B.Pro M.Arch URBAN DESIGN BARTLETT
09.2018
RC-18
MEMORY HOLDER
R E T H I N K I N G
A N
I N V I S I B L E
C I T Y
Hongyi Du Peixin Shi Yiting Tang
2 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
B-Pro Urban Design
2017-2018
Portfolio
Bartlett School of Architecture University College London London, United Kingdom
Design Tutors: Enriqueta Llabres-Valls Zachary Fluker
design by: Hongyi Du Peixin Shi Yiting Tang
September 2018
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MAKE THE INVISIBLE VISIBLE.
" He is seeking something is always in the front, and, even if it is a thing of the past, the past is gradually changing with his journey, because the traveler's past is changed with the path he walked: this does not mean that every day to add a day that the recent past, refers to the more distant past. Every time we arrive in a new city, travelers will find a new past that they don't know, that is, what you are not, or what you have lost sovereignty, and the feeling of variation lies in waiting for you in a private place. “ — " Invisible City ", Italo Calvino
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記
·
憶
MEMORY
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PREFACE
Forgetting is always the norm for human beings, but memory is the exception. In the context of this ever-evolving digital age, we are trying to construct a medium that can evoke memories and deposits and stimulate people’s discussion of urban memory and forgetting in this era. We are living in a fast-growing city with fragile civilization. The construction and maintenance of common feeling and emotion connection is precious. Human kind is inherently a social creature. Through the traditional social life,individuals are always united together to create the living environment and to celebrate for different kinds of festivals. All of the activities can not be finished without collective effort. With the advent of the digital age, social media has taken over the online world, and the way people engage in social interaction has changed dramatically. Computer viruses, pervasive network infiltration,and declining personal privacy has become the significant features of our new urban life. The ubiquitous Internet connectivity requires us to re-imagine and reconstruct our environment and to reconsider the interaction between urban residents.( William J. Mitchell,2004) The city is a dynamic and complex system, and it is also discrete and self-organizing. The top-down planning and design system put forward by the “école nationale supérieure des Beaux-arts de Paris” has been proved to undermine the street’s originality and self-organization, neglecting individual behavior and perception, ignoring the diversity of city systems.
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The city is not only about human. Non-human also brings its own perspective with its collective intelligence to build another valuable unique invisible city. Our project uses the gasholder to provide a platform to let public see the invisible city in different perspectives.
A city is an array of individuals. We can see it with a full view only with collectives. In our project, more than a unit of the family, we have two collectives, human, and non-human, as a studied object. To look into an invisible London, we look at the gasholder with different perspectives of different objects along with time. Specifically, our project involves perspectives of human, bee, and computer, and think in a way involving history and time.
FROM GASHOLDER TO MEMORY HOLDER Urban public space does not restrict how people use the space and the stories that occur in it while giving them places of activity. All the interactions and stories that occur in the urban space are reasonable, which enriches the original attributes of the space. These invisible stories and memories are the invisible link between urban space and human beings.
CITY BEACON: THE REBIRTH OF THE LOST LAND Those forgotten heritages in cities are also worth discovering and exploring. Its historical and social significance is the key to maintain the city's characteristics. Like these forgotten gasholders, they narrate their own history in the form of city beacon, triggering thinking about energy use. At the same time, it also brings ' energy ' and warmth to the city in a new way in the future.
ABSTRACT A city is an array of individuals. We can see it with a full view only with collectives. In our project, more than a unit of the family, we have two collectives, human, and nonhuman, as a studied object. To look into an invisible London, we look at the gasholder with different perspectives of different objects along with time. Specifically, our project involves perspectives of human, bee, and computer, and think in a way involving history and time.We first look into the human memory through a computational eye, where presents the joint perspectives of human and computer. Memory itself also involves the intelligent of a collective and trajectory of time. Specifically, we collect the images from Instagram and produce it with a computational perspective. The computational design will return to its object, the gasholder, as its surface to visualize and illustrate the invisible oneself. The city is not only about human, non-human also brings its own perspective with its collective intelligence to build another valuable unique invisible city. Our project uses the gasholder to provide a platform to let public see the invisible city in different perspectives.
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_CATALOG
CHAPTER 1
CHAPTER 2
INTRODUCTION
INPUT_ CREATING COLLECTIVE MEMORY BASED ON PLURALISTIC PERSPECTIVE
(1) Invisible city: Rethink rememring and forgetting (2) Abandoned heritage: gasholder A. What has been remembered ？ B. What has been forgotten ？ C. Local memory vs urban memeory (3) Collective memory: making sense together (4) Mass customization: Respecting multiparty interests and design knowledge
(1) COLLECTIVE MEMORY CONSTRUCTION A. The physical carriers of memroy B. The recorded City：Cities from different perspectives (2)HUMAN PERSPECTIVE: _SOCIAL MEDIA ： A. timeline B. the role of images in information era C.Building up collective memory by massive memories 1. Collecting and classifying images data _collecting _classifying - Rstuido 2. Computationally Detect City Memory _website _memory network (3) NON-HUMAN PERSPECTIVE _ANIMAL PERSPECTIVE： A.Different visual systems between people and animals B. Typical model: bees pespective _bees' vision memory _MACHINE PERSPECTIVE: (CAMERA / LIDAR） A. FILTER B. POINT CLOUD (HOLOGRAM)
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CHAPTER 3
CHAPTER 4
TRANSFORM_ IMAGES MACHINE LEARNING
OUTPUT_ CITY COMMUNICATION PLATFORM
(1) HOW IMAGES CHANGE OUR CITIES? A. Timeline B. Image processing technology _K-Means C. Sensing machine: image data transformation (individual intelligence）
(1) INDIVIDUALS' MEMORIES COMMUNICATION _MASS-CUSTOMIZED FACAD OF COLLECTIVE MEMORY
A. Images as architecture materials B. customizing materials with interface
one to one level of mass-customization
(2) INTELLIGENCE COMMUNICATION _CO-DESIGN URBAN PUBLIC SPACE (2) COLLECTIVE MEMORY CONSTRUCTION BASED ON SOCIAL MEDIA A. Building collective memory database (collective intelligence） _City color impression_KMeans (Dominant color of collective memory) _data visualization _Computational models of classify hashtags
A.Presure sensing machine: (trace & memory) Many to one level of mass-customization
B. Reconstructing history: (past & present negociate) C. The communication of different collective memory (base on different collective intelligence) (3) TIME COMMUNICATION _FUTURE COLLECTIVE MEMORY _MEMORY RESPONSE _ENERGY RESPONSE
(3) COLLECTIVE MEMORY CONSTRUCTION A. Memory of pollution B. Memory of bees
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_WORKFLOW
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01 INTRODUCTION
INVISIBLE CITY < City & Memories 3/4 > · Zora · ’ Every detail of it allows you to remember, and therefore, the whole city has refused to change to be forgotten. ‘ · Maurilia · ’ Today's changes make people miss the past cities, but these two cities are just the same names, and actually two cities. ‘
With the renewal and development of urban space, the change of times has changed the urban form and function, and people's needs are also changing. In the process of urban change, historical sites play a special role in urban space. Because of its social significance, historical sites can be preserved in ever-changing cities. But meanwhile, it is also faced with the need to adapt to the new era, especially those historical sites that have lost their original functions. The renewal and development of historical sites should not only take into account human factors such as historical features, but also meet current urban needs and sustainable development in the future. In addition, with the development of the city, the heritage is bound to record the rich collective memory of the city, which is also an invaluable resource of the heritage, and a significant feature that is different from the general urban space. Therefore, the basic starting point for renewing the relics is to discover the past, the relationship between the present and the future, and the needs of different eras and different groups through the collective memory of the relics.
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CITY MEM RETHINKI REMEMBE AND FORGETT
MORYï¼&#x161; ING ERING
TING
(1) INVISIBLE CITY: CITY AND MEMORY Rethinking rememring and forgetting
'lost' and 'found' By the 1990s, most local gas networks were able to function at full capacity without the use of gas holders. In 1999, a decision was made to start demolishing them. Now, with property prices at record highs in much of the UK, the National Grid is dismantling them and selling off the land.
Nowadaysďź&#x152;Our skylines are littered with their massive metal frames.
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After natural gas was discovered in the North Sea in 1965 the UK gas network went through a massive process of conversion. Town gas stopped being used and North Sea gas started to be transported into the UK under high pressure in pipes. From then on, it was only when extra capacity was needed in the gas network that gas holders would be used. As the network of pipelines became larger and more effective, these occasions became fewer.
' locals vs new residents ' Different voices about gasholders from the community.
Housing is so tense that why these useless things have not been demolished.
It was used to provide gas storage in the past. Mom, what does that huge frame do?
Every time I see the gasholder, I feel like going home.
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â&#x20AC;&#x2DC; City adventure â&#x20AC;&#x2122; This is the memory of a group of young people with adventurous spirit.
Quite rusty and with particularly long ladders which shook uncontrollably as you ascended.
Unfortunately, most of them will be demolished. If only I had come earlier.
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After that night I was hooked and began a quest to catch them all....
â&#x20AC;&#x2DC; Forever background board â&#x20AC;&#x2122; The gasholders overlook The Oval at the Vauxhall End of the ground. They are considered part of the background of The Oval despite being newer than The Oval, which was established in 1846. During England cricket team matches advertising banners hang from the gas holders.
Perhaps the most famous British Gas Holder overlooks the oval cricket pitch. Like the pigeon perched on it, it has been the subject of test-show host Henry Blofeld for decades.
I always thought the huge structure and the atmosphere of the stadium were very comfortable.
Yes, it has witnessed countless matches. It seems that the biggest one has been listed as Grade II, so you don't have to worry about it being demolished.
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â&#x20AC;&#x2DC; To be or not to be â&#x20AC;&#x2122; Not all gasholders are lucky. Most gasholders are being demolished in London.
When you get up close, it's true that many gas holders are starting to look unloved. Thick layers of old paint curl on the huge columns to reveal the rusty metal beneath. But there is an undeniable beauty and fading grandeur in their decay.
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 "I've been taking them down for the last 10 years. It keeps us in work, the holders are not doing anything, just sitting here unused, and if the land can be used for a better purpose then, so be it.
SITE MANAGER Mr.Cumberbatch
"I'm surprised that they haven't been taken down already," "They are in the way here. I do think I might miss them if they went, but we are in central London and we need all the space we can get for housing."
Land is valuable in east London where these gas holders sit.
In big gas-hungry cities the holders would go up and down daily. Filled in quiet times during the day, in the evening the levels would sink back down as gas was used to light and heat homes.
The younger generation doesn't know about the history of gasholders, which have provided gas for London over the past 200 years. Let every family feel warmth and light.
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The younger gas holders, deemed less pretty, are less likely to survive. In the same way that their very existence was born of necessity - it seems, so too is their demise. National Grid say that they are working hard with English Heritage to archive and commemorate the holders that are being removed. But it is that enough? It's not the memory of them that is impressive - it's the size and the void of space that they assume. Like it or not, the truth is that the metal giants of the past are being slowly but surely being picked away from our skylines. For O'Carroll, and many other who have gazed at them out of a train window or from the back seat of a car, the real loss may not be the holders themselves, but perhaps the awe and childlike wonder that only very few things can inspire.
FUTURE? REMEMBER? OR FORGOTET?
_GAS HOLDERS OF LONDON
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_GAS HOLDERS OF LONDON
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_SITE: NO.1 GAS HOLDER
Fig.01 _the No.1 Gas Holder
Fig.02 _the No.1 Gas Holder
Fig.03 _the No.1 Gas Holder
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(3) COLLECTIVE INTELLIGENCE: MAKING SENSE TOGETHER
Fig.04 _invisible city
Fig.05 _invisible city
Fig.6 _collective memory image
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Fig.07 _mass-customised cities
Fig.08 _mass-customised cities
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Fig.09 _mass-customised cities
Fig.10 _mass-customised memory facade
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02 INPUT_ CREATING COLLECTIVE MEMORY BASED ON PLURALISTIC PERSPECTIVES
INVISIBLE CITY < City & Names 5 > ¡ Irene ¡ ' The reduplication of the city's personal memory, imagination, and longing includes all cities but not a city. Different people have their own a different look for Elena.'
Introduces the collective memory on different perspectives, including human perspective, non-human perspective and machine perspective. To reproduce the collective memory in the city design in a massive customized way, the collection of collective memory is unavoidable. One thing is that memory is an abstract imagery in human mind. The other challenge is the collective memory needs to be built up by massive individual memories. Fortunately, the modern technology provides a probability to embody the abstract memory. Meanwhile, the internet makes the embodied imagery available to be collected massively. We select a quantitative and a qualitative way to collect collective memories. The image on social media offers a huge data set of the clips of memories, which shows the memory in an objective, concrete and conscious level. The quantitative collecting method allows us widely explore the memory of human and non-human. Non-human memory is also an important part of city collective memory. To be a holder of collectives, the gasholder is also designed as a platform to communicate these subjects of collective.
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THE NARR ANGLE OF INTELLIGE NOT JUST ABOUT HU BEINGS.
RATIVE F URBAN ENCE IS T UMAN
COLLAGE CITY: MEMORY COLLAGE
To reexamine Colin Roweâ&#x20AC;&#x2DC;s Collage City from a contemporary perspective, it is not difficult to understand the limitations put forward by many scholars in terms of scale definition, application scope and two-dimensional analysis method. However, it is not fair to examine the historical theory of western industrialization in the present globalization and high speed urbanization. I think more of the practical significance of the collage of the city is to continue to trigger our reflection on the development of the city today. "Collage city" was written in the western city renewal movement after World War II, in order to economic recovery, by establishing and promulgating various plans and policies, and then by the land development, to solve the problem of inner city decline and economic decline etc.. The means of early renovation tend to scale down and rebuild to achieve land replacement and function upgrading, but lead to the inhumanity of urban environment and the monotonous urban space. This transformation has brought back reflection and diversification of humanistic thought, as Jacobs said: "the massive rebuilding destroyed the color and the dynamic characteristic of buildings, city space and city culture, resources and property," Mumford also pointed out the "city update is only on the surface for a in fact the same form, to no purpose and focus on the destruction of organic function". These objections to large-scale, patterned urban renewal, advocating updated goals and content pluralism are just the same with Colin's Collage urban thoughts. Colino thinks that the traditional city belongs to the city of the texture, while the modern city is more of the entity city. The land of the traditional city is dominated by the virtual body, which is the aggregation of the entities in the space, showing the independent entity and the continuous space. But the city of modern architecture is the theme of the entity, and it is the gathering of space in the entity. This kind of substantive tendency is the fragmentation of tradition and the destruction of urban structure. So how do you not destroy the city structure because of the design of the monomer? The method of "collage" is put forward here. First, find the proportion that is suitable for the surrounding buildings, decide the reasonable materials, and eliminate the obvious differences between the surrounding buildings, so as to ensure the continuity of the space; then determine what the tendency of space development is. Colin Ronaldo "collage" appears in the critique of Utopia and modernism, is actually tend to coexist, is doing a combination. It is the face of the two extremes of urban landscape "and" science fiction ", Colin Rowe in the contradictions and difficulties in exploring a new way:" coexistence and combination "in respect of past on the basis of rational to show the future, this is Colin Rowe, collage city thought origin. The concept of collage city considers that the city is a museum, and it will leave memories in the history of the city in every historical period. Therefore, the development of the city should be a continuous, continuous development process and an organic process. Collage is even a strategy. It supports the eternal and ultimate utopian fantasy, but also inspires the reality of change, movement, behavior and history. (Collage City, 1978)
Fig.11 _from Evocative juxtapositions
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MONTAGE CITY : PULUSTIC CITY
Montage has been hailed as one of the key structural principles of modernity, yet its importance to the history of modern thought about cities and their architecture has never been adequately explored. In this groundbreaking new work, Martino Stierli charts the history of montage in late 19th-century urban and architectural contexts, its application by the early 20th-century avant-gardes, and its eventual appropriation in the postmodern period. With chapters focusing on photomontage, the film theories of Sergei Eisenstein, Mies van der Rohe’s spatial experiments, and Rem Koolhaas’s use of literary montage in his seminal manifesto Delirious New York (1978), Stierli demonstrates the centrality of montage in modern explorations of space, and in conceiving and representing the contemporary city. Beautifully illustrated, this interdisciplinary book looks at architecture, photography, film, literature, and visual culture, featuring works by artists and architects including Mies, Koolhaas, Paul Citroen, George Grosz, Hannah Höch, El Lissitzky, and Le Corbusier.
Assemblage is the primal form of architectural montage. In its modern sense, dating from the eighteenth century, the French word montage refers to the operation whereby the separate elements of a mechanism are put together so as to make it function—chaîne de montage meaning ‘assembly line.’ By analogy, this industrial process inspired the avant-garde artists who experimented with the techniques of film editing and photomontage in the 1910s and 1920s. It also had a bearing on architectural culture in the midst of what Reyner Banham called the First Machine Age. Giedion's fascination with bold nineteenth century structures—such as towers, bridges, exhibition halls, railway stations and department stores— ought to be situated within this broader context. His adherence to the machine aesthetic was filtered through his eclectic intellectual formation as an engineer turned art historian, which coloured his interest in architecture from the start and prompted him to address the technical and cultural conditions that presided over the development of neues bauen (Davide Deriu ,2008)
Fig.13 _ ‘Eiffel Tower (1889)
Following the opening sections on “Construction” and “Industry,” the chapter on “Architecture?” presented two iron buildings which had anticipated, both spatially and visually, the characteristics of neues bauen: the Eiffel Tower and the ferry bridge, or transporter bridge (pont transbordeur), straddling Marseilles' Old Harbour. A general view of the Bridge appeared next to a close-up shot through a pylon of the Tower (Figs. 2 – 3).
Fig.12 _‘Pont Transbordeur (1905)
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PARALLEL URBAN COLLECTIVE MEMORY
Different narrative perspectives on Gasholder
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(1) COLLECTIVE MEMORY CONSTRUCTION _The physical carriers of memroy
_The recorded Cityďź&#x161;Cities from different perspectives
(2)HUMAN PERSPECTIVE: _SOCIAL MEDIA
Social media: A new narrative way of memory in the information age. ' Mining an invisible city '
In the context of the information age, science and technology are rapidly updating, and human life is changing quickly. The wave of globalization has arrived and the multi-culture has been continuously striking cities. Urban memory is also facing unprecedented challenges. As a more direct and convenient medium, social media relies on its own specific attributes to directly and strongly participate in the construction of urban memory by influencing the main factors affecting the construction of social memory, such as the maintenance and transmission of memory. However, while social media can provide a platform for communication, the diverse and evolving needs it presents raise the need for customization of urban development. Therefore, starting from the use and demand of urban space, this paper explores the possibility of collective memory promoting the development of heritage. The size and complexity of the city determine that it needs to operate on a holistic system. Mining collective memory might be an opportunity to explore the hidden common needs and interests of individuals, creating opportunities for communication and dialogue between individuals and creating opportunities for reconciliation between individuals and groups. In the process of changing times, the heritage faces problems of separation from the times and cities. An important issue facing the renewal of urban heritage is that heritage, cities and citizens need to be constantly connected over time. (Leite 2009) .As mentioned above, mining collective memory of historical heritage and finding common meaning may be the foundation for the development of heritage. In the past, the mining of collective memory was mainly done in the form of folk tales, communities, and searching historical data. One of the inevitable problems is the lack of timeliness, which means that information tends to lag or does not move over time. As mentioned earlier, collective memory is not always the same. It changes with the times, but it can maintain its relative stability, which is reflected in the relative stability of most peopleâ&#x20AC;&#x2122;s reshaping and their basic features. Therefore, a dynamic medium is needed to capture the changing collective memory of the city. In the digital age, there is strong support for sharing and participating in the recording of specific spaces and places. Everyone can connect to each other using advanced mobile devices with a good internet connection. Personal memory is triggered by personal experience and social environment.
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A.SOCIAL MEDIA TIMELINE
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B. BUILDING UP COLLECTIVE MEMORY BY MASSIVE MEMORIES
BUILDING UP COLLECTIVE MEMORY BY MASSIVE MEMORIESďź&#x161; RESTRUCTURE URBAN SPACE BY MERGING MASSIVE INDIVIDUAL MEMORIES
As a long-standing tradition of institutional planning, public participation will become more bottom-up as digital technique evolves and closer to the evolution of complex systems. New media and web technologies are increasing the flexibility of such interactions through shared data and related programming. Christopher Alexander has put forward many times in his book to respect the individual and pay attention to the spiritual connection with the material world, the mutual cooperation among people, and the viewpoint that a small community should form its own environment. He strongly advocated adding an important part of public participation in the course of building behavior.But the reality is that his project process on public participation failed in the end. The urban development has always been related to technological inventions , but to what extent can we realize the mass participation in digital age?
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1._Collecting and classifying images data
1.Using Python to scratch image data from Twitter
2. Using R sorting out data and distinguishing tourists from local residents
3. An overview of tagged image data
4. Using ArcGIS to visualize position from tagged image
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2. _DETECT MEMORY OF THE CITY COMPUTATIONALLY _website
Collective memory pictures (Moving the mouse to different hashtags will display different collective memory images in the center of the screen.)
individual memory photos
Different memory contexts ďź&#x2C6;hashtags)
Memory database website_ Through the establishment of online sites, real-time collection and processing of data visualization. Users can view pictures of collective memory corresponding to different hastags under gasholders through the site. And synthetic memory pictures of individual memory. Fully understand the formation mechanism and source of collective memory pictures.
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C.BUILDING UP COLLECTIVE MEMORY BY MASSIVE MEMORIES _Detect Memory of The City Computationally: memory network
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_The network of hastags numbers related to gasholders each year
Fig.1 The same hashtags in different years.
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68 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
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(3) NON-HUMAN PERSPECTIVE _ANIMAL PERSPECTIVEï¼&#x161; A.Different visual systems between people and animals
B. Typical model: bees' pespective _bees' vision memory
_MACHINE PERSPECTIVE: _HIDDEN INFORMATION
A. Simulating Collective Memory and Its Influence By Magnet Sensing Machine
SENSING AN INVISIBLE MEMORY SPACE (TRANSFORM)
The magnet sensing machine is a simulator of the collective memory and many other influences. The different layers of the machine represent the connected elements respectively, such as the image taken by the tourist, the collective memory, the city landscape, the tourist issues etc. All these elements are connected by in an implicit and invisible way, which is like the magnet. However, this connection is solid and the elements in it have a strong and complex connection with each other. The multilevel of the magnet sensing machine stands for the categories of the massive elements we mentioned. Each magnet in the layer represents an individual. The magnet between each other are the influences between individuals while the strings are the influence of between elements. The magnet sensing machine also offers couples of triggers that symbolizes the triggers of all the elements and the individuals. The machine demonstrates the complexity, solidness and implicitly among the issues, their moderators (the elements) and individuals and how even couples of triggers can reach a very different result.
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_An invisible maganet space
_MACHINE PERSPECTIVE: (CAMERA / LIDAR 3D SCANï¼&#x2030; B. 3D scan & photogrametry : point cloud
_Reconstruction of Urban Heritage Based on social media images
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_3D printing_ photogrammetry model from visitorsâ&#x20AC;&#x2122; Twitter picture_Palace of Westminster
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_Palace of Westminster
_Reconstruction of St.Paul's Cathedral Based on social media images
Photo from google earth through Uploading by tourists.
_3D Printing Model ( St.Paul's Cathedral )
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_3D printing_ photogrammetry model from visitorsâ&#x20AC;&#x2122; Twitter picture_St.Paul's Cathedral
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_St.Paul's Cathedral
_Holographic illusion
Fig.10 _holographic image Fig.10 _Jellyfish projection image
92 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
Fig.14
Fig. 14 _A promotional photo for the Haunted Mansion released in 1969 Fig. 15 _Illustration of Pepper's Ghost used for theater performance Fig.15
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_Machine: Holographic Memory
_We have generated photogrametr y model for 3D printing, using the principle of refraction and simulate holographic projection technology. We will collect tourists pictures reproduced city scene, projected to print out a 3D model,then there is a virtual reality combination model city created by user.
94 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
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03 TRANSFORM_ IMAGES MACHINE LEARNING
INVISIBLE CITY < City & Signs 5 > ¡ Zirma ¡ ' The reduplication of the city's personal memory, imagination, and longing includes all ' The city repeats itself in order to remember, and the memory repeats the symbol to constantly strengthen himself. '
In Chapter 2, we introduced how we collect collective memory data. After the collection, Chapter 3 produces a critical step. In this chapter, we aim at delivering the fruitful information from the data we collected to display the collective memory in various levels. We analyze, visualize and present the data with various methods, such as colour analysis, machine learning, and we exploit the data with different perspectives, including human and nonhuman. The collective memory of city is multi-dimensional. Analyzing the data in such a way is able to maximize the retrieval and reproduction of the collective memory. With all this information from the analyses, we could visualize and display collective memory in a better mean.
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MEMORY TRANSLAT COMMUNIC BETWEEN HUMAN & HUMAN
TION CATION N NON-
(1) HOW IMAGES CHANGE OUR CITIES? _TIMELINE
102 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
MACHINE LEARNING_ Machine learning is a type of artificial intelligence (AI) system that creates certain algorithms which are used to receive data, and then start analyzing this data in order to create a new output based on the inputted values. (Rouse, 2017). Three applications are categorized under the concept of machine learning. These are Deep Convolutional Generative Adversarial Networks (DC-GAN), Recurrent Neural Networks (RNN), and Reverse Image Search (RIS).
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C. Sensing machine: image data transformation (individual intelligenceďź&#x2030;
SENSING MACHINEďź&#x161; IMAGE DATA TRANFORMATION
The design explores the boundary between the virtual space and the physical space, and considers which material acts as a bridge to the boundary. It is a man, a network, or a natural matter. Light plays an important role in the extension of space and the creation of the atmosphere. Starting from the perspective of the relationship between light and geometry, with the characteristics of caustic principle and plastic material light, corresponding relation can well simulate the graphics space and light space. The rotation angle of servo motor is controlled by TouchOSC interactive software, so as to achieve the real-time change of customized origami graphic space, that is, the continuous change of surface wrinkle position. When the light shines on the fold plane, will realize the refraction and reflection of continuous, finally in the plane projection of custom participation pattern caustics. Real time camera to record the changes in caustic patterns and converted into digital model by grasshopper algorithm. We hope to realize the transformation and customization of physical space and virtual space through the experiment of this real time space change. On the basis of the urban perspective, the interaction between people, light and space constitutes a part of the change that can be involved in the urban space. "Light" in cities often has certain cultural attributes. The meaning of light is transmitted through the information space it carries, so as to connect the small and lively local space in the city. Since ancient times, the information contained in the pattern is rich and imaginative. Through the interaction between light and graphics, light will play a potential and interactive role in the future urban space, such as culture, history and memory.
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FEEDBACK: LIGHT PATTERNS
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_OUTPUT
108 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
The black and white images can be effectively detected the content of images by brightness value. this sensing machine simulating the customizing caustics parttern can be transform to a datascape based on brightness, which determin their indensity (height) of the datascape mesh. with the principle of this sensing machine ,we try to overlaping multipul images to creat a collective memory images. and then through the same principle to find the hidden colletive memory parttern. and transform them to 3D visual data scape ,these mesh become database of masscustomization of architectural materials.
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(1) HOW IMAGES BUILD OUR CITIES? _CREATING COLLECTIVE MEMORY
110 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
_C.COLLECTIVE BUILDING COLLECTIVE MEMORY DATABASE MEMORY DATABASE
112 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
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_IMAGES OF COLLECTIVE MEMORY
#architecture
114 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
# Kingâ&#x20AC;&#x2DC;s cross
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_COLLECTIVE IMAGES DATA
116 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
Fig. 1 Computer perspective: collective memory
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_URBAN VISUAL MEMORYďź&#x161; MAKE THE INVIBEL VISIBLE
Partial mapping of gasholders' collective memory colors
_By clustering analysis and extracting the main color of each image to visualize the 2D data, and based on geographical location mapping on the city map.
Urban Visual Impression
Analysising urban color images baced on K-Means clustering
The visual image of the city block is helpful to our psychological map of the urban space. For example, from visual features to a city or community, we can describe local identity from their functions, demographics, or affluence. It is useful to summarize and describe the effective methods of this information, for example, urban design and planning. We explore these ideas by using deep neural networks to automatically learn from street images and to create visual analysis. Tools explore what you learn. Starting from the urban Google street view data intensive geographic sampling, we trained a neural network to learn visual features. Then, we use unsupervised learning to cluster these features to establish a similar level of visual appearance. The existing methods of exploring the geographically embedded cluster data are often difficult to meet the needs. Compare the visual hierarchy and the geography of different regions. To improve this situation, we have developed a visualization scheme that allows users to track the geographic and semantic interpretations of the data. In this way, our goal is to provide an exploration tool to help the visual research of the urban environment.
A large number of images were extracted and investigated. A large number of urban block images were extracted and investigated by social media to analyze the impression of urban color. Extracting the theme color of the image needs to analyze the color clustering of the image, and the clustering is a content of the unsupervised classification in machine learning. Through the machine learning KMeans clustering algorithm, we predict the class labels of each pixel, and extract the theme color, and scatter all the theme color data in the chart. It can intuitively feel the color impression of different blocks of Battersea.
118 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
Fig 3. Open source python library for urabn color analysis.
Fig 2. KMeans clustering analysis.
Dominant Colors of the collective memory Through the machine learning KMeans clustering algorithm, we predict the class labels of each pixel, and extract the dominant color, scatter all the theme color data in the chart, and we can intuitively feel the impression of the image's color.
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120 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
Dominant Colors of the collective memory Through the machine learning KMeans clustering algorithm, we predict the class labels of each pixel, and extract the dominant color, scatter all the theme color data in the chart, and we can intuitively feel the impression of the image's color.
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_Mapping the gasholders' collective memory by colours
_Mapping the gasholders' collective memory by colours
像素光 材料研究 _Mapping collective memory to facade
diagram
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134 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
04 OUTPUTï¼&#x161; CITY COMMUNICATION PLATFORM
INVISIBLE CITY < City & Names 5 > ¡ Irene ¡ ' The reduplication of the city's personal memory, imagination, and longing includes all cities but not a city. Different people have their own a different look for Elena.'
The city is the superposition of different times, places, functions, and creatures. In this sense, like montage in movie, collage can become an urban design method, connecting past and future in the present context under existing urban structure background. The collage no longer regards the city as a static entity that is simply piled up by the elements encouraged by each other, but is linked to each other by a variety of elements and levels. A multicomponent and dynamic network composed of interactions. (Collage City,1984)
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MEMORY
CONSTRUC
COMMUNIC
PLATFORM
IN THE CITY
CTION_
CATION
M
Y
_HIDDEN INFORMATION RETRIEVAL VIA COMPUTATIONAL DATA A. Detect Memory of The City Computationally
' MEMORY TRACE '
The pressure sensing machine is a simulator of the individual memory and collective memory.The output of the machine represent the trace and memory that tourists left even when they leave the place,such as the images taken by the tourists.The whole machine would work like that when a individual press on the hexagon column,the piezo sensor would sense the increasing pressure.Then the points in the digital structure which represent each hexagon column in the machine would be up and down.When more users participate in the interaction with machine,the structure will change more. And LED will blink since the change of the value of each point.Then there would be a trace left after the interaction with machine.The machine customizes your own trace and memory even after you leave the space and creates collective memory when more users engage in the process.
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_Machine Analysis
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_Output: Trace map
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Gasholders mapping : trace and memory
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_Memory facade :Trace mapping
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_Memory facade plan
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_Section
_Interface
INTERFACE : COMMUNICATION BETWEEN DIGITAL WORLD AND PHYSICAL WORLD
“Using practical conversation as its medium, designing is a deeply social process of making sense together.” ——John,Forester,1989
Due to the diversity of modern cities, top-down traditional design patterns have been unable to resolve conflicts at all levels of the city. The feedback of the design results of the traditional design pattern lags behind. From a certain perspective, citizens do not participate in the design process, but can only accept design results, which may cause misunderstanding between designers and users. Users may not get a truly effective design, and wrong design positioning can cause the waste of capital and land resources. If feedback is realtime and multi-variant during the design process, can citizens’ needs be considered more comprehensively and carefully? It may be a breakthrough in improving the quality and positioning accuracy of urban design. The interactive platform was established to achieve more personalized and inclusive custom development and is a personalized development in the context of collective memory. This bottom-up mass customization based on collective memory is a way of respecting this differentiation, because only participation can express the real needs and visions. Who is the real designer of the city? Who has talked the most about the positioning of urban space? Is it the government? Is it a designer? Or a resident? Perhaps the answer is not unique. Who really understands urban design? Is it the government? Is it a designer? Or the public? This is not absolute. From the perspective of the government, macroeconomic knowledge, such as economic benefit and land resource integration, is needed and controlled by the government. However, in the multicultural society, the public interest represented by the government reveals a narrative right that obscures the existence of differences. Designers need to communicate with the government and the public, which can concert the differences between the government and the public. However, the previous urban planning or urban design is mostly based on the analysis and pre-judgment of existing data, some of which even rely on past experience, or are developed by continuous replication of templates, invalidating the design results. Therefore, people must talk to each other and listen to each other. The lack of communication between designers and users tends to cause unsatisfactory design results (Friedmann,1979). Meanwhile, Forester (1989) also mentions that using practical conversation can be used as a medium to make the design more socially meaningful. Due to lack of communication, some of the public's daily life experience, local culture, and knowledge will be ignored, which are also important and effective design knowledge that can reflect the local characteristics and the actual needs of the region. These aspects are However, respecting their functions and design knowledge is also especially important for the rational positioning and renewal of urban space.
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In cities, most choices are the result of group selection. At the same time, the long-term confrontation is the contradiction between group selection and individual choice. In group selection, people will prioritize options that they can understand and agree with the people they interact with, but it is difficult to achieve a high degree of unity. If all agents choose to establish a point, the conversation will not be coordinated. It is a traditional top-down urban development model, which is inconsistent with the basic logic of social formation. Therefore, people should negotiate through a differential dialogue, which is also an important reason for creating interfaces and assisting customization. But at the same time, due to the large number of urban design users, it is difficult to cater for all demands. In this pluralistic society, it is a breakthrough to find a medium of connection between the bottom-up design pattern and the top-down design pattern to meet the needs of diversified and personalized cities. Therefore, the diversit y of design k nowledge should be acknowledged, and it is necessary to distinguish and identify which design knowledge is the most reasonable and effective, or in which case it is most effective. Moreover, an urban design interactive platform should be established to achieve a critical urban custom model and democratic urban design theory mechanism, which encourages self-criticism and mutual criticism between designers and users. The establishment of a communication and evaluation system gives the public the right to participate and speak, and the design results may make more sense (Forester,1989; Sandercock,1998 ).
_Interface
INTERFACE BOOKLET LONDON · GASHOLDERS
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01
HISTORY
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'REMEMBER'
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_GASHOLDERS MEMORY: TRACES IN THE CITY
This interface records the [traces] of gasholders from initial establishment to dismantling.
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time: 1840
time: 1870
time: 1890
time: 1930
time: 1950
time: 1970
time: 1980
time: 1990
time: 2000
time: 2005
time: 2010
time: 2018
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02
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'ECHO'
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_MEMORY FACADE: CUSTOMIZED COLLECTIVE MEMORY
This interface provides a way for users to customize the memory facade so that they can simulate real-time changes in the physical world on a virtual platform.
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Screenshots of customization process
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03
ENERGY RESPONSE 182 | Memory Holder: Rethinking an invisible city | RC18 | The Bartlett School of Architecture
'RETHINK'
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_TELESCOPIC STRUCTURE
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â&#x20AC;&#x2DC; new memory â&#x20AC;&#x2122;
On the way home, the road in the city is emitting a little memory. People gradually get used to the glare, whether they are new residents or locals
Not all gasholders are lucky. Most gasholders are being demolished in London.
The gasholder that is given new features looks good.
It is safer to go home at night.
Yes, you can also learn about changes in energy use.
I want to play in gasholder.
The original abandoned square became a living place where people would like to go. People share, exchange, recall, think, and feel the feedback of this memory.
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â&#x20AC;&#x2DC; City Memory background board â&#x20AC;&#x2122; When gasholder is re-endowed with new functions and meanings, its existence is no longer a forgotten corner of the city, even if it is as solid as that. It changes itself, with the memory of the city, becoming the eternal background of this city.
From now on, the rebroadcast of cricket matches will unconsciously mention the change of memory facade, which has once again quietly returned to people's daily life.
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We wonâ&#x20AC;&#x2122;t be falling down as the sun will keep on shining And the memory will keep on going We will be holding on As the sea wâ&#x20AC;&#x2122;re rise upon And the story will keep on growing
/. End
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_CONCLUSION
For city-scale mass customization, social media as a custom tool focuses more on public customization, while the interface places emphasis on improving the possibility of personal customization. The interface emphasizes the concept of personal customization, and its results will affect the final customization. Public customization and personal customization are two processes of urban customization, which can fully reflect personal memory on the basis of collective memory. In terms of the size of the city, too many personal choices are likely to confuse the city. Therefore, it is useful and effective to collect personal data through social media and then classify and cluster these data as the basis of customized design, because public space is a concept of common ownership rather than a concept of privacy. In fact, even if the product is customized, a basic product structure is required. When developing a heritage or a public space in a city, people need to reach a basic consensus. It is helpful to use the interface to assist in customization and provide citizens with opportunities and choices to evaluate and adjust design results, which can make public spaces more suitable for citizens. The city does not belong to one person and therefore collective opinions are necessary for the city's customization. However, designers cannot unilaterally take the needs of most people as the direction of urban development, because the needs of the minority should also be respected. In the context of urban diversification, the possibility of creating pluralism is worthy of consideration and practice. It is necessary to find and resolve the contradiction between urban land use and neglected heritage. Because in the context of urban diversification, the public interest is obscured by the narrative mode, and the narrative mode is different under the unified mode of thinking. Therefore, the generation of collective-based customization is supposed to coordinate communication in the city, rather than insisting the arrogant belief that the opinions of the majority are correct. Urban design should not only listen to the voice of the majority, but also listen to the voice of the minority, thus establishing a democratic urban design theory and creating a new urban impression or memory on the basis of pluralism.
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_APPENDIX
_Surface density test
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_Data space
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BIBLIOGRAPHIES
Alkhoven, P. 1997. ‘Computer Visualisation as a Tool in Architectural Historical Research: Representation and Research of the Historical Urban Environment’ Architectural and Urban Simulation Techniques in Research and Education, Proceedings of the3rd European Architectural Endoscopy Association Conference, pp.2327. Boyer, C.M. 1994. The City of Collective Memory. MIT Press. Bressani, M. 2015. Mass Customisation and Standardisation: An Urban Dialectic. Archit. Design, 85: 18–23. Calvino, I. 1978. Invisible cities. New York, Harcourt Brace Jovanovich. Felasari S, Peng C. 2012. The Role of a City’s Collective Memory in Supporting Cooperative Urban Design Learning. In: Luo Y, editor. Cooperative Design, Visualization, and Engineering, Springer Berlin Heidelberg; 2012. p. 143–50. (Lecture Notes in Computer Science). Available from: http://link.springer.com/chapt er/10.1007/978-3-642-32609-7_19 Forester, J.1989.Planning in the face of power, Berkeley: University of California Press, 1989, pp. 107-118. Friedmann,J. 1979. The Good Society. Cambridge, Mass.:MIT Press. Hardin, G.1968. “The tragedy of commons.” Science, December 1968: 1243-1248. Halbwachs, M. 1992. On Collective Memory. University of Chicago Press. Historic England, https://historicengland.org.uk/listing/what-is-designation/listed-buildings/listing-andthe-erra/ Kaplan, A.M; Haenlein, M. 2006. "Toward a parsimonious definition of traditional and electronic mass customization". Journal of product innovation management. 23 (2). Journal of Media Practice Kolarevic, B. 2015. From Mass Customisation to Design ‘Democratisation’. Archit. Design, 85: 48–53. doi:10.1002/ad.1976 Leite J.M.V. 2009. Cultural heritage and monument, a place in memory. City & Time 4 (2): 3. [online] URL: http://www.ct.cecibr.org Nijholt, A. 2017. “Playable Cities, The City as a digital playground”. Springer Singapore Poorang A.E. Piroozfar, Frank T.2013. Piller Mass Customisation and Personalisation in Architecture and Construction.New Approaches in Sociology, Routledge, 2013 Ratti, C. 2014. Decoding the City: Urbanism in the Age of Big Data. Birkhausser Ratti, C. and Claudel, M. 2016. “The city of tomorrow: sensors, networks, hackers, and the future of urban life”. Yale University Press. ROSSI, A., & EISENMAN, P. 1982. The architecture of the city. Cambridge, Mass, MIT Press. Rowe, C., & Koetter, F. 1983. Collage city. Cambridge, Mass, MIT Press. Sandercock, L.1998 : Making the invisible visible: A Multicultural planning history, Berkeley y Los Angeles, California: University of California Press, 1998. Trancik R.1986.Finding Lost Space: Theories of Urban Design. John Wiley & Sons; 1986. Verebes, T. 2015. Mass–customised cities, AD Magazine 238, Wiley: London
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IMAGE SOURCES
Figure 01. the No.1 gasholder. https://medium.com/a-nation-of-makers/can-manufacturing-bedemocratized-355e6ba96cb9ttp://gridarchitects.co.uk/projects/heritage/oval-gasholder/ Figure 02. the No.1 gasholder. http://www.oakda.co.uk/media/pdf/n/f/OAKDA_Gas_Holder_Strategy.pdf Figure 03. the No.1 gasholder. https://foursquare.com/v/kennington-oval-gas-holderstation/53da9683498eb2fa60ce9b7e Figure 04. invisible city. https://www.archdaily.com/875409/three-principles-of-architecture-as-revealedby-italo-calvinos-invisible-cities Figure 05. invisible city. https://www.archdaily.com/875409/three-principles-of-architecture-as-revealedby-italo-calvinos-invisible-cities Figure 06. Author's own.2018. Design project. Figure 07. https://onlinelibrary.wiley.com/toc/15542769/85/6 Figure 08. https://onlinelibrary.wiley.com/toc/15542769/85/6 Figure 09. https://medium.com/a-nation-of-makers/can-manufacturing-be-democratized-355e6ba96cb9 Figure 10. Author's own.2018. Design project. Figure 11. https://www.buzzfeed.com/lukelewis/photos-of-londons-past-blended-with-its-present?utm_ term=.pfpDpqbVJ#.wux9XZl8a Figure 12. ‘Pont Transbordeur (1905) and Harbor of Marseilles’ (Sigfried Giedion, Building in France, Building in Iron, Building in Ferroconcrete, Santa Monica, CA: The Getty Centre for the History of Art and the Humanities, 1995, p. 90). Figure 13. Eiffel Tower (1889). Interior of pier’ (Sigfried Giedion, Building in France, Building in Iron, Building in Ferroconcrete, Santa Monica, CA: The Getty Centre for the History of Art and the Humanities, 1995, p. 91). Figure 14. https://electronics.howstuffworks.com/gadgets/high-tech-gadgets/projections-of-deadcelebrities-and-politicians1.htm Figure 15. https://electronics.howstuffworks.com/gadgets/high-tech-gadgets/projections-of-deadcelebrities-and-politicians1.htm.
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Research Cluster 18
B.Pro M.Arch Urban Design
Bartlett School of Architecture University College London 2017-2018