; to set rules for transforming moods to form. The project does not include an experiential loop, but rather constitutes a spatial structure built upon the user’s “mood”, which would in return a healthier environment for users to experience the spaces.

URBAN5

Yona Friedman - Nicholas Negroponte Things start looping here, in an incomplete manner; the major breakage in this project is the missing link between the model bank & warnings and the postoccupancy data. The project had a set of models and a set of warnings previously set, tied to each model, but had a more interactive interface that allows user to pick another model after the first warning call, and will keep changing until the user is satisfied. Had there been a link between the models and rules originally set and post occupancy data that can make the warning bank more efficient as it learns from real life experiences.

The Generator

Cedric Price - Gordon Pask This collaboration between an architect and a technologist was one of the first experiments in articulating intelligence to buildings and celebrating the idea of a dynamic architectural space. In the Generator project, Cedric Price aimed at proposing a multilayered project in which he referred to “participatory” architecture.

This model of interactivity proposes a binary work flow in channeling the process but rather a more complex flow in processing, learning and actuation. The 5 stages are placed in priority, where if a step did not have the input to act upon, the following step is checked, and so on. This workflow allowed responsiveness according to different parameters, from direct user input, be it comments about their experience or direct space manipulation or even self-generated rules to act upon, nevertheless, the building generated rules and responded to not being triggered in a way to confront/trigger user input. Rules previously set was altered by the stacking of user experience and feedback which created a possible archeology in the “data back” that the project had.

26

Key Points from the Generator:

.Contains a heterogenous set of predefined rules .Stores memory of user feedback and user manipulations .Generates rules to act upon in absense of user input .Triggers user activity by acting autonomously Simple Agents Simple Agent systems, or Simple Reflex Agents, observe through sensors and act upon an environment using actuators (i.e. it is an agent) and directs its activity towards achieving goals (i.e. it is “rational”, as defined in economics). This Simple type of agents has a very limited set rules, and defined sensors. In that sense lacks any ability of generating new rules, “understanding” situations.

Figure 7 - Deduced diagrammatic workflow of Digital wall, Jason Bruges Figure 10 - Deduced diagrammatic workflow of the Digital Water Pavilion by carlorattiassociati | walter nicolino & carlo ratti Team: Carlo Ratti, M. Lai, W. Nicolino Figure 11 - Deduced diagrammatic workflow of Architecture des Humeur by R&Sei(n) Figure 12 - Deduced diagrammatic workflow of URBAN5 Project by Yona Friedman and Nicholas Negroponte at the MIT Figure 13- Deduced diagrammatic workflow of The Generator Project by Cedric Price and Gordon Pask Figure 14 - Diagram for Simple Agent System Figure 15 - Diagram of a proposed possible shift from a Simple Agent System to a collective of agents and a more complex communication system between agents.

Proposed Agent System Intelligent agents are in the simplest form agents, but may also learn or use knowledge to achieve their goals. They may be very simple or very complex: a reflex machine such as the learning thermostat is considered an intelligent agent.

The diagram below is a proposal for an interconnected set of agents, that act in a system, but instead of having four straight inputs from four sensors, by destributing a sensor per system, emplementing hidden layers, and thus having more vacant inputs that can feed from other agents’ outputs, a more intelligent and autonomous system is created.

28

Building prototype-instance adaptation/creation The following workflow diagram shows case of automation in the design process which can be held even as a space manipulation diagram. Firstly the system browses for building spaces, tests in true or false and then acts upon the rules for the next step, select space, in the case space is found, then browses requirements and description, moves on to evaluation if the output is satisfactory or not, if that is evaluated as true the system moved on to add/ approve space instances, until the designer or user is satisfied, and finalize by building instance refinment and saves it to the building instance refinement data bank.

Spatial prototype-instance adaptation/creation In this case, the system is set to prototype/adapt space according to user activity.

Similarly, the system starts by finding activities to determine which rules it uses, afterwards selects activities, but in the case of selected activities not required, the activity instance is deleted and the system goes on again to find the best solution and create the space instances or adapt the space accordingly.

This loop process can be viewed as an evolutionary search feedback loop where the process is set to rules and changes according to what it learns. The grey boxes represent memory storage and manipulation in the system.

30

Space instance refinement constraints generation phase The following diagram is a compilation of all the machinic processes, subcategorized in four main groups User Creation User Modification Activity Refinement Constraints Transferral In brief, it is the firt step towards clustering a preset system, to collaborate with other systems to refine, create and modify instances user later by the system itself. the end nodes, dettached - allocation and generation building and space instances respectively refer to the bonding end points with a different “organ� of the same body.

Timefield Refernces The timefield references in chronological order, with identifiers of the each project.

Projects in Art, Architecture, Simulations or sometimes Technology are evaluated with boolean identifiers with a set of 5 questioned mentioned at the top of each column.

Categories here are defined in a more precise ways stating the subcategory, the categroies in the timefield are shown without the subcategory title.

The timefield is intnded to start post Worl War II but I put more ancient references just for the fact that such trials existed even before that time.

year

project title

author(s)

1206

Robot band, hand-washing automaton,[9]automated moving peacocks

al jazari

arabia

1

technology

1495

mechanical knight - designs for humanoid robot

leonardo da vinci

italy

1

technology

1738

digestive duck

jacques de vaucanson

france

1

technology ; robot

1898

Teleautomaton

nikola tesla

usa

1

technology ; robot

1921

rossum’s universal robots - First fictional automatons called “robots� appear in the play R.U.R.

karel capek

czech

1

technology ; robot

1924

first EEG recording

hans berger

germany

technology

1932

Teletanks - remote controlled tanks up to 1.5 km

ussr

russia

military

32

user experience as input

stores memory to learn from

set rules ; generated rules

hidden layers

country

category

ALL YOU CAN E.A.T. Experiments in art and technology

1937

elektro - Humanoid robot

westinghouse electric corporation

usa

1

technology ; robot

1939

world’s fair

expo

usa

Happenings

1940

I, Robot

Isaac Asimov

usa

publication

1941

space, time and architecture

sigfreid giedion

switzerland

publication

1942

Goliath tracked mine

Germany

germany

military

1943

colossus

1945

Batch interface

1945

Zielgerät 1229 - active infrared weapon

1946

hebbian learning

1946

whirlwind - First general-purpose digital computer

1947

congress for harmonic analysis

1947

first simulation game

1948

technology usa Germany

1

germany

interface military technology

mit

usa

1

technology ; robot

france

Happenings

Tomas T. Goldsmith Jr. & Estle Ray Mann

usa

simulations

cybernetics: or control and communication in the animal and the machine

norbert wiener

usa

publication

1948

mechanization takes command

sigfreid giedion

usa

1948

turing b-type machine

1948

elsie and elmer - Simple robots exhibiting biological behaviors

1949

infrared sensor

1950

motion sensor

34

1

usa william grey walter

publication technology

1

technology ; robot

technology samuel bagno

technology

1951

ferranti mark 1 - first commercial computer

technology

1951

tortoise

walter grey

0

0

s

0

usa

1

technology ; art

1953

musicolour

gordon pask

1

1

g

1

usa

1

art

1953

winky dink and you

Harry Prichett

0

0

s

0

usa

1

interface

1953

first electronic data processing

UNIVAC

1954

first computation machine to simulate a hebbian network

Wesley Clark ; MIT

1955

autonomous cars first trial

1956

cysp 1

Nicolas SchĂśffer

1956

First commercial robot

George Devol & Joseph Engelberger

1958

tennis for two

willy higginbotham

simulations

1958

the perceptron

frank rosenblatt

technology

1959

first telephone call-ins

nbc’s today show

1961

the thinking machine

1961

technology usa

technology

technology 1

0

0

1

art

usa

1

technology ; robot

interface

- mit

usa

1

publication

unimate - First installed industrial robot.

george devol

usa

1

technology ; robot

1962

animac

lee harrison

usa

1

art ; video synth

1962

piezoelectric temperature sensor

1963

sketchpad

sutherland

0

0

s

0

1964

fun palace

cedric price

1

1

g

1964

Potteries Thinkbelt

Cedric Price

1

0

g

s

0

hungary ; france

1

0

no_ data

0

usa

1

0

s

0

technology usa

1

interface

1

0

architecture

0

0

architecture ; urban

1964

URBAN5

Yona Friedman ; nicolas negroponte

0

1

s

1

usa

0

architecture ; urban

1964

At&T first video telephone call

NY world’s fair

0

0

s

0

usa

1

interface

1965

ted nelson uses the term hypermedia for the first time

1966

9 Evenings: Theatre and Engineering

John Cage, Lucinda

1

0

s

0

1966

first vertical blanking intervals send messages between trensmitters

R. F. Sanford

1

1

g

1

1966

the senses considered as perceptual systems

james J. Gibson

usa

publication

1966

the summer vision project

seymour A.

usa

publication

1966

first semi automated facial recognition system

1967

the architectural machine group

MIT

usa

institutions

1967

E.A.T

Billy Klüver ; Fred Waldhauer ; Robert Rauschenberg ; Robert Whitman

france

institutions ; practice

1967

computation: finite and infinite machines

marvin minsky

usa

publication

1968

SAM - Sound Activated Mobile

Edward ihnatowicz

0

0

s

1968

colloquy of mobiles

gordon pask

0

1

s

1968

electronic peristyle

james seawright

1

1

g

1968

cybernetic serendipity exhibition

36

usa

sweden

Happenings 1

art ; event

1

interface

technology

0

1

art

usa

1

art ; technology

usa

1

art ; technology Happenings

1968

The Mother of All Demos

Douglas Engelbart

1968

Graphical User Interface

1968

the cybernetic stance: my process an purpose

ray scott

1968

oxygen sensor

robert bosch

1969

glow flow

myron kreuger , Dan Sandin , Jerry Erdman , Richard Venezky

0

0

s

1

usa

1

art

1969

oN-Line System

Douglas Engelbart

0

1

s

1

usa

1

interface

1969

command line user interface

usa

1

interface

1970

papert eye

marven minsky

0

1

g

1

usa

1

technology

1970

pepsi pavilion

Andy Warhol, John Cage and Jasper Johns and others

1

0

s

0

japan

1

architecture

1970

deku & deme

arata isozaki & associates

1

0

s

0

japan

1

architecture ; art ; robot

1970

the senster

Edward ihnatowicz

0

0

s

0

netherlands

1

art

1970

Scanimate

lee harrison

1

0

s

0

usa

1

art ; video synth

1970

Expo ’70 Fujipan Pavillion Robots

aizawa ; osamu teizuka

1970

SEEK

1970

spatial data management system course

MIT

0

0

s

0

usa

0

interface

usa

1

interface

usa

publication

technology

japan

event ; pavilion

usa

Happenings

usa

Happenings

1970

american computer chess championship

1970

ORACLE - teletext

BBC

1970

game: the game of life

john horton conway

publication

1970

electronic video synthesizer

eric siegel

technology

1971

electrochemic system

gordon pask

usa

1

art ; technology

1971

projection wheel controlled by a servomechanism

gordon pask

usa

1

art ; technology

1971

network iii

james seawright

usa

1

art ; technology

1972

videoplace - responsive environment

myron kreuger

1

0

s

1

usa

1

art

1972

spacemates

ed emshwiller

0

0

s

0

usa

1

art

1972

trial for a cybernetically controlled economy

project cybersyn

chile

Happenings

1972

Pavilion - on the pepsi pavilion of osaka

 Billy Klßver ; Julie Martin

france

publication

1972

a computer animated hand using computer generated imagery

1972

the rutt/etra scan processor

bill etra & steve rutt

1

1

g

1

1973

The Bandit

Edward ihnatowicz

1

0

g

1

1973

5 minute romp through the IP

dan sandin

1

1

g

1

1973

analogue image processor

dan sandin

1973

Famulus - First industrial robot with six electromechanically driven axes

KUKA robot group

1974

Ceefax - first teletext information service

BBC

38

usa 0

0

s

0

Happenings 1

interface

simulations

usa

usa

1

technology

1

art

1

technology technology

germany

0

0

s

1

1

technology ; robot

1

interface

1974

ems spectron

Richard MonkhouseÂ

0

0

s

0

1974

IRB 6 - The world’s first microcomputer controlled electric industrial robot

ABB Robot group

1975

adaptaton in natural and artificial systems

J. H. Holland

1975

PUMA - Programmable universal manipulation arm, a Unimation product

Victor Scheinman - MIT

1976

The Generator Project

Cedric Price ; John Frazer

1

1

g

1

1976

labyrinthes fluides

genevieve calame , jacques guyonnet , Betsy Jolas and Tona Scherchen

1

1

g

1

1976

computer controlled responsive environments

myron krueger

publication

1976

automata languages and development

alvy ray smith

publication

1976

future world movie

1977

first interactive commercial TV series

qube

1977

starwars

George Lucas

1977

extraction of edges and motion estimation by computer vision

1978

first BCI research

UCLA contract from DARPA

usa

technology ; bci

1978

bci assist blind mind

william dobelle

usa

technology ; bci

sweden

1

interface

1

technology ; robot

publication usa

switzerland

1

technology ; robot

0

architecture

1

art

simulations 0

0

s

0

usa usa

1

interface simulations technology

1979

launching of prestel

1979

ars electronica

1979

smarchs

1979

self replicating cellular automata

1980

artifacts

1980

3d simulations

1980

battlezone

atari

1981

aspen movie map

 Andrew Lippman

1981

world’s first intelligent building

RIBA Journal

1981

symposium on trends in CAD/ CAM

1982

computer generated imagery for more than 2 minutes

Tron movie

1983

Bengt Sjostrom Theatre

studio gang architects & unisystems

1983

c++

Bjarne Stroustrup

1984

elite

acornsoft

1985

SAA User Interface or Text-Based User Interface

1985

computer aided living and design

H. Pearman

publication

1985

call up a fine design

H. Pearman

publication

1985

nintendo entertainment system

nintendo

japan

simulations

max msp

cycling 74

usa

technology

1985 40

UK post office

0

0

s

0

MIT

Woody Vasulka

1

1

s

1

uk

1

database ; interface

austria

institutions

usa

institutions ; practice

usa

technology

usa

1

art simulations

usa 1

1

s

1

usa

simulations 1

art ; interface Happenings

0

0

s

0

usa

Happenings

usa

simulations

usa

1

usa

Architecture ; climate

technology simulations

usa

1

interface

1986

The Visible Human Project

U.S. National Library of Medicine

1986

Robots ‘86

1986

s

usa

0

database ; interface

Victor Scheinman - MIT

usa

1

Happenings

AAI RQ-2 Pioneer

USA Navy

usa

1986

field of study

artificial life

1987

kunsthall I

oma

0

0

s

0

usa

0

architecture

1987

Institut du Monde Arabe

jean nouvelle

0

0

s

0

france

1

Architecture ; climate

1988

celebrating the cerebral ; building design

Jonathan craig university of sydney

1988

what is your story

bbc

1989

learning from segal

J. McKean

publication

1989

genetic algorithms in search optimization and machine learning

D. E. Goldberg

publication

1990

the logic of architecture design, computation and cognition

W. J. Mitchell

publication

1991

Evolving Scars

Bernard Khoury

0

1

g

0

lebanon

0

architecture

1991

expanding aluminum sphere

chuck hoberman

0

0

s

0

canada

1

art

1991

second international symposium on electric art

1991

python

Guido van Rossum

1992

mutual uses of cybernetics and science

J. H. Frazer

publication

1992

datastructures for rule-based and genetic design

J. H. Frazer

publication

military publication

australia

0

0

s

0

Happenings

1

interface

germany

Happenings

usa

technology

1993

paro

Takanori Shibata

1

1

g

1

1993

bamboozle quiz oracle using fastext buttons

Channel 4

0

0

g

0

1993

jurassic park

Steven Spielberg

1994

heliotrope

rolf disch

1994

male version done The Visible Human Project

U.S. National Library of Medicine

1994

motion capture, emotion capture workshop

Sally-Jane Norman university of sussex

1994

General Atomics MQ-1 Predator remotely piloted aircraft

USArmy

1995

digital animated puppet in real time by real person

mit media lab

0

1

s

1

usa

1

art ; interface

1995

telegarden

George Bekey, Steven Gentner, Rosemary Morris Carl Sutter, Jeff Wiegley

0

0

s

0

austria

1

art ; robot

1995

female version done - The Visible Human Project

U.S. National Library of Medicine

usa

1

database ; interface

1995

NOX

lars spuybroek

1995

an evolutionary architecture

J. H. Frazer

1995

toy story - first fully computer generated movie

42

John Lasseter

japan

1

art ; robot

1

interface

usa 0

0

s

0

s

simulations

germany

1

Architecture ; climate

usa

1

database ; interface

Happenings

usa

s

netherlands

military

institutions ; practice publication

usa

simulations

1995

java

James Gosling - Sun Microsystems

usa

technology

1995

javascript

Netscape CommunicationsÂ

usa

technology

1996

puredata

Miller Puckette mit

usa

technology

1997

embryological house

greg lynn

0

0

s

0

usa

0

architecture

1997

ACAT - stephen hawking device

intel

1

1

s

1

usa

1

interface

1997

Dragon Fire (mortar) - fully automated fire tank

 US Marine Corps Warfighting Laboratory - TDA Armaments - US

usa france

military

1998

VVVV

vvvv group

germany

technology

1999

aibo

Toshitada Doi

1999

rafael lozano hemmer office

rafael lozano hemmer

canada

1999

lauching trial interactive tv service

NTL

no_ data

1999

How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics

n. katherine hayles

usa

publication

1999

recording cat vision using bci

Yang Dan - UC Berkeley

usa

technology ; bci

2000

braingate ; turning thought into action

usa

institutions

2000

the new extended body: networking

jacques lafon & miguel almiron

1

1

g

1

japan

1

art ; robot institutions ; practice

1

interface

publication

2001

the media house

iaac ; mit ; upc

2001

center for bits and atoms

MIT

usa

institutions

2001

processing

mit

usa

technology

2001

modularEEG - DIY EEG BCI

openEEG project

usa

technology ; bci

2002

the blur pavilion

Diller & Scofidio

2002

jason bruge studio

Jason Bruge

2003

scanning: the abarrent architecture of diller & scofidio

Diller & Scofidio

0

0

s

0

usa

1

art

2003

meat helmet

matt kenyon & doug easterly

0

0

s

0

usa

1

art

2003

google code jam

google

usa

Happenings

2003

E.A.T. — The Story of Experiments in Art and Technology

ICC tokyo

japan

happenings

2003

ANFA

usa

institutions

2003

united visual artists

united visual artists

institutions ; practice

2003

from cybernetics to telematics: the art, pedagogy and the theory of roy ascott

edward shanken

publication

2004

Memory Wall

Jason Bruge

2004

algorithmic revolution exhibition

zkm

germany

Happenings

2004

neurosky - first consumer BCI

Stanley Yang ; jongjin lim ; koohyoung lee

usa

technology ; bci

44

1

1

1

1

g

g

1

1

spain

switzerland

1

1

architecture

architecture institutions ; practice

0

1

s

1

spain

1

architecture ; art

2005

augmented reality kitchen

Leonardo Bonanni, Chia-Hsun Lee, Ted Selker

2005

4dspace lecture

AA

2005

arduino

Massimo Banzi ; David Mellis ; David Cuartielles,

italy

technology

2006

the living newyork

David Benjamin (Founder and Principal), John Locke, Danil Nagy, Damon Lau, Dale Zhao, Jim Stoddart, Ray Wang, and Lorenzo Villaggi

usa

institutions ; practice

2006

bodies in code

mark victor hansen

usa

publication

2007

cinimodStudio

Dominic Harris

2007

Neurovoy - game from neurosky first affordable EEG

neurosky

2008

digital water pavilion

carlorattiassociatiÂ

0

0

s

0

spain

1

architecture

2008

hyperhabitat

iaac ; mit ; bestiario

1

1

g

1

italy

1

architecture

2008

monkey operating robotic arm with its brain

university of pittsburgh

2008

interactive lab

2008

ruairi glynn

ruairi glynn

0

0

s

0

usa

1

architecture

Happenings

institutions ; practice usa

technology ; bci

usa

Happenings

russia

institutions institutions ; practice

2008

the impact of tangible user interfaces on spatial cognition during collaborative design

publication

2008

the tangible user interface and its evolution

hiroshi ishii

2008

game relying on electromyography

ocz technology

usa

technology ; bci

2008

mindflex - game with neusky

mattel and neurosky

usa

technology ; bci

2009

une architecture des humeurs

R&Sie(n)

1

1

g

1

france

0

architecture

2009

surry hills library

francis-jones morehen thorp

0

0

s

0

australia

1

Architecture ; climate

2009

hylozoic soil

philip beesley

0

s

0

spain

1

art

2009

geminoid robot

hiroshi ishiguro

1

g

1

japan

1

art ; robot

2009

towards a phenomenology of responsive architecture

daniel grunkranz

2009

EPOC 14

emotiv

2010

telenoid

hiroshi ishiguro

2010

ORAMBRA - office for robotic architectural media & bureau for responsive architecture

2010

association for robots in architecture

2010

publication

1

publication

usa 1

0

s

0

japan

technology ; bci 1

art ; robot

usa

institutions

association for robots in architecture

austria

institutions ; practice

blink and electromyography function to the MindSet

neurosky

usa

technology ; bci

2011

kuggen

 Wingürdh arkitektkontor

2011

senseable city lab

MIT

46

0

0

s

0

sweden usa

1

Architecture ; climate institutions

2011

SIRI

Apple

1

1

g

1

usa

1

interface

2011

 MindWave

neurosky

usa

technology ; bci

2011

release of disposable webbed eeg electrodes

rhythmlink

usa

technology ; bci

2012

Robotic Wallbot Walls

otto Ng

1

0

g

1

usa

1

architecture

2012

al bahr towers

ahr - Aedus uk

0

0

s

0

uae

1

Architecture ; climate

2012

Mobile forest

philip beesley

0

0

s

0

taiwan

1

art

2012

coflexions

Brandon Cuffy, Judy Fulton & Stacy Morton

0

0

s

0

usa

1

art

2012

chemical sensors and biosensors: fundamentals and applications

banica florinel gabriel

2013

b0comings

ozel office

1

0

g

0

0

architecture

2013

meta-folly

egologic studio

1

1

g

1

1

architecture

2013

cerebral hut

ozel office

1

0

s

0

1

architecture ; art

2013

IoT as the infrastructure of the information society

global standard initiative

switzerland

Happenings

2013

[en]coding architecture

liss c. werner

usa

publication

2014

the shed

Diller & Scofidio + renfo

0

0

s

0

usa

1

architecture

2014

hydraulic/ mehcanical flood mitigation for the farnsworth house

robert silman

0

0

s

0

usa

0

architecture

2014

cornea ti luminale

 School of Design Mainz

0

0

s

1

germany

1

architecture ; art

2014

kodomoroid

hiroshi ishiguro

1

1

g

1

japan

1

art ; robot

publication

2014

charles james: beyond fashion

Diller & Scofidio

usa

event ; exhibition

2014

open source BCI - after kickstarter campaign

OpenBCI

usa

technology ; bci

2015

MMYST

R&Sie(n)

1

0

s

0

france

0

architecture

2015

remembrane

ji won jun ; josep alcover ; matteo silverio

0

0

s

0

spain

1

architecture

2015

dissipative architectures

philip beesley

0

1

g

1

denmark

1

art

2015

transformable space ; filling structure

chuck hoberman ; katia bertoldi

0

0

s

0

canada

1

artarchitecture

2015

tensor flow

google

usa

technology

2015

neurosync - smallest consimer bci

mind solutions inc

usa

technology ; bci

2016

machine learning for interactive systems workshop

philip beesley

1

1

g

1

denmark

0

architecture ; art

2016

The Sound and The Future

Alex Schweder

0

0

s

0

usa

1

art

hyperbody

tudelft

interactive architecture lab

the bartlett - UCL

48

netherlands

institutions ; practice institutions ; practice

Copyright © 2014 Institute for Advanced Architecture of Catalonia All rights Reserved.

IAAC BITS TAK 2016 - 2017

IAAC BITS

IAAC

DIRECTOR:

IAAC SCIENTIFIC COMMITTEE:

Manuel Gausa, IaaC Co-Founder

EDITORIAL COORDINATOR Jordi Vivaldi, IaaC bits Editorial Coordinator

EDITORIAL TEAM Manuel Gausa, IaaC Co-Founder Silvia Brandi, Communication & Publication Jordi Vivaldi, IaaC bits Editorial Coordinator

ADVISORY BOARD: Areti Markopoulou, IaaC Academic Director Tomas Diez, Fab Lab Bcn Director Mathilde Marengo, Academic Coordinator Ricardo Devesa, Advanced Theory Concepts Maite Bravo, Advanced Theory Concepts

Nader Tehrani, Architect, Director MIT School Architecture, Boston Juan Herreros, Architect, Professor ETSAM, Madrid Neil Gershenfeld, Physic, Director CBA MIT, Boston Hanif Kara, Engineer, Director AKT, London Vicente Guallart, IaaC Co-Founder Willy Muller, IaaC Co-Founder Aaron Betsky, Architect & Art Critic, Director Cincinnati Art Mu­seum, Cincinnati Hugh Whitehead, Engineer, Director Foster+ Partners technology, London Nikos A. Salingaros, Professor at the University of Texas, San Antonio Salvador Rueda, Ecologist, Director Agencia Eco­logia Urbana, Barcelona Artur Serra, Anthropologist, Director I2CAT, Barcelona

DESIGN: Ramon Prat, ACTAR Editions

IAAC BIT FIELDS: 1. Theory for Advanced Knowledge 2. Advanced Cities and Territories 3. Advanced Architecture 4. Digital Design and Fabrication 5. Interactive Societies and Technologies 6. Self-Sufficient Lands

PUBLISHED BY: Institute for Advanced Architecture of Catalonia ISSN 2339 - 8647 CONTACT COMMUNICATIONS & PUBLICATIONS OFFICE: communication@iaac.net

Institut for Advanced Architecture of Catalonia Barcelona

50

Pujades 102 08005 Barcelona, Spain T +34 933 209 520 F +34 933 004 333 ana.martinez@coac.net www.iaac.net