Thesis Fall 2008
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TOWARDS INTERACTIVE ERA OF ARCHITECTURE
A DISSERTATIN SUBMITTED TO THE SCHOOL OF ARCHITECTURE
AT THE CALIFORNIA COLLEGE OF THE ARTS
IN CANDIDACY FOR THE DEGREE OF MASTER OF ARCHITECTURE
Supervisor: Neal Schwartz & David Gissen
SHUANG HAO 2008-12
INDEPENDENT THESIS RESEARCH
SHUANG HAO
CONTENTS
ACKNOWLEDGEMENTS...……………………………………………………………………………………...……2 ABSTRACT…………………………………………………………………………………………………………......3 INTRODUCTION: TOWARDS INTERACTIVE ERA OF ARCHITECTURE ……………………………………….4 CHAPTER ONE: WHY IS INTERACTIVE ARCHITECTURE ………………………………………………………5 CHAPTER TWO: INTERACTIVITY OF SPACE ……………………………………………………………………..7 1. PRAGMATIC 2. HUMANISTIC CHAPTER THREE: METHODOLOGY OF INTERACTIVITY …………………………………………………….17 1. SIMULATION AND VISUALIZATION 2. SENSOR/ACTUATOR ENTITY 3. MECHANICAL MODELING OF MOTION 4. PROTOTYPE FABRICATION CONCLUSION: A FUTURAL VISION OF HUMAN AND SPACE …………………………………………………24 BIBLIOGRAPHY ……………………………………………………………………………………………………..25
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ACKNOWLEDGEMENTS
Many thanks to the following persons for their guide and assistance in this work: my supervisor Neal Schwartz and David Gissen, teaching assistant Zachary Royer Scholz for critique and editorial suggestions on final versions of this manuscript ; and to my studio instructor Craig Scott for his sustained and critical attention to the work throughout. I am solely responsible for any flaws that remain. The Library of California College of the Arts provided support. I am especially grateful to my husband for his assistance on my language problems in this paper. Many thanks are due to my colleagues and close friends who have offered their comments, inspiration and support, and especially Melissa Spooner.
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ABSTRACT
”Interactive architecture is commonly defined as a type of architecture that has the ability to alter its form in response to changing conditions. Why is it so important currently to research on “intelligent” systems or dynamic structures, which modify their internal and external forms in response to changing environments, rather than static buildings? How interactivity can represent the relationship between human and space? And how to make a potentially dynamic building with real materials that could respond to the changes? To answer these questions, the thesis will study the most current interactive architectural cases, looking at the potential interactive properties of space, analyzing the methodology of designing interactive architecture as well as examining it.
Beginning with a brief introduction on interactivity, the paper will get into the discussion on interactive architecture from three perspectives.
Firstly, the current context of both technology and social culture will be studied to understand the importance of interactivity of architectural space.
Secondly, the potential spatial interactivity will be examined and analyzed. Through architectural precedence, this section shows that the potential of interaction is latent in spatial and environmental practices of architectural production and architectural criticism. This section of the thesis identifies the significance of interactive architecture into two aspects: Pragmatic and Humanistic.
Thirdly, as interactive architecture would require advanced sensors to perceive environmental changes, responsive physical systems, and a proactive program for achieving continual structural homeostasis, in this section, the thesis will discuss the strategies of generating a physical interactive architectural product as a studio design method, emphasizing ways to build it and control it in the process.
Finally there is a conclusion of the paper.
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INTRODUCTION: TOWARDS INTERACTIVE ERA OF ARCHITECTURE
During the long history, architects and theorists have been exploring the new meaning of architecture beyond the previous world-view as well as creating real spatial form based on development of technology. For a long time, they have been carefully examining the way architecture could represent another cosmic order (or disorder) beyond the humanist principles and the Modernist utopias with their postmodern work. But this is now old news.
In this age of globalization of mind and matter, body and soul, and you and me, architectural space for human experience is no longer just about being a fixed identity, but more about acting, intervening, deciding, relating and transacting. Architecture can no longer be defined only by static “what” and “where”, but also start to concentrate on dynamic “how” and “when”. Architectural design enters an age in which it has to deal with a blow to the very interactivity of what it is made of – matter, space and human relations in a 4d-dimensioned world.
This new meaning of architecture is named Interactive Architecture, which is commonly defined as a type of architecture that has the ability to alter its form in response to changing conditions.
Why is it so important currently to research on “intelligent” systems or dynamic structures, which modify their internal and external forms in response to changing environments, rather than static buildings? How interactivity can represent the relationship between human and space? And how to make a potentially dynamic building with real materials that could respond to the changes?
As this subject is so extensive, I would like to do a small exploration on the most current theories and practice of interactive architecture design based on the three questions mentioned above, rethink human and space interactively, and try to understand the related contexts of technological development and social culture as well as their potential consequence and contribution to architecture in the future.
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CHAPTER ONE: WHY IS INTERACTIVE ARCHITECTURE
The reasons that the concept of “Interactive Architecture” is so important to architectural research in this period of history are closely connected to the current technology development and human social culture. The most important modalities of the human society are connection and communication. People synchronize, level, and reassert their social relations through the connections and communications. The communication between people and people is the human-human interactivity. During recent decades, new technological development has brought the human-artifact interactivity into human society, which can be regarded as the way that people communicate through media.
In the context of communication between a human and an artifact, interactivity refers to the artifact’s interactive behavior as experienced by the human user. This is different from other aspects of the artifact such as its visual appearance, its internal working, and the meaning of the signs it might mediate. For example, the interactivity of an iPod is not its physical shape and color, its ability to play music, or its storage capacity. It is the behavior of its user interface as experienced by its user. This includes the way you move your finger on its input wheel, the way this allows you to select a tune in the play list, and the way you control the volume.
Architecture, being considered as one of the most giant and great artifacts which is a representative of connection and communication between human and space with its materials and constructions, should take a very serious responsibility of “spatial interactivity”. The connection and communication between human and space being presented in architecture in the past did not act quite interactively. Many of us will still remember the ways in which architecture used to be taught. We had to demonstrate analytically the relationship between one or several causes and a specific solution; good architecture sprang from this association. In this traditional situation, architecture has the ability to respond to users’ needs. However, it can not be interactive unless the responses are result of an intelligent process. An adobe wall, for example, responds to outdoor temperature where it keeps cold air in the house when it is hot outside. It is a material property; it is not out of an interactive process. Spatial interactivity like using an iPod is hardly achieved when the building is constructed as a static layout. The space users always have to experience the space in a passive situation without participating in a more dynamic interactive relation with space. This challenge of thinking of architecture interactively has now come into fashion, together with the great industrial model. Today, narration holds 5
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pride of place.
Since the 1970s, computer and telecommunication technology have been changing human life. These changes have outpaced the theories guiding such technologies. In the 1990s, technologies of media and mobility shorten both the physical and psychological distances for communication in social and personal life. Physical spaces and their definitions have also been affected. Meeting rooms for example, have become a virtual thing as their physical elements have been computerized. This is simply integration between the computer’s abilities and the physical world. Computers have the abilities to receive information (input), communicate with other machines by signals, transfer information, process information, calculate, and produce results (output). Through this integration, physical objects (like materials) and spaces accommodate technology, start to gain intelligent ability as “thinking” and “acting”, interacting with human activities. With great developed media technology, here comes the real revolution of “spatial interactivity” in both digital world and real constructive world:
“…when ‘gene-tech’ and ‘nanotech’ will merge with ‘info-tech’. At this point, it is not just the meaning of architecture that becomes arbitrary, but its function of shelter, occupation, enclosure, material consistency.” -----Ole Bouman
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CHAPTER TWO: INTERACTIVITY OF SPACE
Having understood the important position of interactive architecture at present, it is time for us to take a deep observation on the most current interactive architecture design, analyze the spatial interactivity in these interactive architecture and thus see how interactive architecture can bring interactive connection and communication to human and space.
As it is mentioned at the beginning, interactive architecture is commonly defined as a type of architectural solution that has the ability to alter its form in response to changing conditions which including individual, social and environmental needs. Such changeable needs which are served by interactive architecture can be classified into two types: Pragmatic and Humanistic.
PRAGMATIC: Transformation from Kinetics to Building Energy
The pragmatic interactivity in space primarily focuses on the functional adaptability and optimization of space use. Such interactive systems define and alter spatial use according to their description of the changing conditions of either the environment or users’ needs. They provide serious interactive solutions for space rather than creation just for experiencing fun. Houses, for example, might shrink in the winter to reduce surface area and volume, thus cutting heating costs. They could cover themselves to escape the heat of the summer sun or shake snow off the roof in winter. Skyscrapers could alter their aerodynamic profiles, swaying slightly to distribute increased loads during hurricanes. Office building could reconfigure themselves to improve ventilation, etc.
A “smart home” which appeared very early in mid 1940s is one simple example of pragmatic interactivity. The crux of it is to develop a home that essentially programs itself by observing lifestyle and desires of the inhabitants, and learning to anticipate and accommodate their needs.
In the project of the Adaptive House in Boulder, CO, the system they had developed controls basic residential comfort systems – HVAC (heating, ventilation, and air conditioning), water heater, and interior lighting. The system monitors 7
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the environment, observes the actions taken by occupants (e.g., turning up the thermostat; turning on a particular configuration of lights), and it attempts to infer patterns in the environment that predict these actions. Some examples of what the system can or eventually will do include: predicting when the occupants will return home and determining when to start heating the house so that a comfortable temperature is reached by the time the occupants arrive; detecting statistical patterns of water usage, such that hot water is seldom if ever used in the middle of the day on weekdays, allowing the water heater to shut off at those times; inferring where the occupant is and in what activities the occupant is engaged -- perhaps he is Fig. 1_The Adaptive House in Boulder, CO,
reading at the kitchen table -- and controlling lighting
http://www.cs.colorado.edu/~mozer/house/status/
patterns and intensities accordingly, even anticipating which rooms are about to be entered and turning on the lights before the room becomes occupied. If the actions can be reliably anticipated, the system can perform the actions automatically, freeing the occupants from manual control of the home. A secondary consideration of the system is to conserve energy resources, when possible.
Under an electrical control system, the “smart house” interacts with the changing conditions of space, transforming the kinetic information from environment and users into actions of definition and alternation of energy use in house. Here, the electrical interactive system effects on the spatial use but do not actually alter the size of the space. However, with hyper mechanical technology development, building itself can be also built as kinetic as the changing conditions. The building will also produce energy by kinetic interaction with changing conditions.
The segmented dynamic tower coming to Dubai in 2010, designed by David Fisher will allow each floor to turn independently using voice recognition technology and giving those inside an ever-changing view over the space of 1 to 3 hours. The cells placed on the top surface of each floor will be 15% open to the sunlight on all 80 floors the whole 8
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day helping to power up the building. With self-rotating, the tower can collect enough energy to power itself by using photovoltaic cells and wind turbine technology. And Fisher says they ‘will have some so we can sell to the neighbors’. With the ability to rotate, this truly unique tower allows owners to spin their floor, allowing sunset and sunrise views from the same room.
Hosey’s Smart Shade employs the thermodynamics of zinc and steel to control the amount of sunlight passing into a building’s interior. “During one of our conversations Bill proposed that a building could be considered alive in the Fig. 2_The Dynamic Tower, Dubai, 2010, by David Fisher sense that it is self-regulating and adapts to changing external conditions,” he says. “While he meant it metaphorically, I took it literally and began to look at traits of life, which led me to examine materials that work with natural forces.” Each Smart Shade blade consists of a layered composite metal—similar to the bimetallic strip in thermometers. The top layer of zinc expands and contracts more readily than the
Fig. 3_The Blind of Smart Shade by Lance Hosey
steel beneath it. Contraction during cold winter months causes the blade to bend upward and to let more light in; expansion during the summer causes the blade to curve downward, shielding the interior from the sun’s rays.
Future prototypes of Smart Shade, which will resemble blades of grass, may produce undulating movements on a building facade. Hosey is also considering enclosing the blade panel between two panes of glass so that the exaggerated temperatures inside the double curtain-wall trigger more pronounced curling of the blinds.
Yang and Benjamin’s Living Glass uses elastic shape memory alloy (SMA) wires to control the level of carbon dioxide in a room. The window system will sense the amount of carbon dioxide in a room through sensors and SMAs that are arranged horizontally on a pliable plastic window. When activated by a waft of carbon dioxide, the sensors send an electric current through the SMA wires, which are made of nickel titanium and encased in silicone, causing 9
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them to contract and pull open slits etched in the window. Fresh air flows inside the room until there is equilibrium with the air outside, at which time the electric current subsides, the slits close, and the SMA wires resume their original shape. Fig. 4_The Living Glass by David Benjamin and Soo-in Yang
“The material actuators and solar cells we will use are very small, thin, and light, so they won’t have much physical presence,” Yang says. “And because the movement of the SMAs is proportionate to their size, they will produce subtle, more organic changes in shape.”
By devising systems that work with natural forces instead of against them, these young designers are inventing a new kind of architecture that instead of being at odds with the environment, works with it.
A different example is about transformation from human Kinetics to building energy. The so-called "Crowd Farm," as envisioned by James Graham and Thaddeus Jusczyk, both M.Arch candidates, would turn the mechanical energy of people walking or jumping into a source of electricity, harvest the energy of human movement in urban settings, like commuters in a train station or fans at a concert.
A Crowd Farm in Boston's South Station railway terminal would work like this: A responsive sub-flooring system made up of blocks that depress slightly under the force of human steps would be installed beneath the station's main lobby. The slippage of the blocks against one another as people walked would generate power through the principle of the dynamo, a device that converts the energy of Fig. 5_The Crowd Farm by James Graham and Thaddeus Jusczyk
motion into that of an electric current. The electric
current generated by the Crowd Farm could then be used for educational purposes, such as lighting up a sign about energy. "We want people to understand the direct relationship between their movement and the energy produced," says 10
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Jusczyk. According to Graham and Jusczyk, a single human step can only power two 60W light bulbs for one flickering second. But get a crowd in motion, multiply that single step by 28,527 steps, for example, and the result is enough energy to power a moving train for one second. And while the farm is an urban vision, the dynamo-floor principle can also be applied to capturing energy at places like rock concerts, too. "Greater movement of people could make the music louder," suggests Jusczyk. The students' test case, displayed at the Venice Biennale and in a train station in Torino, Italy, was a prototype stool that exploits the passive act of sitting to generate power. The weight of the body on the seat causes a flywheel to spin, which powers a dynamo that, in turn, lights four LEDs.
Other people have developed piezo-electric (mechanical-to-electrical) surfaces in the past, but the Crowd Farm has the potential to redefine urban space by adding a sense of fluidity and encouraging people to activate spaces with their movement. The Crowd Farm floor is composed of standard parts that are easily replicated.
Generally, the pragmatic interactive design can bring architecture great potential to be not as a high-tech mat that would be laid down somewhere, but to really integrate the essential issue between human and space use into a new sort of processing system which directly claims their relationship, namely, interactivity.
HUMANISTIC: Transformation from Kinetics to Building Performance
The space is adapting our desires while shaping our experience. Fast-changing social contexts are dominated by the blurring of boundaries between work and play, information retrieval and use. Spatial experience is as important as space use especially in the current age occupied by media all over the world. “Multi-mediated” interactive design has started entering into every domain of public and private life as a spatial medium. Humanistic interactivities provide people more sensory controls to space and psychological bonding to space by their simple behaviors in space. It is not just about meeting the needs, but producing more opportunities for people to explore potential definitions of spatial experiences with deep exploration on human-human, human-environment connection and communication in space.
Gunnar Green set up an aperture wall in Berlin, 2005. This system is designed to allow for views only where the user is present. The project consists of an interior wall with a series of circular perforations that have irises embedded into them. Sensors detect if a person is located in front of an iris, and will open to allow for natural lighting as well as a 11
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view if a person is present. Therefore, the only light coming into the space, as well as the view to the outside, are controlled by these irises.
“Analogously to the process of taking a photograph, people standing in front of the wall are exposed to the aperture grid, just like to photographic film. The duration of the image fading out, as the apertures close, is a reflection of how long a Fig. 6_ The Aperture wall, Berlin, 2005, by Frederic Eyl and Gunnar Green.
person has been standing in front of aperture.” This project not
only interacts directly with the user, but also informs the public of the actions of the user and the duration of the interaction between the person and Aperture.
Just like Aperture, Party Wall by nArchitects is also an example of an interactive system that interacts directly with a person, or governs interaction between people. Party Wall is a system that divides a space into two, and interacts with users as well as allows users on both sides to communicate with each other. This is a wall that is devised of several two inch thick bands of foam that run parallel with the floor. When the systems actuates, the foam pieces create long,
Fig. 8_The Party Wall, nArchitects, 2005
organic objects which dictate the communication level between the two sides of the wall.
“Proximity sensors embedded in the foam detect the presence of “neighbors” and trigger tiny servo motors. The motors exert tension on synchromesh pulley cables attached to the foam layers, causing variable compression and expansion, and resulting in varying apertures and densities of foam.” When people on each side are located across from each other, the wall will adjust itself to allow the two to converse. Not only does it respond to the presence of several people, but the system in fact interacts with a single human as well. Party Wall could be implemented as a property divider; it can act as a fence, but would permit communication between the neighbors. It can open up gaps in the wall system to allow for views or light, for instance, with only the attendance of one person. 12
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Aperture and Party Wall are both vertical applications that can manipulate the qualities of the space such as natural lighting and views. They both sense the position of the interacting people, and adjust themselves accordingly. These walls either directly communicate with people or they allow for interaction between people. These systems create an exciting and intriguing form of kinetic design when imagining the concept of direct interaction between buildings and people. The expression of the human experience in space thus becomes clearly visible.
The Aegis project was devised as an interactive art piece for the cantilevered “prow” of the Birmingham Hippodrome theatre. Aegis was proposed as a dynamically reconfigurable surface capable of real-time responsiveness to events in the theatre. Such movement or sound
Fig. 9_The Aegis Hyposurface, dECOi
can create actual deformation of the architectural surface. Effectively, Aegis is a dynamically reconfigurable screen where the calculating speed of the computer is deployed to a matrix of actuators which drive a “deep” elastic surface. With an electronic central nervous system, the surfaces response instinctively to any digital inputs (sound, movement, internet, etc.).
The current specification of the device is one of 8m x 8m, comprising 1,000 actuators refreshed every 0.01 seconds, allowing propagation of effects at some 60 km/h, with a displacement of 50 cm at 3 Hz. This highlights the potential of the current technologies where already many thousands of devices may be controlled accurately to allow a physical Fig. 10_The Aegis Hyposurface Device
responsiveness to changing conditions.
The project is called Aegis for its capacity to absorb events from the surrounding environment, allowing that its expressive register be colored differentially according to the patterns of activity which surround it. This gave the supple surface not only a variable character, but one that drew from the surrounding environment. This has led us to 13
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consider the façade, which is nothing other than a matrix of possibility conditioned by external response, as an “all plastic” device or architecture of reciprocity, reconfiguring in interaction to the activities that impinge upon it.
In most spatial stories that humanistic interactive designs try to tell, they generally start from a question “What if?” This is the same question posed by science-fiction stories, by Archigram’s “What if a building could walk?” or Cedric Price’s “What if a building could be constantly generated and regenerated?” At the frontier of interactive architecture, the humanistic interactivity can not express its objective necessities clearly. No user, no client nor committee can really say they need interactive media as a metaphor of information flow, since nobody knows exactly what a spatial interactive media might be. However, even no client will state a strong requirement for a façade of iris-like glasses or metal components that react to the sun, interactive architecture with humanistic interactivity in space does tell and embody stories, and these stories are our core feelings of spatial experiences.
10 years ago, this would be a fairytale, but now we can live in one. A living space can be tuned, as well in its shape as in its information-content. The emotive house is fully industrial, flexible in programmability, demountable, innovative, places domestics in an anther spotlight which will be general applicable in the near future. In that way, the house will develop an own emotion, it can be reactor as well as actor. The acting will be made possible by a cooperative swarm of actuators like pneumatic beams, contracting muscles and hydraulic cylinders. The movement of the users and the changes in the weather are registered by a diversity of sensors, and are translated by the brain of the house into an action. In this way, the inhabitants and the actuators of the house will develop a common language so that they can communicate with each other.
The form of the emotive house is a long, movable space, with on both ends the only solid blocks of the kitchen en the sanitary. The structure is a weaving loom between a hard and a soft structure. The hard structure consists of massive wooden beams, and the soft structure is long-shaped inflatable chambers between the wooden beams. In this way, the chambers can expand and shrink to give a global shape to the emotive house. The total construction is being shaped by a spatial structure of hydraulic cylinders which are cooperating to follow or cause shape-movements. The hard structure on the exterior is covered with photovoltaic cells to generate electricity. The beams are connected with each other with pneumatic muscles, which can be contracted and relaxed. The technical challenge lies in the weaving loom of the programmable actuators and the hard structure, and in the cooperation between those actuators. They all have to 14
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work together like a flock. The scripts that need to be written are based on some simple rules for flocking behavior. The mathematical rules of behavior are known, but are never applied on structural parts. The players are the inhabitants, the guests and the actuators. There are also extern influences that can determine the interactivity. The reaction will always be a complex consideration between lots of different factors. A complex consideration looks already like an emotion.
Fig. 11_The Emotive House, ONL, 2002
The experiment implies learning to live in an environment with an own mind.
Responsive to the urgent needs and whimsical wishes of the inhabitants, the house also acts for themselves, surprising the users, fooling them and playing games with them. With the predefined emotional bandwidths of emotional modes (entertainment mode, relax mode, educational mode, commercial mode, sports mode), the house is a free-interacting interface to the inhabitants and relates to the world through the Internet. In other words: the house becomes a social semi-independent extension of human bodies of inhabitants.
Scott
Adams
IDEO
to
approached
create
Dilbert’s
Ultimate Cubicle, an attempt to address the myriad issues connected with partition-based offices:
lack
of
personal
control, absence of privacy, inadequate space and tools,
Fig. 12_Dilbert’s Ultimate Cubicle, IDEO and Scott Adams
and so on. IDEO designers created and lived in their own “Dilbertville” within the San Francisco office for several weeks, to gain empathy for typical cubicle dwellers and to gain firsthand insights into the challenges they face. Combining that experience with input from Scott Adams and the cumulative advice of thousands of emails from Dilbert fans, the designers created a series of quick prototype spaces to explore a range of ideas, from the serious to 15
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the outrageous.
The result is a modular cubicle that allows each worker to select the components from a “kit of parts” and create a space based on his or her tastes and lifestyle. Practical considerations include modules for a seat, a computer, and a display (complete with “boss monitor”). The floor modules lift for storage or flip between artificial grass and tatami mats; the light modules at the top mimic the sun’s movement throughout the day. Other, more whimsical modules provide a hammock, an aquarium, and a punching bag. The project showcases IDEO’s highly adaptable design process and uses humor and optimism to explore the “blue sky” area between Dilbert’s problems and real-life solutions available today.
It is very important that such customization in the two examples just mentioned above brought by humanistic interactivity can actually transform the humanistic interactivity into a more serious situation to optimize spatial use for human life and reorganize human life style. With the onset of increasingly sophisticated communications devices, the space becomes increasingly reflexive to meet environmental and users’ demands in the face of dwindling energy reserves.
Wireless embedded computerized communication technologies with mechanically transformable kinetics devices, the interactive study and practice on connectivity and communication between human and space are more and more required in space use and space experience. Old Bouman discussed the implications of this for architecture in this age in which architectural space steps forward as the kinetic interface for interactions of human-human and human-environment. The greatest challenges of both pragmatic and humanistic interactivity are scientific (creating increasingly mature mathematical models), technological (creating the physical and electronic systems to enable levels of interactivity and sensibility in buildings and settings), functional (understanding how to make interactivity an element of research in the “crises” and difficulties of contemporary society), as well as aesthetic (a way of seeing, interpreting and building the new era of architecture).
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CHAPTER THREE: METHODOLOGY OF INTERACTIVITY
After having presented two types of interactivity of space, it is obvious that interactive architecture can not live without technological supports. Generally, the interactive architecture deals with the rules of give and take. Different technologies are provided for making different interactions. The mission of the architect is to design the rules of the interactive game. In this part, we will discuss the methodologies and strategies that can help architectural designers to understand and achieve the perfect interactive space design.
SIMULATION AND VISUALIZATION
This is the primary part for architects in interactive architecture design process. The main goal is to design the rules of spatially interactive games. By dealing with parameters in different digital modeling software, architectural designers can convey their design intent of interactive architecture under the simulated and visualized situation. First we will see and feel how beautifully complex it is, and how precisely and intuitively we must act and think. Architectural designer must think as a programmer writing code when designing spatial interactivity with simultaneous software.
The process of interaction, communication and collaborative design is a parametric game. Because of the convenience of these digital tools, it is possible for other people who are not designers to take part in the design process of interactive architecture. The designers start proposing the rules of the game, and then they play the game together with other stakeholders. By connecting the 3d model of the architectural design to the database (tables, arrays) in real time, architecture is not an arbitrarily frozen choice of a running process. Everyone (clients, fellow citizens, accidental users, blank-minded passengers) becomes a possible player in this transaction process, either consciously as a participant in the design process, or unconsciously as a passenger whose presence matters for the real time behavior of the swarm architecture. In this situation, interactive architecture can claim itself as a highly spatial society as a metaphor for social connections and mixed-cultural communications.
SENSOR/ACTUATOR ENTITY
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Whenever we discuss interactive architecture, we should talk about the sensors and actuators. They are the means of getting all type of data and information to systems. Their buildings are covered by skins with the ability to alter their shape as the social and Fig. 13_Sensors and Actuators
Fig. 13_Sensors and Actuators
environmental conditions of the spaces within and around each building change. Sensors are simply detection devices that collect
information and data internally and externally. Internally where they allow system to perceive even its condition and externally where they detect and receive information from out of system environment in real time. People have senses. Buildings have senses, too. Every interaction happens starting with giving your sense to others while taking their senses back to yourself. Because sensors are a type of transducer, they change one form of energy into another. For this reason, sensors can be classified according to the type of energy transfer that they detect: thermal; electromagnetic; mechanical; chemical; optical radiation; acoustic; ionizing radiation; etc.. Sensor/computer/actuator technologies are used to produce intelligent envelopes and structures that seek fresh relationships between the ‘building’ and ‘user’.
Building envelop can use sensors and actuators to respond by movement. The Hyposurface by dECOi is an excellent example for kinetic envelope and inner controlled architecture element where a faceted metallic surface (wall) deforms physically by responding to the surrounding environment. It responds to movement, sound, and light as a result of real-time calculations. Fig. 14_Hypersurface, Oosterhuis, 2003
A structure can also use sensors to report its conditions and maintain problems like standing against wind load by increasing its internal tension using actuators. For example, chemical and physical data in concrete can be collected now by micro-electro-mechanical systems (MEMS) sensors. This sensor can be embedded in concrete to measure pH, moisture, temperature, and concentrations of chloride, sodium, and potassium ions (Snoonian, 2003). Some electronic companies like SIMENS use micro-electro-mechanical system (MEMS) to control systems.
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Fig. 15_Filamentosa: An ultra-lightweigh skyscraper using an actuated tensegrity structure exo-skelital frame tethered internal core. (2004)
MECHANICAL MODELING OF MOTION
The kinetic solution is one important strategy that brings the interactivity into real space. Usually, the physical modeling helps the designer understand mechanical motions and apply a means of actuation mechanism to make the model interacts with changing conditions as it is proposed with its design concept. Materials can be also tested during the process for the ultimate spatial production.
General kinetic typologies can be divided into three types: Embedded Kinetic Structures; Deployable Kinetic Structures; Dynamic Kinetic Structures. Embedded Kinetic Structures are systems that exist within a larger architectural whole in a fixed location. The primary function is to control the larger architectural system or building, in response to changing factors. Dynamic Kinetic structures also exist within a larger architectural whole but act independently with respect to control of the larger context. Such can be subcategorized as mobile, transformable and incremental kinetic systems. Deployable Kinetic Structures typically exist in a temporary location and are easily transportable. Such systems possess the inherent capability to e constructed and deconstructed in reverse.
Fig. 16_ Three types of General Kinetic Typologies
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There are many mechanical motions to gain the effect of a specific mechanical interaction by materials.
Stress: ex: Sleeping bag, light reflector for window, laundry basket Folding: ex: clothes, parachutes tents etc. (rules but not memory) Creasing: ex: maps, boxes (inherent memory) Bellows: ex: lamp shade, shoe rack , airplane door extension (3-d crease with space between) Assembling: ex: broom handles with extensions, kit of parts (rules for disassembly and re-assembly) Hinging: ex: laptop, umbrella (hinge joint) Rolling: ex: dog leash, garden hose, tape measure (rolling) Sliding:
ex:
telescope,
antennae,
exacto
knife
(constrained slide) Nesting: ex: crates, pots and pans (two or more occupying overlapping space)
Fig. 17_Detailed Mechanical Joints from “5 basic Mechanisms”
Inflation: ex: balloon, mattresses (constrained and hydraulic) Fanning: ex: fans, alum Wrenches, paint samples (single constraining point) Pantograph: ex: scissor, shelving, lamp extensions (scissor)
Besides motions mentioned above, concepts of tropism, such as phototropism, geotropism, hydrotropism, hapotropism, etc., can be use as some special forces to help with modeling mechanic devices.
Fig. 18_Labs for Experiments on Mechanical Modeling of Motion
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PROTOTYPE FABRICATION
Different from experiments on mechanical modeling of motion which contribute researches on the spatially interacting methods, the prototype fabrication primarily deal with the material research which may finally make decisions on architectural material used in interactive space. Just like the mechanical modeling of motion, materiality will also prove to be of great promise for advancement in the area of interactive architecture as a result of technology providing both an unprecedented vision into microscopic natural mechanisms and advanced manufacturing of high quality kinetic parts with new materials such as fabrics, ceramics, polymers and gels, fabrics, shape-memory alloy compounds and composites with unprecedented structural properties.
Fig. 19_ Rapid Prototyping machines
In the early days of rapid prototyping, product developers were ecstatic to have quickly produced parts that accurately indicated form and fit. But as compressed development cycles have placed more demands upon design engineers, they in turn demand more from their prototypes. They want RP parts that exhibit greater functionality, more durability, higher accuracy, and improved appearance. In the past few years, the industry has witnessed an expanded range of RP materials that bring product designers ever closer to their ideal – making rapid prototypes that look and perform as well as production parts.
Fig. 20_ Fischer & Maus: Reflection; Widrig & Booshan: Binaural; Leander Herzog: Untitled; Marius Watz: Sound Memory
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Rapid prototyping material choices are still somewhat limited as compared to injection moldable plastics and castable metals. However, the number of materials that mimic more common plastics is growing. Today, there are a number of prototyping variants of ABS, polypropylene (PP), polycarbonate (PC), and other materials. The menu of metal powders used in laser sintering also contains new options.
Some of the new materials challenge the conventional wisdom that RP parts are not as strong as production parts made by injection molding or casting. Impact resistance, elongations at break, flexural modulus, and other material properties have improved. New infiltrations, which infuse materials with enhanced physical and mechanical properties, are now available including glass-filled materials and flame retardant additives. Beyond being sturdier, some of the new materials offer enhanced aesthetic features such as transparency, and new colors and shades.
Rapid prototyping is achieved by a wide range of technologies. Some of the more widely used ones include stereo lithography (SL), which uses liquid photopolymers;
Stratasys
fused
deposition
modeling (FDM), which uses extruded polymer filaments; selective laser sintering (SLS), which uses powdered polymers and powdered metals; Fig. 21_ Classification of three main principles of digital fabrication
Objet Geometries’ PolyJet system that uses jetted
photopolymers; and Z Corp.3DP technology, which uses an adhesive to selectively bind polymer powders. Each prototyping method has its own pluses and minuses. Stereo lithography has a quality surface, but is typically not good for products that require long-term durability. FDM and laser sintering systems are better for durable, manufactured parts, but part accuracy isn’t as high as an SL system. A Z Corp. 3DP machine is fast, clean, and colorful, but parts can suffer from reduced durability and accuracy. However, the new materials that have hit the market have blurred these general lines, with improvements reducing some of the minuses of some, while playing up the strengths of others.
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It has been realized that the integration of digital design and additive fabrication have the great potential to result prototypes which could not be conceived or fabricated manually. Non-standardized solutions can be easily accomplished as the design data is directly used to control the fabrication process.
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.
CONCLUSION: A FUTURAL VISION OF HUMAN AND SPACE
Based on the discussion above, this paper claims the potential of interactive architecture: what it is; how it can impact the space use and spatial experience; what is necessary in its design. Interactive architecture outlines a future vision for architectural use and experience through contextualizing and understanding the current interactivities of architectural practice of pragmatic and humanistic, and its integration of new emerging technologies of connections and communications between human and space. The current methodologies of interactive architecture is built upon the convergence of embedded computation (intelligence) and a mechanical counterpart (kinetics) that satisfies adaptation within the contextual framework of human and environmental interaction. This paper states that the motivation to make interactive architecture is found in the desire to create spaces and objects that can meet changing needs with respect to evolving individual, social and environmental demands by providing a wealth of architectural practice that are interactive.
In the 1990s, interactive architecture began to take a foothold as ideas began to be both technologically and economically feasible. It was also at this time that the long history of kinetics in architecture began to be reexamined under the premise that performance could be optimized if it could use computational information and processing to control physical adaptation in new ways to respond to contemporary culture.
Most recently the current trend of embedding small, networked computers into our physical surrounding under the notion of “ubiquitous computing” has taken an important step of development. Today, we can observe not only how these small computers get installed as to enhance a built environment with additional functionality, but also how digital technology gets blended with the fundamental architecture of a building as to create new interactive surfaces, or “digital textures”, to create ambient information environments, or to support social interaction. From a research standpoint this trend is currently being addressed through the development of concepts including: interactive architecture, responsive environments, media places, hybrid spaces, ambient intelligence, and digital art installations.
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It is hard to anticipate how quickly the types of interactive architectural systems outlined in this paper will be widely adopted, but it is not difficult to see that they are an inevitable and completely integral part of how we will make buildings in the future. To a great extent, the success of creating such systems in architecture will be predicated upon the real-world test bed. The future of architecture will utilize unique and wholly unexplored methods and applications that address dynamic, flexible, and constantly evolving activities. It is up to architects, designers, and participants of space to understand the foundations of the subject matter in order to extrapolate the existing precedents and ideas into a future vision.
Fig. 22_ A Future Sstructure of Interactive Ccities
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BIBLIOGRAPHY
☉ Responsive Architectures : Subtle Technologies by Philip Beesley; Sachiko Hirosue; Jim Ruxton; Marion Trankle; Camille Turner ☉ Interactive Architecture by Michael Fox (Author), Miles Kemp (Author) ☉ IA #1 (Interactive Architecture) (Interactive Architecture) by Kas Oosterhuist (Author), Xin Xia (Author) ☉ 4dspace: Interactive Architecture (Architectural Design) by Lucy Bullivant (Editor) ☉ 4dsocial: Interactive Design Environments (Architectural Design) by Lucy Bullivant (Editor) ☉ Responsive Environments: architecture, art and design by Lucy Bullivant (Author) ☉ Flexible: Architecture that Responds to Change by Robert Kronenburg (Author) ☉ Architecture in the Digital Age: Design and Manufacturing by Branko Kolarevic ☉ Structural Modeling and Experimental Techniques by Harry G. Harris, Gajanan M. Sabnis ☉ Hyperbodies by Kas Oosterhuis
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A DISSERTATIN SUBMITTED TO THE SCHOOL OF ARCHITECTURE
AT THE CALIFORNIA COLLEGE OF THE ARTS
IN CANDIDACY FOR THE DEGREE OF MASTER OF ARCHITECTURE
Supervisor: Neal Schwartz & David Gissen
SHUANG HAO 2008-12
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CONTENTS
ACKNOWLEDGEMENTS...……………………………………………………………………………………...……2 ABSTRACT…………………………………………………………………………………………………………......3 INTRODUCTION: TOWARDS INTERACTIVE ERA OF ARCHITECTURE ……………………………………….4 CHAPTER ONE: WHY IS INTERACTIVE ARCHITECTURE ………………………………………………………5 CHAPTER TWO: INTERACTIVITY OF SPACE ……………………………………………………………………..7 1. PRAGMATIC 2. HUMANISTIC CHAPTER THREE: METHODOLOGY OF INTERACTIVITY …………………………………………………….17 1. SIMULATION AND VISUALIZATION 2. SENSOR/ACTUATOR ENTITY 3. MECHANICAL MODELING OF MOTION 4. PROTOTYPE FABRICATION CONCLUSION: A FUTURAL VISION OF HUMAN AND SPACE …………………………………………………24 BIBLIOGRAPHY ……………………………………………………………………………………………………..25
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ACKNOWLEDGEMENTS
Many thanks to the following persons for their guide and assistance in this work: my supervisor Neal Schwartz and David Gissen, teaching assistant Zachary Royer Scholz for critique and editorial suggestions on final versions of this manuscript ; and to my studio instructor Craig Scott for his sustained and critical attention to the work throughout. I am solely responsible for any flaws that remain. The Library of California College of the Arts provided support. I am especially grateful to my husband for his assistance on my language problems in this paper. Many thanks are due to my colleagues and close friends who have offered their comments, inspiration and support, and especially Melissa Spooner.
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ABSTRACT
”Interactive architecture is commonly defined as a type of architecture that has the ability to alter its form in response to changing conditions. Why is it so important currently to research on “intelligent” systems or dynamic structures, which modify their internal and external forms in response to changing environments, rather than static buildings? How interactivity can represent the relationship between human and space? And how to make a potentially dynamic building with real materials that could respond to the changes? To answer these questions, the thesis will study the most current interactive architectural cases, looking at the potential interactive properties of space, analyzing the methodology of designing interactive architecture as well as examining it.
Beginning with a brief introduction on interactivity, the paper will get into the discussion on interactive architecture from three perspectives.
Firstly, the current context of both technology and social culture will be studied to understand the importance of interactivity of architectural space.
Secondly, the potential spatial interactivity will be examined and analyzed. Through architectural precedence, this section shows that the potential of interaction is latent in spatial and environmental practices of architectural production and architectural criticism. This section of the thesis identifies the significance of interactive architecture into two aspects: Pragmatic and Humanistic.
Thirdly, as interactive architecture would require advanced sensors to perceive environmental changes, responsive physical systems, and a proactive program for achieving continual structural homeostasis, in this section, the thesis will discuss the strategies of generating a physical interactive architectural product as a studio design method, emphasizing ways to build it and control it in the process.
Finally there is a conclusion of the paper.
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INTRODUCTION: TOWARDS INTERACTIVE ERA OF ARCHITECTURE
During the long history, architects and theorists have been exploring the new meaning of architecture beyond the previous world-view as well as creating real spatial form based on development of technology. For a long time, they have been carefully examining the way architecture could represent another cosmic order (or disorder) beyond the humanist principles and the Modernist utopias with their postmodern work. But this is now old news.
In this age of globalization of mind and matter, body and soul, and you and me, architectural space for human experience is no longer just about being a fixed identity, but more about acting, intervening, deciding, relating and transacting. Architecture can no longer be defined only by static “what” and “where”, but also start to concentrate on dynamic “how” and “when”. Architectural design enters an age in which it has to deal with a blow to the very interactivity of what it is made of – matter, space and human relations in a 4d-dimensioned world.
This new meaning of architecture is named Interactive Architecture, which is commonly defined as a type of architecture that has the ability to alter its form in response to changing conditions.
Why is it so important currently to research on “intelligent” systems or dynamic structures, which modify their internal and external forms in response to changing environments, rather than static buildings? How interactivity can represent the relationship between human and space? And how to make a potentially dynamic building with real materials that could respond to the changes?
As this subject is so extensive, I would like to do a small exploration on the most current theories and practice of interactive architecture design based on the three questions mentioned above, rethink human and space interactively, and try to understand the related contexts of technological development and social culture as well as their potential consequence and contribution to architecture in the future.
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CHAPTER ONE: WHY IS INTERACTIVE ARCHITECTURE
The reasons that the concept of “Interactive Architecture” is so important to architectural research in this period of history are closely connected to the current technology development and human social culture. The most important modalities of the human society are connection and communication. People synchronize, level, and reassert their social relations through the connections and communications. The communication between people and people is the human-human interactivity. During recent decades, new technological development has brought the human-artifact interactivity into human society, which can be regarded as the way that people communicate through media.
In the context of communication between a human and an artifact, interactivity refers to the artifact’s interactive behavior as experienced by the human user. This is different from other aspects of the artifact such as its visual appearance, its internal working, and the meaning of the signs it might mediate. For example, the interactivity of an iPod is not its physical shape and color, its ability to play music, or its storage capacity. It is the behavior of its user interface as experienced by its user. This includes the way you move your finger on its input wheel, the way this allows you to select a tune in the play list, and the way you control the volume.
Architecture, being considered as one of the most giant and great artifacts which is a representative of connection and communication between human and space with its materials and constructions, should take a very serious responsibility of “spatial interactivity”. The connection and communication between human and space being presented in architecture in the past did not act quite interactively. Many of us will still remember the ways in which architecture used to be taught. We had to demonstrate analytically the relationship between one or several causes and a specific solution; good architecture sprang from this association. In this traditional situation, architecture has the ability to respond to users’ needs. However, it can not be interactive unless the responses are result of an intelligent process. An adobe wall, for example, responds to outdoor temperature where it keeps cold air in the house when it is hot outside. It is a material property; it is not out of an interactive process. Spatial interactivity like using an iPod is hardly achieved when the building is constructed as a static layout. The space users always have to experience the space in a passive situation without participating in a more dynamic interactive relation with space. This challenge of thinking of architecture interactively has now come into fashion, together with the great industrial model. Today, narration holds 5
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pride of place.
Since the 1970s, computer and telecommunication technology have been changing human life. These changes have outpaced the theories guiding such technologies. In the 1990s, technologies of media and mobility shorten both the physical and psychological distances for communication in social and personal life. Physical spaces and their definitions have also been affected. Meeting rooms for example, have become a virtual thing as their physical elements have been computerized. This is simply integration between the computer’s abilities and the physical world. Computers have the abilities to receive information (input), communicate with other machines by signals, transfer information, process information, calculate, and produce results (output). Through this integration, physical objects (like materials) and spaces accommodate technology, start to gain intelligent ability as “thinking” and “acting”, interacting with human activities. With great developed media technology, here comes the real revolution of “spatial interactivity” in both digital world and real constructive world:
“…when ‘gene-tech’ and ‘nanotech’ will merge with ‘info-tech’. At this point, it is not just the meaning of architecture that becomes arbitrary, but its function of shelter, occupation, enclosure, material consistency.” -----Ole Bouman
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CHAPTER TWO: INTERACTIVITY OF SPACE
Having understood the important position of interactive architecture at present, it is time for us to take a deep observation on the most current interactive architecture design, analyze the spatial interactivity in these interactive architecture and thus see how interactive architecture can bring interactive connection and communication to human and space.
As it is mentioned at the beginning, interactive architecture is commonly defined as a type of architectural solution that has the ability to alter its form in response to changing conditions which including individual, social and environmental needs. Such changeable needs which are served by interactive architecture can be classified into two types: Pragmatic and Humanistic.
PRAGMATIC: Transformation from Kinetics to Building Energy
The pragmatic interactivity in space primarily focuses on the functional adaptability and optimization of space use. Such interactive systems define and alter spatial use according to their description of the changing conditions of either the environment or users’ needs. They provide serious interactive solutions for space rather than creation just for experiencing fun. Houses, for example, might shrink in the winter to reduce surface area and volume, thus cutting heating costs. They could cover themselves to escape the heat of the summer sun or shake snow off the roof in winter. Skyscrapers could alter their aerodynamic profiles, swaying slightly to distribute increased loads during hurricanes. Office building could reconfigure themselves to improve ventilation, etc.
A “smart home” which appeared very early in mid 1940s is one simple example of pragmatic interactivity. The crux of it is to develop a home that essentially programs itself by observing lifestyle and desires of the inhabitants, and learning to anticipate and accommodate their needs.
In the project of the Adaptive House in Boulder, CO, the system they had developed controls basic residential comfort systems – HVAC (heating, ventilation, and air conditioning), water heater, and interior lighting. The system monitors 7
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the environment, observes the actions taken by occupants (e.g., turning up the thermostat; turning on a particular configuration of lights), and it attempts to infer patterns in the environment that predict these actions. Some examples of what the system can or eventually will do include: predicting when the occupants will return home and determining when to start heating the house so that a comfortable temperature is reached by the time the occupants arrive; detecting statistical patterns of water usage, such that hot water is seldom if ever used in the middle of the day on weekdays, allowing the water heater to shut off at those times; inferring where the occupant is and in what activities the occupant is engaged -- perhaps he is Fig. 1_The Adaptive House in Boulder, CO,
reading at the kitchen table -- and controlling lighting
http://www.cs.colorado.edu/~mozer/house/status/
patterns and intensities accordingly, even anticipating which rooms are about to be entered and turning on the lights before the room becomes occupied. If the actions can be reliably anticipated, the system can perform the actions automatically, freeing the occupants from manual control of the home. A secondary consideration of the system is to conserve energy resources, when possible.
Under an electrical control system, the “smart house” interacts with the changing conditions of space, transforming the kinetic information from environment and users into actions of definition and alternation of energy use in house. Here, the electrical interactive system effects on the spatial use but do not actually alter the size of the space. However, with hyper mechanical technology development, building itself can be also built as kinetic as the changing conditions. The building will also produce energy by kinetic interaction with changing conditions.
The segmented dynamic tower coming to Dubai in 2010, designed by David Fisher will allow each floor to turn independently using voice recognition technology and giving those inside an ever-changing view over the space of 1 to 3 hours. The cells placed on the top surface of each floor will be 15% open to the sunlight on all 80 floors the whole 8
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day helping to power up the building. With self-rotating, the tower can collect enough energy to power itself by using photovoltaic cells and wind turbine technology. And Fisher says they ‘will have some so we can sell to the neighbors’. With the ability to rotate, this truly unique tower allows owners to spin their floor, allowing sunset and sunrise views from the same room.
Hosey’s Smart Shade employs the thermodynamics of zinc and steel to control the amount of sunlight passing into a building’s interior. “During one of our conversations Bill proposed that a building could be considered alive in the Fig. 2_The Dynamic Tower, Dubai, 2010, by David Fisher sense that it is self-regulating and adapts to changing external conditions,” he says. “While he meant it metaphorically, I took it literally and began to look at traits of life, which led me to examine materials that work with natural forces.” Each Smart Shade blade consists of a layered composite metal—similar to the bimetallic strip in thermometers. The top layer of zinc expands and contracts more readily than the
Fig. 3_The Blind of Smart Shade by Lance Hosey
steel beneath it. Contraction during cold winter months causes the blade to bend upward and to let more light in; expansion during the summer causes the blade to curve downward, shielding the interior from the sun’s rays.
Future prototypes of Smart Shade, which will resemble blades of grass, may produce undulating movements on a building facade. Hosey is also considering enclosing the blade panel between two panes of glass so that the exaggerated temperatures inside the double curtain-wall trigger more pronounced curling of the blinds.
Yang and Benjamin’s Living Glass uses elastic shape memory alloy (SMA) wires to control the level of carbon dioxide in a room. The window system will sense the amount of carbon dioxide in a room through sensors and SMAs that are arranged horizontally on a pliable plastic window. When activated by a waft of carbon dioxide, the sensors send an electric current through the SMA wires, which are made of nickel titanium and encased in silicone, causing 9
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them to contract and pull open slits etched in the window. Fresh air flows inside the room until there is equilibrium with the air outside, at which time the electric current subsides, the slits close, and the SMA wires resume their original shape. Fig. 4_The Living Glass by David Benjamin and Soo-in Yang
“The material actuators and solar cells we will use are very small, thin, and light, so they won’t have much physical presence,” Yang says. “And because the movement of the SMAs is proportionate to their size, they will produce subtle, more organic changes in shape.”
By devising systems that work with natural forces instead of against them, these young designers are inventing a new kind of architecture that instead of being at odds with the environment, works with it.
A different example is about transformation from human Kinetics to building energy. The so-called "Crowd Farm," as envisioned by James Graham and Thaddeus Jusczyk, both M.Arch candidates, would turn the mechanical energy of people walking or jumping into a source of electricity, harvest the energy of human movement in urban settings, like commuters in a train station or fans at a concert.
A Crowd Farm in Boston's South Station railway terminal would work like this: A responsive sub-flooring system made up of blocks that depress slightly under the force of human steps would be installed beneath the station's main lobby. The slippage of the blocks against one another as people walked would generate power through the principle of the dynamo, a device that converts the energy of Fig. 5_The Crowd Farm by James Graham and Thaddeus Jusczyk
motion into that of an electric current. The electric
current generated by the Crowd Farm could then be used for educational purposes, such as lighting up a sign about energy. "We want people to understand the direct relationship between their movement and the energy produced," says 10
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Jusczyk. According to Graham and Jusczyk, a single human step can only power two 60W light bulbs for one flickering second. But get a crowd in motion, multiply that single step by 28,527 steps, for example, and the result is enough energy to power a moving train for one second. And while the farm is an urban vision, the dynamo-floor principle can also be applied to capturing energy at places like rock concerts, too. "Greater movement of people could make the music louder," suggests Jusczyk. The students' test case, displayed at the Venice Biennale and in a train station in Torino, Italy, was a prototype stool that exploits the passive act of sitting to generate power. The weight of the body on the seat causes a flywheel to spin, which powers a dynamo that, in turn, lights four LEDs.
Other people have developed piezo-electric (mechanical-to-electrical) surfaces in the past, but the Crowd Farm has the potential to redefine urban space by adding a sense of fluidity and encouraging people to activate spaces with their movement. The Crowd Farm floor is composed of standard parts that are easily replicated.
Generally, the pragmatic interactive design can bring architecture great potential to be not as a high-tech mat that would be laid down somewhere, but to really integrate the essential issue between human and space use into a new sort of processing system which directly claims their relationship, namely, interactivity.
HUMANISTIC: Transformation from Kinetics to Building Performance
The space is adapting our desires while shaping our experience. Fast-changing social contexts are dominated by the blurring of boundaries between work and play, information retrieval and use. Spatial experience is as important as space use especially in the current age occupied by media all over the world. “Multi-mediated” interactive design has started entering into every domain of public and private life as a spatial medium. Humanistic interactivities provide people more sensory controls to space and psychological bonding to space by their simple behaviors in space. It is not just about meeting the needs, but producing more opportunities for people to explore potential definitions of spatial experiences with deep exploration on human-human, human-environment connection and communication in space.
Gunnar Green set up an aperture wall in Berlin, 2005. This system is designed to allow for views only where the user is present. The project consists of an interior wall with a series of circular perforations that have irises embedded into them. Sensors detect if a person is located in front of an iris, and will open to allow for natural lighting as well as a 11
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view if a person is present. Therefore, the only light coming into the space, as well as the view to the outside, are controlled by these irises.
“Analogously to the process of taking a photograph, people standing in front of the wall are exposed to the aperture grid, just like to photographic film. The duration of the image fading out, as the apertures close, is a reflection of how long a Fig. 6_ The Aperture wall, Berlin, 2005, by Frederic Eyl and Gunnar Green.
person has been standing in front of aperture.” This project not
only interacts directly with the user, but also informs the public of the actions of the user and the duration of the interaction between the person and Aperture.
Just like Aperture, Party Wall by nArchitects is also an example of an interactive system that interacts directly with a person, or governs interaction between people. Party Wall is a system that divides a space into two, and interacts with users as well as allows users on both sides to communicate with each other. This is a wall that is devised of several two inch thick bands of foam that run parallel with the floor. When the systems actuates, the foam pieces create long,
Fig. 8_The Party Wall, nArchitects, 2005
organic objects which dictate the communication level between the two sides of the wall.
“Proximity sensors embedded in the foam detect the presence of “neighbors” and trigger tiny servo motors. The motors exert tension on synchromesh pulley cables attached to the foam layers, causing variable compression and expansion, and resulting in varying apertures and densities of foam.” When people on each side are located across from each other, the wall will adjust itself to allow the two to converse. Not only does it respond to the presence of several people, but the system in fact interacts with a single human as well. Party Wall could be implemented as a property divider; it can act as a fence, but would permit communication between the neighbors. It can open up gaps in the wall system to allow for views or light, for instance, with only the attendance of one person. 12
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Aperture and Party Wall are both vertical applications that can manipulate the qualities of the space such as natural lighting and views. They both sense the position of the interacting people, and adjust themselves accordingly. These walls either directly communicate with people or they allow for interaction between people. These systems create an exciting and intriguing form of kinetic design when imagining the concept of direct interaction between buildings and people. The expression of the human experience in space thus becomes clearly visible.
The Aegis project was devised as an interactive art piece for the cantilevered “prow” of the Birmingham Hippodrome theatre. Aegis was proposed as a dynamically reconfigurable surface capable of real-time responsiveness to events in the theatre. Such movement or sound
Fig. 9_The Aegis Hyposurface, dECOi
can create actual deformation of the architectural surface. Effectively, Aegis is a dynamically reconfigurable screen where the calculating speed of the computer is deployed to a matrix of actuators which drive a “deep” elastic surface. With an electronic central nervous system, the surfaces response instinctively to any digital inputs (sound, movement, internet, etc.).
The current specification of the device is one of 8m x 8m, comprising 1,000 actuators refreshed every 0.01 seconds, allowing propagation of effects at some 60 km/h, with a displacement of 50 cm at 3 Hz. This highlights the potential of the current technologies where already many thousands of devices may be controlled accurately to allow a physical Fig. 10_The Aegis Hyposurface Device
responsiveness to changing conditions.
The project is called Aegis for its capacity to absorb events from the surrounding environment, allowing that its expressive register be colored differentially according to the patterns of activity which surround it. This gave the supple surface not only a variable character, but one that drew from the surrounding environment. This has led us to 13
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consider the façade, which is nothing other than a matrix of possibility conditioned by external response, as an “all plastic” device or architecture of reciprocity, reconfiguring in interaction to the activities that impinge upon it.
In most spatial stories that humanistic interactive designs try to tell, they generally start from a question “What if?” This is the same question posed by science-fiction stories, by Archigram’s “What if a building could walk?” or Cedric Price’s “What if a building could be constantly generated and regenerated?” At the frontier of interactive architecture, the humanistic interactivity can not express its objective necessities clearly. No user, no client nor committee can really say they need interactive media as a metaphor of information flow, since nobody knows exactly what a spatial interactive media might be. However, even no client will state a strong requirement for a façade of iris-like glasses or metal components that react to the sun, interactive architecture with humanistic interactivity in space does tell and embody stories, and these stories are our core feelings of spatial experiences.
10 years ago, this would be a fairytale, but now we can live in one. A living space can be tuned, as well in its shape as in its information-content. The emotive house is fully industrial, flexible in programmability, demountable, innovative, places domestics in an anther spotlight which will be general applicable in the near future. In that way, the house will develop an own emotion, it can be reactor as well as actor. The acting will be made possible by a cooperative swarm of actuators like pneumatic beams, contracting muscles and hydraulic cylinders. The movement of the users and the changes in the weather are registered by a diversity of sensors, and are translated by the brain of the house into an action. In this way, the inhabitants and the actuators of the house will develop a common language so that they can communicate with each other.
The form of the emotive house is a long, movable space, with on both ends the only solid blocks of the kitchen en the sanitary. The structure is a weaving loom between a hard and a soft structure. The hard structure consists of massive wooden beams, and the soft structure is long-shaped inflatable chambers between the wooden beams. In this way, the chambers can expand and shrink to give a global shape to the emotive house. The total construction is being shaped by a spatial structure of hydraulic cylinders which are cooperating to follow or cause shape-movements. The hard structure on the exterior is covered with photovoltaic cells to generate electricity. The beams are connected with each other with pneumatic muscles, which can be contracted and relaxed. The technical challenge lies in the weaving loom of the programmable actuators and the hard structure, and in the cooperation between those actuators. They all have to 14
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work together like a flock. The scripts that need to be written are based on some simple rules for flocking behavior. The mathematical rules of behavior are known, but are never applied on structural parts. The players are the inhabitants, the guests and the actuators. There are also extern influences that can determine the interactivity. The reaction will always be a complex consideration between lots of different factors. A complex consideration looks already like an emotion.
Fig. 11_The Emotive House, ONL, 2002
The experiment implies learning to live in an environment with an own mind.
Responsive to the urgent needs and whimsical wishes of the inhabitants, the house also acts for themselves, surprising the users, fooling them and playing games with them. With the predefined emotional bandwidths of emotional modes (entertainment mode, relax mode, educational mode, commercial mode, sports mode), the house is a free-interacting interface to the inhabitants and relates to the world through the Internet. In other words: the house becomes a social semi-independent extension of human bodies of inhabitants.
Scott
Adams
IDEO
to
approached
create
Dilbert’s
Ultimate Cubicle, an attempt to address the myriad issues connected with partition-based offices:
lack
of
personal
control, absence of privacy, inadequate space and tools,
Fig. 12_Dilbert’s Ultimate Cubicle, IDEO and Scott Adams
and so on. IDEO designers created and lived in their own “Dilbertville” within the San Francisco office for several weeks, to gain empathy for typical cubicle dwellers and to gain firsthand insights into the challenges they face. Combining that experience with input from Scott Adams and the cumulative advice of thousands of emails from Dilbert fans, the designers created a series of quick prototype spaces to explore a range of ideas, from the serious to 15
INDEPENDENT THESIS RESEARCH
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the outrageous.
The result is a modular cubicle that allows each worker to select the components from a “kit of parts” and create a space based on his or her tastes and lifestyle. Practical considerations include modules for a seat, a computer, and a display (complete with “boss monitor”). The floor modules lift for storage or flip between artificial grass and tatami mats; the light modules at the top mimic the sun’s movement throughout the day. Other, more whimsical modules provide a hammock, an aquarium, and a punching bag. The project showcases IDEO’s highly adaptable design process and uses humor and optimism to explore the “blue sky” area between Dilbert’s problems and real-life solutions available today.
It is very important that such customization in the two examples just mentioned above brought by humanistic interactivity can actually transform the humanistic interactivity into a more serious situation to optimize spatial use for human life and reorganize human life style. With the onset of increasingly sophisticated communications devices, the space becomes increasingly reflexive to meet environmental and users’ demands in the face of dwindling energy reserves.
Wireless embedded computerized communication technologies with mechanically transformable kinetics devices, the interactive study and practice on connectivity and communication between human and space are more and more required in space use and space experience. Old Bouman discussed the implications of this for architecture in this age in which architectural space steps forward as the kinetic interface for interactions of human-human and human-environment. The greatest challenges of both pragmatic and humanistic interactivity are scientific (creating increasingly mature mathematical models), technological (creating the physical and electronic systems to enable levels of interactivity and sensibility in buildings and settings), functional (understanding how to make interactivity an element of research in the “crises” and difficulties of contemporary society), as well as aesthetic (a way of seeing, interpreting and building the new era of architecture).
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CHAPTER THREE: METHODOLOGY OF INTERACTIVITY
After having presented two types of interactivity of space, it is obvious that interactive architecture can not live without technological supports. Generally, the interactive architecture deals with the rules of give and take. Different technologies are provided for making different interactions. The mission of the architect is to design the rules of the interactive game. In this part, we will discuss the methodologies and strategies that can help architectural designers to understand and achieve the perfect interactive space design.
SIMULATION AND VISUALIZATION
This is the primary part for architects in interactive architecture design process. The main goal is to design the rules of spatially interactive games. By dealing with parameters in different digital modeling software, architectural designers can convey their design intent of interactive architecture under the simulated and visualized situation. First we will see and feel how beautifully complex it is, and how precisely and intuitively we must act and think. Architectural designer must think as a programmer writing code when designing spatial interactivity with simultaneous software.
The process of interaction, communication and collaborative design is a parametric game. Because of the convenience of these digital tools, it is possible for other people who are not designers to take part in the design process of interactive architecture. The designers start proposing the rules of the game, and then they play the game together with other stakeholders. By connecting the 3d model of the architectural design to the database (tables, arrays) in real time, architecture is not an arbitrarily frozen choice of a running process. Everyone (clients, fellow citizens, accidental users, blank-minded passengers) becomes a possible player in this transaction process, either consciously as a participant in the design process, or unconsciously as a passenger whose presence matters for the real time behavior of the swarm architecture. In this situation, interactive architecture can claim itself as a highly spatial society as a metaphor for social connections and mixed-cultural communications.
SENSOR/ACTUATOR ENTITY
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Whenever we discuss interactive architecture, we should talk about the sensors and actuators. They are the means of getting all type of data and information to systems. Their buildings are covered by skins with the ability to alter their shape as the social and Fig. 13_Sensors and Actuators
Fig. 13_Sensors and Actuators
environmental conditions of the spaces within and around each building change. Sensors are simply detection devices that collect
information and data internally and externally. Internally where they allow system to perceive even its condition and externally where they detect and receive information from out of system environment in real time. People have senses. Buildings have senses, too. Every interaction happens starting with giving your sense to others while taking their senses back to yourself. Because sensors are a type of transducer, they change one form of energy into another. For this reason, sensors can be classified according to the type of energy transfer that they detect: thermal; electromagnetic; mechanical; chemical; optical radiation; acoustic; ionizing radiation; etc.. Sensor/computer/actuator technologies are used to produce intelligent envelopes and structures that seek fresh relationships between the ‘building’ and ‘user’.
Building envelop can use sensors and actuators to respond by movement. The Hyposurface by dECOi is an excellent example for kinetic envelope and inner controlled architecture element where a faceted metallic surface (wall) deforms physically by responding to the surrounding environment. It responds to movement, sound, and light as a result of real-time calculations. Fig. 14_Hypersurface, Oosterhuis, 2003
A structure can also use sensors to report its conditions and maintain problems like standing against wind load by increasing its internal tension using actuators. For example, chemical and physical data in concrete can be collected now by micro-electro-mechanical systems (MEMS) sensors. This sensor can be embedded in concrete to measure pH, moisture, temperature, and concentrations of chloride, sodium, and potassium ions (Snoonian, 2003). Some electronic companies like SIMENS use micro-electro-mechanical system (MEMS) to control systems.
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Fig. 15_Filamentosa: An ultra-lightweigh skyscraper using an actuated tensegrity structure exo-skelital frame tethered internal core. (2004)
MECHANICAL MODELING OF MOTION
The kinetic solution is one important strategy that brings the interactivity into real space. Usually, the physical modeling helps the designer understand mechanical motions and apply a means of actuation mechanism to make the model interacts with changing conditions as it is proposed with its design concept. Materials can be also tested during the process for the ultimate spatial production.
General kinetic typologies can be divided into three types: Embedded Kinetic Structures; Deployable Kinetic Structures; Dynamic Kinetic Structures. Embedded Kinetic Structures are systems that exist within a larger architectural whole in a fixed location. The primary function is to control the larger architectural system or building, in response to changing factors. Dynamic Kinetic structures also exist within a larger architectural whole but act independently with respect to control of the larger context. Such can be subcategorized as mobile, transformable and incremental kinetic systems. Deployable Kinetic Structures typically exist in a temporary location and are easily transportable. Such systems possess the inherent capability to e constructed and deconstructed in reverse.
Fig. 16_ Three types of General Kinetic Typologies
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There are many mechanical motions to gain the effect of a specific mechanical interaction by materials.
Stress: ex: Sleeping bag, light reflector for window, laundry basket Folding: ex: clothes, parachutes tents etc. (rules but not memory) Creasing: ex: maps, boxes (inherent memory) Bellows: ex: lamp shade, shoe rack , airplane door extension (3-d crease with space between) Assembling: ex: broom handles with extensions, kit of parts (rules for disassembly and re-assembly) Hinging: ex: laptop, umbrella (hinge joint) Rolling: ex: dog leash, garden hose, tape measure (rolling) Sliding:
ex:
telescope,
antennae,
exacto
knife
(constrained slide) Nesting: ex: crates, pots and pans (two or more occupying overlapping space)
Fig. 17_Detailed Mechanical Joints from “5 basic Mechanisms”
Inflation: ex: balloon, mattresses (constrained and hydraulic) Fanning: ex: fans, alum Wrenches, paint samples (single constraining point) Pantograph: ex: scissor, shelving, lamp extensions (scissor)
Besides motions mentioned above, concepts of tropism, such as phototropism, geotropism, hydrotropism, hapotropism, etc., can be use as some special forces to help with modeling mechanic devices.
Fig. 18_Labs for Experiments on Mechanical Modeling of Motion
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PROTOTYPE FABRICATION
Different from experiments on mechanical modeling of motion which contribute researches on the spatially interacting methods, the prototype fabrication primarily deal with the material research which may finally make decisions on architectural material used in interactive space. Just like the mechanical modeling of motion, materiality will also prove to be of great promise for advancement in the area of interactive architecture as a result of technology providing both an unprecedented vision into microscopic natural mechanisms and advanced manufacturing of high quality kinetic parts with new materials such as fabrics, ceramics, polymers and gels, fabrics, shape-memory alloy compounds and composites with unprecedented structural properties.
Fig. 19_ Rapid Prototyping machines
In the early days of rapid prototyping, product developers were ecstatic to have quickly produced parts that accurately indicated form and fit. But as compressed development cycles have placed more demands upon design engineers, they in turn demand more from their prototypes. They want RP parts that exhibit greater functionality, more durability, higher accuracy, and improved appearance. In the past few years, the industry has witnessed an expanded range of RP materials that bring product designers ever closer to their ideal – making rapid prototypes that look and perform as well as production parts.
Fig. 20_ Fischer & Maus: Reflection; Widrig & Booshan: Binaural; Leander Herzog: Untitled; Marius Watz: Sound Memory
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Rapid prototyping material choices are still somewhat limited as compared to injection moldable plastics and castable metals. However, the number of materials that mimic more common plastics is growing. Today, there are a number of prototyping variants of ABS, polypropylene (PP), polycarbonate (PC), and other materials. The menu of metal powders used in laser sintering also contains new options.
Some of the new materials challenge the conventional wisdom that RP parts are not as strong as production parts made by injection molding or casting. Impact resistance, elongations at break, flexural modulus, and other material properties have improved. New infiltrations, which infuse materials with enhanced physical and mechanical properties, are now available including glass-filled materials and flame retardant additives. Beyond being sturdier, some of the new materials offer enhanced aesthetic features such as transparency, and new colors and shades.
Rapid prototyping is achieved by a wide range of technologies. Some of the more widely used ones include stereo lithography (SL), which uses liquid photopolymers;
Stratasys
fused
deposition
modeling (FDM), which uses extruded polymer filaments; selective laser sintering (SLS), which uses powdered polymers and powdered metals; Fig. 21_ Classification of three main principles of digital fabrication
Objet Geometries’ PolyJet system that uses jetted
photopolymers; and Z Corp.3DP technology, which uses an adhesive to selectively bind polymer powders. Each prototyping method has its own pluses and minuses. Stereo lithography has a quality surface, but is typically not good for products that require long-term durability. FDM and laser sintering systems are better for durable, manufactured parts, but part accuracy isn’t as high as an SL system. A Z Corp. 3DP machine is fast, clean, and colorful, but parts can suffer from reduced durability and accuracy. However, the new materials that have hit the market have blurred these general lines, with improvements reducing some of the minuses of some, while playing up the strengths of others.
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It has been realized that the integration of digital design and additive fabrication have the great potential to result prototypes which could not be conceived or fabricated manually. Non-standardized solutions can be easily accomplished as the design data is directly used to control the fabrication process.
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.
CONCLUSION: A FUTURAL VISION OF HUMAN AND SPACE
Based on the discussion above, this paper claims the potential of interactive architecture: what it is; how it can impact the space use and spatial experience; what is necessary in its design. Interactive architecture outlines a future vision for architectural use and experience through contextualizing and understanding the current interactivities of architectural practice of pragmatic and humanistic, and its integration of new emerging technologies of connections and communications between human and space. The current methodologies of interactive architecture is built upon the convergence of embedded computation (intelligence) and a mechanical counterpart (kinetics) that satisfies adaptation within the contextual framework of human and environmental interaction. This paper states that the motivation to make interactive architecture is found in the desire to create spaces and objects that can meet changing needs with respect to evolving individual, social and environmental demands by providing a wealth of architectural practice that are interactive.
In the 1990s, interactive architecture began to take a foothold as ideas began to be both technologically and economically feasible. It was also at this time that the long history of kinetics in architecture began to be reexamined under the premise that performance could be optimized if it could use computational information and processing to control physical adaptation in new ways to respond to contemporary culture.
Most recently the current trend of embedding small, networked computers into our physical surrounding under the notion of “ubiquitous computing” has taken an important step of development. Today, we can observe not only how these small computers get installed as to enhance a built environment with additional functionality, but also how digital technology gets blended with the fundamental architecture of a building as to create new interactive surfaces, or “digital textures”, to create ambient information environments, or to support social interaction. From a research standpoint this trend is currently being addressed through the development of concepts including: interactive architecture, responsive environments, media places, hybrid spaces, ambient intelligence, and digital art installations.
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It is hard to anticipate how quickly the types of interactive architectural systems outlined in this paper will be widely adopted, but it is not difficult to see that they are an inevitable and completely integral part of how we will make buildings in the future. To a great extent, the success of creating such systems in architecture will be predicated upon the real-world test bed. The future of architecture will utilize unique and wholly unexplored methods and applications that address dynamic, flexible, and constantly evolving activities. It is up to architects, designers, and participants of space to understand the foundations of the subject matter in order to extrapolate the existing precedents and ideas into a future vision.
Fig. 22_ A Future Sstructure of Interactive Ccities
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BIBLIOGRAPHY
☉ Responsive Architectures : Subtle Technologies by Philip Beesley; Sachiko Hirosue; Jim Ruxton; Marion Trankle; Camille Turner ☉ Interactive Architecture by Michael Fox (Author), Miles Kemp (Author) ☉ IA #1 (Interactive Architecture) (Interactive Architecture) by Kas Oosterhuist (Author), Xin Xia (Author) ☉ 4dspace: Interactive Architecture (Architectural Design) by Lucy Bullivant (Editor) ☉ 4dsocial: Interactive Design Environments (Architectural Design) by Lucy Bullivant (Editor) ☉ Responsive Environments: architecture, art and design by Lucy Bullivant (Author) ☉ Flexible: Architecture that Responds to Change by Robert Kronenburg (Author) ☉ Architecture in the Digital Age: Design and Manufacturing by Branko Kolarevic ☉ Structural Modeling and Experimental Techniques by Harry G. Harris, Gajanan M. Sabnis ☉ Hyperbodies by Kas Oosterhuis
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