SCI-Arc Grad Thesis Magazine LawY

SCI-Arc

L AW R E N C E _ Y UA N

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3GBX GRADTHESIS MAGAZINE

畢業設計

SOUTHERN CALIFORNIA INSITUTE OF ARCHITECUTRE

Lawrence Yuan

INSTURCTOR: M. CASEY REHM

M06C04 袁翰

SCI-Arc semester: spinr 2020

< 81778181314520

format : pdf - two pages spread

ss2020 grad thesis magazine submmision

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I N S T RUC T O R :

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COO R D I N AT O R :

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LAWRENCE YUAN

M.ARCH2 SS2020 GRAD_THESIS MAGAZINE :: & WRITTEN THESIS STATEMENT VERBAL PRESENTATION OF THESIS STATEMENT

WK3013 01.5

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THESIS_LAB :: DEFINITION LABORATORY

ALIENATION

STANDARD PORTRAIT 8.5”X11” FORMAT.

Lawrence Y. “we will focus on the format of a Laboratory, as a way to research the realm were ideas could be found, a place that provides opportunity for experimentation, observation, in a field of study”

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TABLE OF CONTENTS 00: INTRODUCTORY STATEMENT

-STATEMENT

01: PRECARIOUS FUTURE

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-ALIENATION -DIGITAL ALIENATION

-THE UNKNOWN = The Cthulhu -DIAGRAM: KNOWN / UNKNOWN

p.16 p.17 p.18 p.20

03: ACCELERATE ALIENATION /

-INDUCTIVE STAGNATION

p.22 p.25 p.25 p.26 p.26

04: MAKING READY /

p.28 p.29 p.30 p.31 p.32

05: ALIENATED PROJECT /

-ALIENATED WORKSPACE -DEMOCRATIZATION OF WORK = Uber of Everything -DIAGRAM: DESIGN LOGIC

-STEP 01 -STYLEMIX

-STEP 02

-POINT CLOUD TO MESH

p.34 p.36 p.38 p.40 p.42 p.44 p.46 p.48 p.50

-REFERNCES

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-TO ACCELERATE -CRINGE FROM UNKNOWN -CONSTRUCT NEW EXPERIENCE

-THROUGH DESIGNING -DETERRITORIALIZATION

-NEW SIGNIFICANCE

-DIAGRAM: RECONSTRUCT VALUE

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p.6 p.7 p.8 p.9 p.10 p.14

02: DIGITAL INTERMEDIARY /

-ART: IN ALIENATION = Hito Styerel “How Not to be Seen” = Keiichi Matsuda “Hyper-Reality”

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STATEMENT Marx’s alienation theory is the alienation of the materialization of humans from their lives. Under this alienated labor, the essence of humans disappears and becomes slaves of capitalism.

Today, our bodies and all social behaviors are penetrated by numbers, we are turned into a data cluster on digital platforms, and we use virtual bodies to participate in social interaction, economic production, and political participation.

Since we can’t stop the progression of technologies, we instead need to accelerate this digital improvement as [1]James Trafford and Pete Wolfendale commented, “The common thread of today’s Left-accelerationism is to use alienation as a positive force: It allows us to progress, free from the illusion of Edenlike harmony, and become a free synonym of genealogy.”

Yes, not rejecting the alienation but treating it as a weapon to demolish boundaries of capitalism.

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To use alienation to break through, the unequal power that deprives users of control and knowledge is what we want to overcome. Thus the solution is to develop a system that passes some of that value back to the user. A tool that allows us to leverage the alienated dataset, starting with representational space of capitalistic society, workspace, and using the AI to engage with the collective idea of what the new workspace is, negotiating the big data space by utilizing AI with architectural form.

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CHAP.1

PRECARIOUS FUTURE

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ALIENATION Marx’s alienation theory is based on the alienation of life, that is, the alienation of materialization activity from life itself.

After alienating from the products that workers produced, and the entire process of production, an “alienated labor” is created which is alienated from human’s own essence.

Under alienated labor, the essence of human disappeared and became a slave of the capitalist production process.

[1]Today, our bodies and all social behaviors are penetrated by numbers, we turned into a data cluster on a digital platform, we use virtual bodies to participate in social interaction, economic production, and political participation.

Lawrence Yuan

Therefore, today’s alienation has changed from materialized alienation to digitized alienation.

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DIGITAL ALIENATION [3]The core of Lukacs’ critique of materialization is not about real “object”, but an abstraction that becomes an intermediary between man and nature, and the relationship between man and man.

[3]In this way, the real problem is not materialization, but quantification or digitization. It is the digitization form of objects that is the intermediary between people.

So today, when big data and cloud computing become the dominant rules, each of us is further abstracted into a series of data, mediated by data and numbers.

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Such as in today’s mobile phone apps, physical forms such as credit cards have been abandoned. They all belong to a digital account number and password.

“Unless we are digitized, we will lose the meaning of existence, as if we had forgotten our smartphone passengers on the subway.”

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[2]WE ARE COMPLETELY PENETRATED BY ALL KINDS OF DATA, WE ARE EXISTING ONLY WHEN WE ARE MEDIATED BY DATA

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[5]

THE UNKNOWN::

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The Cthulhu “beyong comprehension” [4]“Deep beneath the Pacific Ocean, entombed within the strange stone city of R’lyeh, lies dormant a being of unimaginable power.” Cthulhu is the main character in a mythological fiction created by Lovecraft.

Lovecraft claims that the subject of his writing is “cosmism.”

The basic concept of this theme is that human’s limited mind cannot understand the nature of life, and the universe is cruel and strange to humans. According to Lovecraft, humans can never fully understand Cthulhu because his very existence is beyond mortal comprehension ways.

The “Cthulhu mythos” is relating to this idea of alienation, which is the fact that we are only seeing a slice of something that is beyond, which is the same thing that’s happening with the neural network in the digital world, each of these images is just a slice of unpenetrable vast, Lawrence Yuan

The part that we have access to, is just a tiny little spot within the internet, which is the idea that Cthulhu’s body that’s coming through a space kind of realm is depicting.

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[6]

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What Cthulhu pushes us to think is what if someday, all of this dissociated knowledge interact and then open up a maybe terrifying future, or maybe a way to remove the current worldâ&#x20AC;&#x2122;s constraint, into the next age.

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KNOWN / UNKNOWN A. USER B. AI ORDERED INFORMATION C. BIG DATA

Lawrence Yuan

From the smiley face to the aliased image, the layer represents the relationship from legible to illegible, which corresponds to the idea of “the known” and “the unknown” in Cthulhu and AI Neural Network.

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CHAP.2

DIGITAL INTERMEDIARY

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ART:: IN ALIENATION There are contemporary artworks which are addressing this issue of â&#x20AC;&#x153;the digital alienation of the behaviorâ&#x20AC;?, and what is the current artistic project on this territory?

Lawrence Yuan

How can we begin to rethink designs as we look into these art project representing the alienated behavior under the current digital world?

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Hito Steyerl “How Not to be Seen” [8]In How Not to be Seen, the alternative reality it communicates escapes the uncontrollable eye of technology that monitors us even when we do not wish to be seen.

But our online presence is not only monitored through those watching, it is also driven by our social habits.

“In the digital age we strive to be seen.” it is a question of control. Are we in control of our digital representation and are we in control of our identity online?

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This represents the decreasing understanding of our control over how we are represented online.

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Hito Steyerl â&#x20AC;&#x153;How Not to be Seenâ&#x20AC;?

The lack of choice over whether to be surveilled or not

>> Constitutes a structurally embedded coercion.

= Epistemological alienation.

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Keiichi Matsuda “Hyper-Reality” [10]Matsuda introduces darker themes of how interactive interfaces could render identity and existence easily disposable.

However, the film’s take on how capitalism and technology alter our perception of space is its core idea.

“Everyone sees this as the successor to the smartphone, it’s the thing that’s going to keep Silicon Valley at the top of its game,” “I’m always thinking of the price we have to pay on our privacy.”

As soon as you’re in this world you’re in a surveillance state, a total surveillance state, all of your conversations are monitored, your social value, it compromises us in lots of different ways.

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The film’s trying to understand if that level of invasion is something we want.? Is it something we’re willing to accept or is it something to push back on, before it’s too late?”

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Keiichi Matsuda â&#x20AC;&#x153;Hyper-Realityâ&#x20AC;?

The use of personal data to the realm of advertising delivery

>> Constitutes an identificational exploitation

= Objective alienation.

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-[3]NOT ONLY CANâ&#x20AC;&#x2122;T WE STOP AND DELAY PROGRESS IN PRODUCTIVITY, WE ALSO NEED TO ACCELERATE AND MAKE THE CALCULATION AND ANALYSIS OF DIGITAL PLATFORMS IN THE DIGITAL AGE LARGER AND MORE COMPLEX. -[3]THE CAPITALIST MODE OF PRODUCTION IS REVOLUTIONARY AND CAN TRANSITION TO ANOTHER SOCIAL STAGE, A STAGE IN WHICH HUMAN BEINGS ARE NO LONGER DOMINATED BY NECESSITY.

BY THAT MOMENT, ALIENATION WILL CEASE TO EXIST.

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-[11]THIS ASSERTION WOULD THEN SUGGEST, THAT TO CREATE NEW CONDITIONS OF THE WORLD REQUIRES NOT ONLY RESISTANCE TO THE RESIDUAL SYMPTOMS OF ITS EXISTING LOGICS. BUT THAT ULTIMATELY THE TARGET MUST BE SET ON THE TRANSFORMATION OF HUMAN SELF-CONCEPTION ITSELF.

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CHAP.3

ACCELERATE ALIENATION

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INDUCTIVE STAGNATION [11]“From the perspective of reason, this plight is buttressed by the proliferation of what we could call ‘inductive stagnation’, where inductive logic is when ‘truths’ about reality are derived from a set of already known, observable entities, and where that generalized pattern is believed to be true. “

TO ACCELERATE As [1]James Trafford and Pete Wolfendale commented, the common thread of today’s Left-accelerationism is to use alienation as a positive force: It allows us to progress, free from the illusion of Eden-like harmony, and become a free synonym of genealogy.

Yes, not rejecting alienation but treating alienation as a weapon and integrating with it, accelerating it, then breaking the barriers of capitalism.

Then how do we create “novelty”?

Lawrence Yuan

Williams and Snissek argue: “Accelerationism wants to liberate potential productivity. In this plan, there is no need to destroy the material platform of neoliberalism, only to redirect it to public purposes.

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CRINGE FROM UNKNOWN [11]When we hear of new visions of the human that make us intuitively cringe or that we deem as untenable, that is the predetermining force of the episteme at work upon our imaginaries of the possible.

More generally, what this example demonstrates, is the way in which this particular logical process for reasoning the world, only grants access to what we already think we know, while barring access to novelty, or the unknown.

This ‘alternativelessness’ does not bare changelessness, our rapidly evolving socio-technical environment is evidence of this, but it only bares change within the parameters of sanctioned possibility delimited by an epistemic threshold.

CONSTRUCT NEW EXPERIENCE [11]One can empirically encounter a novel entity in a fully-resolved way that upturns the established inventories of things in the world, provided we discover the existing world in broader terms and in more depth.

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“The sets of givens we take as indisputable truths of the world (particularly social ones), cannot be blindly accepted as real, necessary or good without the activity of reasoned justification; an activity, moreover, that is always social.”

This ‘new genre’ is a conceptual invention, it cannot be discovered or found, it needs to be constructed.

Then, how do we set up seedbeds for them to be constructed?

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CHAP.4

MAKING READY

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THROUGH DESIGNING [11]“This ‘making ready’ sees art/design as a playspace for constructing experiences from within the perspective of the big-world, as a way to train and ‘make ready’ our sensorium for its strange geometries and consequential modes of relation-building as a result. “ Its method is assuming nothing of the givenness of the world as it may manifest itself to us. Its ethos, not inductive, not merely demonstrating what we think we know of what there is in the world, but hypothetical, that is, a reasoning of being accounting for / being accountable to a big-world.

In this sense, the progress and products that it produces need to return to the collective itself that constitutes the data community. These data belong to the wealth of all human beings in the very first place.

Lawrence Yuan

The possession of these data by any group or individual is bound to destroy this life cycle and cause alienation.

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DETERRITORIALIZATION We must develop in the constant interaction of rational systems and wider environment.

This is not to say that accelerationism disguises itself as a pre-programmed blueprint, but a complex rational mechanism, like a strategy without any individual decision maker.

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[1]Accelerationism is not to retreat, not even to fight against it, but to actively turn it into a positive force, into a weapon that can be controlled by the public and the proletariat, and to serve public purposes.

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NEW SIGNIFICANCE As we have seen, [12]digital alienation is the product primarily of inequitable power structures that intentionally deny users control, or even knowledge, of what is being done to them.

The motive power of these structures is the economic value of personal data. If digital services are to align with individual needs, we cannot avoid personal data being processed.

The solution is therefore to develop systems that pass some of that value back to the user. Doing so gives the user power and makes them a viable partner for other organizations who can earn a living by controlling access to personal data on behalf of the user.

Two related characteristics support the existence of digital alienation, lack of choice and lack of power.

Lawrence Yuan

The solution is, therefore, to restore choice and empower the user. In my view solutions that look to regulation, such as data protection and privacy laws, merely perpetuate a hierarchical structure that keeps people in a powerless position.

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A. BIG DATA B. AI ORDERED INFORMATION

C. NEW VALUE

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RECONSTRUCT VALUE By using the data which has been ordered from us bu AI, as new resources for design, we can construct new significance and generate new value for users.

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CHAP.5

ALIENATED PROJECT

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I want to establish a design method based on the concept that I proposed in previous chapters about the potentiality of collective value that the alienated digital data could have

Lawrence Yuan

So, in order to implement this experimental design method, I will be taking workspace as the program because the employment relationship between people represents of alienation inevitably, and also the collective-to-individual experience in workspace is what most people are obliged to have every day.

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ALIENATED WORKSPACE

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People are highly alienated under the digitized social environment. How to create new value for us in the process of alienation, through designing an architectural project, is what this thesis project’s goal.

Therefore, taking workspace as a program that is forcing the occupants against the alienated reality on a continuous basis, to design “an architecture that’s evolved with the daily existence of individual” to attempt the goal for this thesis project.

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DEMOCRATIZATION OF WORK

[13]As work itself is changing, some of the basic tenets of leadership development are being challenged. The very idea of leading people in jobs is changing with the democratization of work and the continued advance of digital technology. These twin forces are moving work beyond the traditional structure of activities that are organized into stable jobs within a siloed organization. Work is being disaggregated into tasks that can be dispersed inside and outside of the organization — the “uberization” of work.

TaskRabbit, a software engine that does for labor what Snapchat’s done for memories, is letting people outsource the things they don’t want to do to people who need money.

It is marked by a trend “toward more low-paid, temporary, benefit-free blue and white-collar jobs and fewer decent permanent factory and office jobs.”

Lawrence Yuan

Supply has a lot to do with being able to transfer everyday work from those that need a service to those willing to do the work for them. Demand is attracting enough of the consumer pie, both current customers and new adoption.

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Uber of Everything US Market Size [14]In the graph, the darker bars represent US market share only (adjusting Global figures as needed). Taking a further step, the light shaded bars identify market addressable by an on-demand service. Two assumptions to the data: 1. market share that can be serviced on-demand 2. new market share created by the value the service creates

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Features: - Mobile, sensors, AI and machine learning - Companies as platforms - Disaggregation of work into activities - Talent on demand - Attract and Recruit Job Candidates by Social Media - Workplace Diversity

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[15]

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ON-DEMAND TASKS

MATCHED WORKER A

[16]

MATCHED WORKER B

A.

[17]

C.

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OUTPUT STYLEMIXED IMAGES E.

BUILD MESH FROM F. OUT IMAGES

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B.

D.

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A.

INPUT IMAGES WORKSPACE A: COWORKING SPACE

B.

INPUT IMAGES WORKSPACE B: CAR

C.

COWORKING SPACE AI TRAINING

D.

CAR IMAGES AI TRAINING

DESIGN LOGIC Lawrence Yuan

So if an AI system which has a data of the collection of different types of (potential) workspace, it can generate the most likely space(form) according to the needs from demand workers.

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[16]

STEP 01 I started with sampling images from a dataset that I built of StyleGAN from social media platforms. By downloading images from Flickr under searching keywords “workspace”, I have collected thousands of images of the latest workspace, and then use them as the dataset to train this AI system, to generate the collective aesthetics imagery.

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StyleGAN is an [18]“Alternative generator architecture for generative adversarial networks, borrowing from style transfer literature. The new architecture leads to an automatically learned, unsupervised separation of high-level attributes and stochastic variation in the generated images, and it enables intuitive, scale-specific control of the synthesis”, 44

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COMPOSITIONAL STRATEGY : COLUMN

COMPOSITION A

STYLE STRATEGY : ROW

STYLE A

STYLE B

STYLE C

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This image gird shows the way AI works in the stylemix, the compositional strategy: coarse level features from the upmost, And then mixing with the style strategy: fine level features from the leftmost, by using linear algebra to generate the results images, as can see in the rest of the grids are the superimposition images from different strategies.

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COMPOSITION B

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STYLEMIX OF WORKSPACES

OFFICE

RESTAURANT

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[19]

STEP 02 Then use the output meshes from the stylemixed images, to create accumulated workspace prototype meshes,

Lawrence Yuan

This mesh reconstruction method is using [19]“Learning Category-Specific Mesh Reconstruction from Image Collections”, which is “a learning framework for recovering the 3D shape, camera, and texture of an object from a single image. The shape is represented as a deformable 3D mesh model of an object category where a shape is parameterized by a learned mean shape and per-instance predicted deformation.”

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POINT CLOUD TO MESH

Lawrence Yuan

Since the future workspace will drastically change, the inputs may also vary largely from apartments to cars to all kinds of different spaces.

Therefore, by using the method mentioned in the previous two pages, first turning the images into point cloud, and then generate meshes that can be further turned into the new workspace shape.

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[11]“A CONCEPTUAL INVENTION, IT CANNOT BE DISCOVERED OR FOUND, IT NEEDS TO BE CONSTRUCTED.” “AN ATTEMPT TO CREATE SOMETHING THAT IS ACCESSIBLE BUT ALSO EXISTS BEYOND THE SCOPE OF KNOWLEDGE”

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REFERENCES 1.

Jiang, L. (2019, Oct 28). The strategy of accelerationism under contemporary capitalism. http://m.wyzxwk.com/content.php?classid=13&

2.

Jiang, L. (2018, Jan 05). From materialization to Digitalization: Alienation Theory in the era of digital capitalism. http://m.fx361.com/ news/2018/0105/4645608.html

3.

Jiang, L. (2017, Sep 19). Digital alienation and general data: a critical prelude to digital capitalism. http://www.wyzxwk.com/Article/sichao/2017/09/383555.html

4. Jonathan, S. (2007, Sep 04). How Cthulhu Works. https://entertainment.howstuffworks.com/arts/literature/cthulhu.html 5.

Image of Wallin, A. (2018, Oct 05). Cthulhu. https://wall.alphacoders.com/big.php?i=1016814

6.

Image of Wallin, A. (2018, Oct 05). Great Old Ones. https://wall.alphacoders.com/big.php?i=970164

7.

Image of Guigno. (2017). Hito Strterl’s Disappearance. http://lossyculture.altervista.org/hito-steyerls-disappearance/

8. Gabrialla, W. (2019, May 14). https://www.cognitivesensations.com/blog/2019/5/19/hito-steyerl-surveillance-and-the-digital-image 9.

Image of Matsuda, K. (2016). hyper-reality. http://hyper-reality.co/

10. Jason, S. (2016, June 01). https://archpaper.com/2016/06/hyper-reality-keiichi-matsuda/#gallery-0-slide-0

11. Patricia, R. (2019). Making ready for a big world. https://makingandbreaking.org/article/patricia-reed-making-ready-for-a-big-world/ 12. Brandt, D. (2016, Jan). Digital alienation as the foundation of online privacy concerns. https://doi.org/10.1145/2874239.2874255

13. Ravin, J & Maris, H. (2016, Oct 10). As Work Changes, Leadership Development Has to Keep Up. https://hbr.org/2016/10/as-work-chang ship-development-has-to-keep-up

13. Ravin, J & Maris, H. (2016, Oct 10). As Work Changes, Leadership Development Has to Keep Up. https://hbr.org/2016/10/as-work-chang ship-development-has-to-keep-up 14. Yvette, R. (2015, Mar 23). UBER OF X— WHAT IS THE NEXT BIG THING?. https://medium.com/uber-for-x/uber-of-x-what-is-the-next-b b42f0bcb3b15 15. Yvette, R. (2015, Mar 23). UBER OF X— WHAT IS THE NEXT BIG THING?. https://medium.com/uber-for-x/uber-of-x-what-is-the-next-b b42f0bcb3b15 16. [image of workspace]. Retrieved from https://www.flickr.com/ 17. [image of car space]. Retrieved from https://www.google.com/

18. Tero, K & Samuli, L & Timo, A. (2018, Dec 12). A Style-Based Generator Architecture for Generative Adversarial Networks. https://arxiv abs/1812.04948

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19. Kanazawa, Tulsiani, Efros, Malik. (2018). Learning Category-Specific Mesh Reconstruction from Image Collections. https://akanazawa. cmr/

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format : pdf - two pages spread

SCI-Arc semester: spring 2020

SCI-Arc 袁翰 _ 畢業設計

3GBX GRADTHESIS MAGAZINE

SOUTHERN CALIFORNIA INSITUTE OF ARCHITECUTRE

2019 .09 03 - 2019 THESIS_LAB :: DEFINITION LABORATORY

2019 .01 08 - 2019

LAWRENCE HAN YUAN THESIS MAGAZINE

2018 .09 01 - 2018

2020 .01 13 - 2020 .01 27

ALIENATIO

STANDARD PORTRAIT 8”X10” FORMAT.

< 81778181314520

HT 2410 01 - HT THESIS PROJECT RESEACH

ss2020 grad thesis magazine submmision