I have an ongoing interest in swarming structures that goes back to my Angels, Flying Reconfigurable Architecture work which I did at the Bartlett a couple of years ago. Going from concept to real truely swarming LTA vehicles is another story but these developments in mobile robotics are interesting glimpses at a possible world made up of ecologies of architectural fragments, whether at a nano or larger scale that. Above is a team of “swarm-bots” negotiating a terrain outside a laboratory in Brussels, Belgium.

Each Swarm-bot is 19 centimetres high, has a rotating turret, a claw-like gripper and moves using a combination of caterpillar tracks and wheels. Each also has a basic computer and is loaded with the same software.

The simple rules laid out in this software allow the robots to perform complex actions as a group. A swarm of ants uses a similar strategy to tackle difficult jobs like carrying a large object. See Film

A red color ring tells others, “Grab me;” blue means “stay away.” Scientists study ant colonies, bird flocks, mammal herds, and fish schools to understand the simple genius of such animal swarms.

Exploded Axonometric of his most recent electro-acoustic system

Architect Richard Roberts electro-acoustic systems have been developed to explore the sonic properties of environments, and reveal the way in which sound and space co-habit one another. The system uses speakers and panels of resonating metal and gains its input and mode of operation through the cyclical feedback of sound waves from the environment in which it is placed. It is extremely reactive and capable of changing in real-time to anything that alters the acoustic properties of the environment that it exists within.

Richard using one of his electro-acoustic systems to explore the sonic properties of Fort Brockhurst, Portsmouth

Through this work Richard describes how he “discovered that sound is an effective method with which one can explore first and second order cybernetic principles, and that any observer is an integral and inescapable part of their own acoustic space.” Richard explorative works are refined through iterative processes involving prototypes, experimental models, digital animations and drawings. His work is currently being presented at the Pask Present exhibition being held in Vienna from 26th March to 4th April 2008.

Atelier Färbergasse, Vienna
26th March to 4th April
Opening ceremony 25th March, 19:00

One of Gordon Pask’s own installations Colloquy of Mobiles exhibited at Cybernetic Serindipity 1968, ICA, London

“Dancing robots, singing sculptures and growing metal tentacles are just some of the bizarre exhibits that will feature in an exhibition of work inspired by eccentric scientist Gordon Pask, one of the forefathers of cybernetics. Gordon Pask (1928-1996) was a British scientist and artist, whose work was key to the development of cybernetics – the study of systems of communication, control mechanisms and feedback. He worked in academia, the arts and industry, producing poetry, plays, interactive sculptures and teaching machines.”

Usman Haques Evolving Sonic Environments III will be one of the works presented

Focused on the influence of Gordon Pask today, the exhibition’s works range from the practical to the bizarre and include pieces by established artists, architects, designers, academics and students. Work has been inspired by many aspects of Gordon Pask’s work, including his interest in analogue computing and his experiments with electrochemistry.

Roman Kirschner’s Roots (2006)

Co-curator Richard Brown, research artist in residence at the University of Edinburgh’s School of Informatics, said: “In many ways Gordon Pask was too far ahead of his time – many of his ideas about cybernetics are only just coming into fashion now. Most computer scientists have a different way of thinking compared with him and don’t necessarily understand his ideas – they tend to see computers as machines which are told what to do, whereas Pask was much more interested in having a conversation with the computer.”

Richard Roberts ‘Hearing a Reality’ (2007)

The ‘Pask Present’ exhibition follows the ‘Maverick Machines’, held at the University of Edinburgh last year, the first exhibition of art work inspired by Gordon Pask. It will be held at Atelier Färbergasse, Färbergasse 6, A-1010 Vienna, from 26th March to 4th April, open daily from 13:00 to 21:00. (The opening ceremony will take place on 25th March, 19:00)

More details on the exhibition can be found at www.paskpresent.com

SCI-Arc presents, Quasar, a new site-specific installation by the LA/NY-based design/media firm slap!, founded by architect Jean-Michel Crettaz, and produced in collaboration with the Stanford Linear Accelerator Center (SLAC) and Stanford’s Kavli Institute for Particle Astrophysics and Cosmology. “Quasar is an immersive light and sound space made from prototype membranes realized as an interactive light/sound object and comprised of a dense array of interlinked elements describing an intricate three-dimensional structure.”
Quasar Exhibition from Aaron Bocanegra on Vimeo.

The exhibition draws on slap!’s continued interest in developing an awareness of the interconnectedness of space and material, with a goal of extending established notions of volume and scale. The gallery is fitted with sensors that draw real-time data from the installation and the people within the exhibition, which is then synchronized with streamed real-time data of solar activity and nuclear processes provided by SLAC and NASA. This information is then fed back into the object through layers of LED strands, re-visualizing the space in order to create an dynamic spatial experience.

The word “quasar” is a contraction of the term quasi-stellar-radio-source, used historically by astronomers to describe entirely unknown cosmological objects. Today, it is believed that quasars are the most distant, and yet still detectable, objects in the universe. Giving off enormous amounts of energy produced from massive black holes in the center of their own galaxies, quasars are intensely bright; their emitted light drowning out all other stars in the same galaxy.

“Quasar is an artificial counterpart hovering in response to the currents and activities of the visitors, and in doing so, stretches and collapses the horizons of the known. The possibilities of interrelated synthetic and natural processes begin to define new emergent ecologies. quasar questions the boundaries of scale and the psyche, offering immersion into a vastly expanded space which renders perception permeable, and in the end, disperses identity.”

Quaser will be exhibited at SCI-Arc until 9th March 2008

Here’s an interesting wind powered streetlight from the Panasonic Center in Tokyo that I found on hyperexperience blog run by Leonardo Bonanni of MediaLab. I’m a big fan of using these Vertical Axis Wind Turbines for integrating into urban skylines when traditional propellers often seem too dramatic.

Shaun Murray’s projects are harbingers for a meaningful ecological (both machinic and natural) audit of specific sites and the development of a series of tactics and protocols that can deliver to architects a full understanding of their sites and of the agents, provocateurs, cybernetic systems and disparate observers and drifters that influence and use them in some way.

Modern architecture has currently failed to provide architects with these now very necessary tools for them to create architectures that are fully in tune with the wide gamut of artificial and natural ecological conditions. For those of us interested in the architecture for the new cyberised, biomachined inhabitants of the twenty-first century Murray’s research and propositions are a beacon in a still dark landscape of the future.

Murray has not only helped to develop this interesting and original approach to architecture and ecology (the subject of a Phd) but he has also developed various methods of representing architecture. Like any architect which deals explicitly with the ravages of time; the choreography of sudden and not so sudden shifts in geography and geometry have to be charted. Murray has needed to generate a draughting style that facilitates and explains his ideas.

Michael Wihart explored how ecologies of small machines made of nanotechnological and biotechnological elements might be able to swarm together to create architectural space and developed notions of how these spaces might reconfigure over time. Here’s some images of his work and some thoughts of his on the issues he raises.

“The decadence and redundancy of the integrity of architectural thinking needs to be constantly questioned in order to reveal if architecture can be a source for the sentimental titillation. The embarrassing meanders of architecture into the challenge of the feasibility must be extended into the poetry of spatial mediation. the process of designing can no longer be solely functional and operational. The creation of an architecture which is embedded in the mythical knowledge of the future enables us to extend the sentiment of in-habitation into the realm of co-existence.”

“Certainly this vision can be engaged to fulfil the concupiscence of a few heroic models but the question if this architecture can establish a casing of affirmative cultural emergence which is the source and site for the engagement of individuals with the fate of their co-habitants, is a different one. Architecture therefore stands for the manifestation of the ambivalence of the transience and the after-effect of the notion of co-existence. But when architects by themselves abandon and forget to realise fantasies which have always already been lost in the dawn of the socialisation, where then will we find the sites for the staging of our sentiments?”

Marcos Cruz is a practising architect who lives and works in London. He is a co-founder of marcosandmarjan, as well as a Lecturer at the Bartlett UCL (Unit 20). His individual research is dedicated to a future vision of the body in architecture, questioning the contemporary relationship between the human flesh and the architectural flesh. In a time when a pervasive discourse about the impact of digital technologies risks turning the architectural ‘skin’ ever more disembodied, his aim is to put forward the notion of a Thick Embodied Flesh by exploring architectural interfaces that are truly inhabitable.

Conceptually his work delves into the arena of disgust on which the notion of an aesthetic flesh is standing, and it explores new types of ‘neoplasmatic’ conditions in which the future possibility of a neo-biological flesh lies. He proposes Synthetic Neoplasms as new semi-living entities that are identified as partly designed object and partly living material, in which the line between the natural and the artificial is progressively blurred. Hybrid technologies and interdisciplinary work methodologies are required, leading to a revision of our current architectural practice. In his research Marcos Cruz proposes Flesh as a concept that extends the meaning of skin as one of architecture’s most contemporary metaphors.

He recently was awarded his doctorate at the Bartlett for a series of investigations into flesh. Here’s a synopsis of the projects

and here’s an interesting conversation i found between Marcos and his Partner Marjan Colletti on Inhabitation of the Body and Toys

Architects ‘The Living‘ did a great presentation on their design approach to rapid low cost prototyping of interactive environments and construction techniques last year at the ‘Interactive Architecture & Media’ symposium I organised at Eyebeam last February. They’re currently having an exhibition at the Van Alen Institute gallery in New York running till January 18th, so if your in the area I recommend having a look. Below is a synopsis on their research. Using three parallel tracks of research they are exploring three definitions of the Living City.

Video Introduction to Living City

1. The living city - a platform for the future when buildings talk to one another

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“In the future, buildings will talk to one another. In the era of ubiquitous computing—as sensors disappear into the woodwork and all kinds of data is transferred instantly and wirelessly—buildings will communicate information about their local conditions to a network of other buildings. Architecture will come to life. Living City is an ecology of facades where individual buildings collect data, share it with others in their social network, and respond to the collective body of knowledge.”

2. An exploration of the vitality of the city through new forms of public space—air and facade

“In the future, public space in the city will be everywhere. Air will be public space. Building facades will be public space. Both will belong equally to everyone in the city, no less valuable than the traditional fixed public space of parks and streets. At the intersection of air and facade, public space will be distributed and dynamic. Architecture will come to life. Living City is a definition of air as public space and building facades as public space.”

3. A prototype facade that breathes in response to air quality

In the future, walls will breathe. Construction materials and systems that have been inert for thousands of years will respond in real time to the dynamic conditions of their surroundings and to a larger network of data. Buildings will host public interfaces to air quality and make visible the invisible conditions of the environment. Architecture will come to life. Living City is a full-scale building skin designed to open and close its gills in response to air quality.”

As part of the Europrix exhibition held in the Kunsthaus,Graz, I did a short presentation about my views on Interactive Architecture and its relationships to other fields in the arts and sciences both practically and conceptually and also where my Performative Ecologies project fits into my research. See below and I apologies for saying ummm a lot, I never realised I did until I watched this.

reprojected

I first encountered the work of Mader Stublic Wiermann when Alexander Stublic did a talk at the MediaArchitecture Conference earlier this year. He presented four projects by the group in different technical environments focusing on correlations of space by extending and transforming architectural structures. I won’t cover the entire scope of their work here but their website has more detailed descriptions of what they’ve been up to in recent years. Below was one project in particular that I like as it starts to transform the rigid structure of an architecture into a dynamic fluid skin.

twists and turns

The exterior of the Uniqa Tower in Vienna has been equipped with a LED-grid, a wide-meshed net of picture elements capable of receiving video-data, which are fitted into the building’s facade. At first, the electronic data corresponds to the architectural structure of the tower, but during the course of its choreography, repeatedly detaches itself from the concrete shape of the building, establishing new spaces which dynamically interweave.

Sean Hanna is an interesting architect/engineer whose work I’ve been meaning to cover for some time. He was awarded a American Institute of Architects Student Gold Medal and went on to work on algorithmic & parametric design aspects of major construction projects with architects including Foster and Partners and sculptor Antony Gormley. His research is mainly in developing computational methods for dealing with complex systems in architecture, and in structural optimisation and rapid prototyping technology. I’ve selected a couple of his projects to give a sample of his work but check out his website for more details. His work is part of the currently running “Capture & Context” exhibition I posted on early this week.

BODY / SPACE / FRAME

Sean role in the BODY / SPACE / FRAME by artist Antony Gormley was in the creation of methods for generating a body formally and constructing a geometry appropriate for and structurally constructing the 25 metre high sculpture. Built out of an open steel lattice in the shape of a crouching figure, it was sited on the end of an 800 metre polder and faced outward from the coast of the Zuiderzee, Holland.

PAN_07 CHAIR

Optimised cellular structure in collaboration with Timothy Schreiber

Based on an analogy with the highly efficient cellular structure of living wood or bone, which adapts to its environment as it grows, the chair’s interior is comprised of a fine lattice that minimises weight while maximising strength. The design method combines principles of evolution and artificial intelligence to create a material that responds to its environment by growing denser in the areas required to best withstand the external forces applied when the chair is in use.

Sean’s website

Evoke by Architect & Artist Usman Haque is a massive animated 80,000 lumen projection, that lights up the facade of York Minster. The facade is brought to life by members of the public, who use their own voices to “evoke” colourful light patterns that emerge at the building’s foundations and soar up towards the sky, giving the surface a magical feeling as it melts with colour.

The cathedral, built to link conceptually earth to the heavens, has been a site for the conveyance of words, dreams and aspirations for hundreds of years. The facade is designed to orient the gazes of passers-by upwards. As an attempt to continue this tradition, the patterns of Evoke are generated in realtime by the words, sounds, music and noises produced collectively by the public, determined by their particular voice characteristics. The colours will skim the surface of the Minster, pour round its features and crevasses, emerging finally near the top of the facade where they will sparkle high overhead.

People with voices of different frequencies, rhythms or cadences will be able to evoke quite different magical patterns upon the surface of the building - a staccato chirping will result in a completely different set of visual effects to a long howl for example, blending old and new to continue animating the facade of the Minster.

Evoke is commissioned by Illuminating York 2007.

My recent work has been influenced a great deal by the work of Cybernetican Gordon Pask (1928-1996)  from his interactive installations to his work with Architects Cedric Price, John Fazer and Media Lab co-founder Nicholas Negroponte. Its always interesting to see how Pask’s work continues to inspire a range of contemporary art work so I was inteersted to find out from Network Performance about Roots (2005-06) by Roman Kirschner. Roots is a world with a fluid atmosphere in a glass tank. Dark crystals grow trying to make connections. Constellations develop. They generate sound. And after some time they dissolve into clouds.The installation is based on the model of a chemical computers devloped by Pask.

Electricity is pulsed through the whole Sculpture. It is the key to the constant transformation. Growth changes the flow of the current. The modified flow changes the growth. Software and Hardware leave the next step to the material. The voltages at each wire are put through a resonance filter and thus transformed into sound. The 4/4 pulse results in a sublime rhythm. Movie of Roots (QT 10,73MB) This piece will be presented as part of Nature [of Man] exhibition.

2001: A Space Odyssey (196

So what does the future hold for us? And what will technology enable us or indeed disable us from achieving. Futuristic visions from science fiction cinema borrow much from the leading technology of their time, to imagine our future homes, workplaces and cities. I’ve always had a laugh watching the 1940’s-50’s films which show a house wife getting her personal tin foil wrapped robot to do the dishes while she can get on with other important jobs like getting her makeup on to greet her husband when he comes in from a hard day at the office.

Well its hardly suprising that film makers had less glossy visions of the future and I’ve been making a special effort recently to watch films that have explored the kinds of future architecture and cities we may one day inhabit. I recently saw on Regine’s excellent We Make Money Not Art a link to the Top 50 Dystopian Movies of All Time. which has given me plenty of the darker visions to examine. One idea in particular which captured the imagination of many writers and directors was that of artificial intelligence and the kinds of power struggles that could ensue between humanity and intelligent agents. With the development of my own work in adaptive systems recently, I have spent a considerable amount of my work invested in understanding the current state of artificial intelligence research. I’m pleased to see that the dystopian visions of man vs machine are for the time being at least, some way off, since we can’t get much more than insect level intelligence out of computational systems.

Metropolis (1927)

None the less, progress is being made and it was while visiting MIT last week that I got an opportunity to listen to Marvin Minsky speak a little, about his involvement in the development of AI since the 1960’s.  He currently believes “we need to find more complicated ways to explain our most familiar mental events”; we need to break our thought processes down into the most precise steps possible. In fact, in order to truly understand the human mind, Minsky suggests, we’ll probably need to reverse-engineer a machine that can replicate those functions so we can study it. Thus, he rejects the idea of consciousness as a unitary “Self” in favor of “a decentralized cloud” of more than 20 distinct mental processes. In this view, emotional states like love and shame are not the opposite of rational cogitation; both, Minsky says, are ways of thinking.

A FREE draft Copy of his recent book The Emotion Machine: Commonsense Thinking, Artificial Intelligence, and the Future of the Human Mind is available from his website (find links below)

The Emotion Machine : Marvin Minsky

Introduction  Chapter 1. Falling in Love  Chapter 2. Attachments and Goals 
Chapter 3. From Pain to Suffering   Chapter 4, What in the world is Consciousness?  Chapter 5, Levels of Mental Activities  Chapter 6, Common Sense  Chapter 7, Thinking   Chapter 8, Resourcefulness  Chapter 9, The Self  Bibliography

or you can buy the completed book from amazon.
The Emotion Machine: Commonsense Thinking, Artificial Intelligence, and the Future of the Human Mind (Hardcover)

One of Minsky’s long standing claims is that common sense is very hard to explain or program. Here is an excerpt from a recent interview.

    Back when I was writing The Society of Mind, we worked for a couple of years on making a computer understand a simple children’s story: “Mary was invited to Jack’s party. She wondered if he would like a kite.” If you ask the question “Why did Mary wonder about a kite?” everybody knows the answer — it’s probably a birthday party, and if she’s going that means she has been invited, and everybody who is invited has to bring a present, and it has to be a present for a young boy, so it has to be something boys like, and boys like certain kinds of toys like bats and balls and kites. You have to know all of that to answer the question. We managed to make a little database and got the program to understand some simple questions. But we tried it on another story and it didn’t know what to do. Some of us concluded that you’d have to know a couple million things before you could make a machine do some common-sense thinking.

I Robot (2004)

He goes onto explain that emotions enable us to swap between different modes of thinking depending on the situation:

    The main idea in the book is what I call resourcefulness. Unless you understand something in several different ways, you are likely to get stuck. So the first thing in the book is that you have got to have different ways of describing things. I made up a word for it: “panalogy.” When you represent something, you should represent it in several different ways, so that you can switch from one to another without thinking.

Silent Running (1972)

    The second thing is that you should have several ways to think. The trouble with AI is that each person says they’re going to make a system based on statistical inference or genetic algorithms, or whatever, and each system is good for some problems but not for most others. The reason for the title The Emotion Machine is that we have these things called emotions, and people think of them as mysterious additions to rational thinking. My view is that an emotional state is a different way of thinking.

    When you’re angry, you give up your long-range planning and you think more quickly. You are changing the set of resources you activate. A machine is going to need a hundred ways to think. And we happen to have a hundred names for emotions, but not for ways to think. So the book discusses about 20 different directions people can go in their thinking. But they need to have extra meta-knowledge about which way of thinking is appropriate in each situation.

Minsky also expresses disappointment about “how few people have been working on higher-level theories of how thinking works”, that too many “people look around to see what field is currently popular, and then waste their lives on that. If it’s popular, then to my mind you don’t want to work on it.”

Artificial Intelligence: AI (2001)

I’m personally more a fan of Rodney Brooks who claims that Minsky erred in not putting