A SUBVERSIVE ARCHITECTURE Multisensory Perception and Hyper-versioning Space
Jordan Roberts Critical Topics in Architecture Professor Rob Ley
INDEX 1 2
Abstract Graphic Thesis Paper Exploration Post-Rationalize Mid-Review
3 4
Site & Culture Otaku Urbanity Revisiting Precedents New Architecture Pervasive Boundary
ABSTRACT
We have reached an era of digitization. Technology has provided a complex network of connectivity and our lifestyle has evolved with the conception of the internet. Allowing us an unprecedented ability to communicate while, ironically, undermining our desire for sincere forms of interaction, the digital age has revolutionized the developed world’s sense of self. With it came a generation of savvy youth; the now twenty somethings who maintain both a physical and digital identity. An ongoing obsession with the newest devices and a technological birthright has created a generation of hyper-stimulus. What was once a frivolous desire has become a subconscious need to stay connected, to learn, and to experience.
As evolution would suggest, a changing landscape requires an adapting user and while many professions have fully embraced the digitization of their ďŹ eld, architecture remains oddly unresponsive. Naturally, existing as a basic necessity, one would expect the architecture of the current day to be highly technological, reflecting the wants and needs of its user - soon to primarily be the digital generation. The permanence of architecture, however, precedes the nature of technology: always developing, ever-growing, inherently new. A naive re-thinking of program along with energy vigilance will not be enough to satisfy the future user. The integration of devices will only become outdated and inefďŹ cient. Instead, designers must overlook the surface value of technology and embrace the underpinnings of the digital consumers newfound experience. Practitioners must accept the obligation of architectural motive and optimism of creative license. An adapted architecture is not merely an architecture of automation but perhaps it is a new, subversive architecture of hyper-stimulation.
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It is entirely possible that what we have until now understood as architecture and what we are beginning to understand as technology are incompatible disciplines. The architect who intends to move with technology knows that he ďŹ nds himself in a movement that is quickly striding ahead and that in order to keep up he may have to copy the futurists and throw off his entire cultural ballast, including the uniform that identiďŹ es him as an architect. If he decides, on the one hand, not to do this,he may perhaps discover that the technological culture has decided to move on without him. Reyner Banham, Theory and Design in the First Machine Age
birthright along with an ongoing obsession with the newest devices has created an era of hyper-stimulus. What was once a frivolous desire has now become a subconscious need to stay connected, to learn, and to experience. As e one would expect an architecture of the current day to be highly technological, reflecting the wants and needs of its user - soon to primarily be the digital generation. The permanence of architecture, however, precedes the nature inefficient. Instead, designers must overlook the surface value of technology and recognize the basis of the digital consumer’s newfound experience. Practitioners must accept the obligation of architectural motive and optimism o entering the world, our senses influence our behavior. At the outset of our existence, our senses are our first cognitive experience. The expansion of our lungs, the change in temperature, the brightness of the delivery room, our ab smelling, tasting, feeling, looking, listening - as we establish understanding. Even into adulthood, stimulation through sensory interaction remains a fundamental component of humanity (Figure 1). “The senses define the interface plays an integral role in honing our senses. A 1950s study conducted by psychologist Harry Hartlow removed newborn rhesus monkeys from their mothers and placed them in a controlled environment with two artificial mothers newborn monkeys spent the majority of its time with the cloth mother[3], suggesting that the importance of sensory stimulation precedes even our need of nourishment (Figure 2). A much later, human example, further exemplifi observed to be ‘completely silent,’ often engaging in self-stimulating behavior (rocking, scratching, tapping, etc). The study concluded a desensitized surrounding with little opportunity to partake in sensual stimulation led to decre is what defines the existential human experience; architecture has the power to mitigate that interaction. When an environment is lacking, aside from the natural methods of sensation therapy, physiotherapy become an alternative with a lack of stimulation, specific parts of the brain deteriorate causing a permanent loss of that function (Figure 3). Sensory therapy aids in maintaining healthy activity in certain parts of the brain. There are two main types of sen ultrasound, and low level laser therapy. While prescribing drugs or conducting surgery has proven useful in cognitive-behavioral cases, passive sensory stimulants have a larger dependence on the sensory implications of one’s surr Technology plays a potentially unique role in our experiencing sensation. It represents somewhat of paradox as it pertains to physiotherapy; being invasive as it is, by nature, synthetic and usually automated but being passive in its expanding to protect the cyclist’s head in the event of an impact (Figure 4). Exo systems work in a mostly functional and reactionary way - affected by external forces. Eunjeong Jeon’s Trans-for-M-otion project is an endo-sensorial g technology are not mutually exclusive, they are equally valuable in their ability to stimulate. Both examples being garments begins to explain their relation to sense, specifically touch – each garment “touching” in a specific way. Th affected, Jeon’s garment conducts active touch as it responds to the contact between its sensors and the wearer. For humans, within the different types of touch, there is always a motive. We partake in active touch when we want t specific sensory stimulation and, as most forms of sensory stimulation are highly emotive, an associated emotion[8] - be it positive or negative. Touching different surfaces and materials provide vastly different dimensions of comfo passive tactile stimulation[10]. It has also been found that the interpersonal touch of specific objects and materials can enhance concentration. Just as humans can perform touch, technology in the current era can as well. Interacti cognition - understanding how and when to touch. Sensory textile systems represent a connection between the rudiments of stimulation and the intelligence of digitization. Many projects conducted at the Center for Information guests touch the pliable skin, it forms and reforms around their body - engaging their presence. Feeling the slow pulses of movement, the fabric begins to engulf its user. Pressure sensitive patches are woven into the textile which this demonstrate the potential and value of technology as a multisensory stimulant, offering new forms of human-machine interaction. As projects similar to Slow Furl would suggest, textiles, being a primarily tactile experience, le Jeon, fashion designer and material psychologist, conducted research at the Curtin University of Technology on human enriched and dynamic bodily expression through tactile visuality (touching and seeing). Her findings begin to of touch changes if we can see what we are touching or being touched by. As humans, we have a tactile association with sight as we begin to visualize object qualities (color, pattern, material, shape) based on touch. This “illusion o our sensations of comfort and discomfort associated with touch specifically have to do with texture, warmth, vibration, shape, and weight. Jeon’s research exemplifies the potential of calculated textile stimulus and begins to suppo stimulation of passive psychosocial therapy. Many of Jeon’s garments are hyper-versions, specifically designed to stimulate based on interaction. Her garments often use sophisticated sewing techniques with specific textiles to cre have reached a realm of fashion that no longer concerns itself with expectation or marketability; radical in technique, material, and perception. Garments that have aspirations so far beyond those of “normal” clothing that they bec technology, etc. It is a hyper-versioning of standards that encourage practitioners to re-think their approach to a field; if not changing the outcome altogether (the clothes we wear), at least challenging the input (technique, materi How is it perceived? In order to connect the dots between tactility, stimulation, and hyper-versions, the phenomena of fetish could be examined. Fetishism is a hyper-version of arousal, relating to sensory-perception and textiles in motives, beginning at the end of the 19th century. German psychiatrist, Richard Freiherr von Krafft-Ebing, was the first to examine sexual perversity in 1886, realizing many forms of psychopathia were simply dismissed as insanity. I popularity within the field, “erotic” or “sexual fetish” was introduced as a scientific term by Alfred Binet in 1887, describing it as the sexual admiration of inanimate object. Binet explains that we all are sexual fetishists to a degree as w fetishism[13]. In some cases, minor form fetishism having to do with body parts can be over-valued and begin to take on characteristics of major form fetish; Binet dismissed this as partialism (Figure 10). Major form fetish can be br material objects. British physician Henry Havelock Ellis would continue this discussion of object fetish in 1897, suggesting the particularobject of fetish was a circumstance of the individual’s first sexual arousal, thereafter causing th genitals and her lack of a penis, fear of castration. While a normal adult male transforms the female genitalia into an object of desire, a fetishist cannot, instead substituting stimulation and desire for a “plastic” object[15]. Sexologist Hirschfeld suggests a plastic fetishist has simply detached and overvalued a single, non-physical, feature. In 1951, Donald Winnicott presented his theory of transitional objects and phenomena which explains how object from infa while it is important to understand the divergent theoretical explanations of object fetish, it is equally intriguing to examine our obsession through sensory-perception and connotative value. There two distinct types of plastic fetis material’s physical qualities as its connotative value. For example, someone with a latex fetish might be stimulated by the sight of latex and its smooth, shiny, contouring quality or they are stimulated by the thought of latex, knowi is out of the latter that a material fetish becomes a form of subconscious multisensory perception. To a latex fetishist, even the sight of a latex suit can begin to stimulate, before they (or a partner) even puts on the suit; there is a sen how it feels to wear it) and is aroused by perception. This sensitivity to tactile input and our ability, as humans, to subvert materials into having intrinsic value, is what provides a multisensory stimulation. A sense can be input one w of sight. This idea of multisensory perception can begin to affect a society’s collective perception. Even a non-leather fetishist experiences certain emotions and prejudices at the very sight of a bondage leather suit suggesting ther perception, there are specific conditions of multisensory stimulation based on anatomy. Synesthesia is a neurological perceptual phenomenon characterized by an involuntary union between senses. For synesthetes, the stimulatio perceive a sound in response to visual motion. Sound-color synesthesia means that sounds produces a color concurrent. Such synesthetes might perceivedifferent colors when listening to music for example, each type of sound ha word (Figure 14). Synesthesia as a phenomena becomes particularly interesting in subjects that have lost a sense. Research suggests that blind sound-color synesthetes maintain their ability to see color upon hearing certain words of arousal based on perception, synesthesia represents a trans-sensory hyper-version of perception based on anatomy. If there was an architecture with synesthetic qualities, perhaps it would be a hardwired change in sensual stim qualities change? An evolving, increasingly technological (and over-stimulated) user base expects very little out of their architecture it seems. At the same time, they have adopted an expectation of newness and innovation for oth user but rather inspire them, prompting them to challenge the profession and realize a potential in their surroundings. It is an architect’s job to exemplify what can be done. This paper is not suggesting an architecture of luxury bu of the current state of architecture. Through this realization we might come to identify, if not a solution, an approach to the problem. No matter the sensory system (this paper discussed our perception of touch and sight), designer nature of design. “Architecture” exists at many scales and is not merely a building, but is environment. Just as our epidermis is our most basic layer of protection (environment), a sweater is the protection of skin, and a house of the
HYPER-STIMULUS
SENSES
HYPER-VERSIONS
SENSORY TEXTILES
TACTILITY
PSYCOLOGY OF OBSSESION
SENSORY[IAL]
tion would suggest, a changing landscape requires an adapting user and while many professions have fully embraced the digital advancement of their field, architecture remains oddly unresponsive. Naturally, existing as a basic nec chnology: always developing, ever-growing, inherently new. A naive re-thinking of program along with environmental vigilance will not be enough to satisfy the future user. The integration of media will quickly become outdated a ative license. An adapted architecture is not merely an architecture of automation but perhaps it is a new, subversive architecture of hyper-stimulation. Our senses play a large part in our understanding of environment. Even before o move freely, these are the beginnings of stimulation and, thus, the beginnings of cognition[1]. This process of sensory exploration continues thereafter, throughout the entirety of our lives. We are constantly examining new things ween the skin and the world, the interface between the opaque interiority of the body and the exteriority of [environment][2].”Just as our senses are the primary means of gathering information about our surroundings, our environm made of wire mesh and one of soft rubber covered in terrycloth. The wire figure had a feeding bottle attached while the cloth figure had nothing. The experiment found that even though the wire mother was providing sustenance, s notion. The impoverished environment of children living in orphanages across Eastern Europe in the late 20th century were examined for their sensory-stimulating qualities. Within this lacking environment, many of the children w brain development and lessened cognitive ability[4]. In an architectural lens, while we must adapt to our environment, it is the environment that must also be adapted to us[5]. A rich interaction between body, cognition, and surro m of stimulation as new modes of augmented sensory stimulus to enhance neural activity continue to be developed. The theory of functional localization of the brain[6] suggests that each specific part of our brain has a function an therapy: passive (psychosocial) and invasive (pharmacological). Passive sensory therapies include massage, acupuncture, aromatherapy, and phototherapy while invasive techniques include transcutaneous electrical nerve stimulati dings and, therefore, more to do with our sense of space. In other words, there is an enormous potential for architecture to become an integral part of a passive sensory therapy and, in a larger context, a sensory stimulating environm ty to touch or make noise - sensorial in stimulation. There exists two applications of haptic technology that suggest different definitions of sense: exo-sensory and endo-sensorial. The Hövding Bicycle Helmet is an exo-sensory garm ent, contracting to ‘protect’ the wearer when they are uncomfortable (Figure 5). Endo systems have aspirations beyond function and are based on interactive experience- finding value in an inward sense. While both types of sensory re three distinct types of touch: to touch oneself (intrapersonal), to touch someone else (interpersonal, active), and to be touched by someone (passive). While the bicycle helmet conducts passive touch and only responds upon bei nipulate or explore an object. Manipulatory touch implies actions of grasping, pushing, pulling, and lifting while exploratory touch includes pressing, rubbing, sliding, and squeezing[7]. Each action, driven by a particular motive, pro hrough tactility, an object can connect emotional and communicative channels of affection and mediation[9]. Research suggests light touch, in the classroom for example, encouraged students to work and perform better - a form o nsory technology has a unique ability to heighten stimulation, not only as an endo/exo system but in its performance of interpersonal touch. There is an eerie sensation in being touched by a robot, especially a machine capable of nology and Architecture in Copenhagen explore sensory technology and textiles. Slow Furl, exhibited at The Lighthouse Gallery in 2008, is a ‘space-encompassing textile installation’ that reacts to habitation through touch (Figure 6) ate a micro-controller, allowing the surface to shift between self-activation and interaction[11]. It is an architecture of behavioral motility, responding to touch and eliciting emotive stimulation, just as human contact would. Projects emselves to our sense of touch. Perhaps this new environment of sensorial space uses textiles and tactility to stimulate, eliciting an emotional response in a user – be it a greater sense of comfort or heightened sense of fear. Eunjeo ze how specific textile properties act as stimulants, promoting specific types of touch and associative emotion (Figure 7). The study depicts the difference in physical sensation and perceptual mental visualization - how the emotive ch” heightens stimulation and increases a state of emotion; we respond to tactile stimuli more when our sight is removed. In a blindfolded condition, sensation is completely based on texture and material. The study also concluded specific environment having profound sensory-emotional effects on a user. A sort of specificity in form and material that amounts to over stimulation perhaps; a hyper-versioning of environment in a qualitative way, much like the nique geometries and forms. Hi-fashion in general, could be considered a hyper-versioning of our everyday garments. Iconic designers such as Issey Miyake and Rei Kawakubo produce work that is expressive and intricate (Figure 8) almost unwearable – reserved for the highly eccentric (Figure 9). Contrary to notions of impracticality,their work is not futurist or progressive, but rather a fashion of realization- the potentiality of pleating, stitching, sewing, textiles, To suggest a hyper-version of sensory architecture in the same way becomes interesting – through form, material, technique, and technology. What does a hyper-version of sensory architecture look like? How does it stimulate its us ific cases. As humans, it is our sensitivity to tactile input and our necessity of stimulation that leads to obsession for some. For psychologists, there remains an ongoing discussion of fetishism with multiple theories outlining numero book, Psychopathia Sexualis, he examines the many forms of paresthesia - misdirected sexual desire - not hoping to explain them but merely to record the “various psychopathological manifestations of sexual life[12].” As his work g have special susceptibilities (eye color, hair color, skin tone, figure, etc.). He described the latter as minor form fetishism while an exaggerated stimulation, when attached to a "secondary and insignificant detail," isconsidered major into two distinct types: “spiritual love” and “plastic love.” Spiritual fetishist’s arousal is due to mental phenomena including the specific attitude, social class, or occupation of a sexual partner while plastic fetishists receive arousal from o fixate on that object, unable to experience stimulation without it[14]. In 1905, Sigmund Freud built on Ellis’ idea that fetishism began during childhood, asserting sexual fetishism derived from a boy’s, who is scared of his mother’s nus Hirschfeld proposed a theory of partial attractiveness in 1920, suggesting sexual attraction is the product of the interaction of individual features whether it be a body part or clothes or accessories as all are forms of sexual stimu once associated with stimulation and a sense of satisfaction (from our mother), persists as a characteristic of adult sexual life[16]. Whatever the psychological motive, there continues to exist niche communities of plastic fetishists an rm and media (Figure 11). Form fetish is an obsession over an object and its shape (e.g. high heeled shoes) while a media fetish is about a specific material (e.g. leather, latex, rubber). Both fetishes have as much to do with an object’ inhibits the movement of a wearer suggesting some sense of submission and dominance. Similarly, fetishists receive arousal from viewing or imagining specific items and materials or from wearing specific objects, items, or sets of i connection between sight and touch being made. This stimulation by sight is only provided by a tactile understanding of the latex and the connotative value of its tactility. The fetishist understands the restrictive quality of latex (kn nd output another. What was once an arousal through touch (Figure 12) has now become an arousal through aesthetic (Figure 13); it is the articulation of sight of something inherently haptic; our sense of touch becoming the unco cross-sensory (touch to sight to cognition) valuation and perception of fetish completely different for those who would not be considered fetishists. Conversely, while fetishism is a subconscious version of multisensory stimulus bas one sensory pathway automatically leads to experiences in a second pathway. Just as a fetishist might receive arousal from the sight of a textile based on a perception of touch (feeling), someone with motion-sound synesthesia mig a certain color association - loud tones being bright and low tones being dark. Some forms of synesthesia have spatial arrangements as well as perceptual components; hearing a number or word creates a visual-spatial perception vity in visual processing areas of the brain having to do with color still receive stimulation despite a physical inability to see, also causing a spatial perception of colors for some patients[17]. Just as fetishism is a multisensory hyper-v on rather than a perceived one – a room that emits a certain light quality when it is touched a certain way. Or besides the architecture becoming synesthetic, what if the architecture was for a synesthete – how would its stimulative lds – electronics, entertainment, business, etc. What if we were to place those same standards on architects? As designers, we maintain an obligation to educate through design so that might we not merely accept the lowly standar e the opposite in fact; an architecture based on our human need of stimulus. If we, as designers, re-examine the importance of sensory stimulation and the emotive potential of a multisensory space we begin to realize the lacking n st reconstruct an understanding – a new subversive hyper-version – with the traditional tools of architecture: form, tectonic, material, function, aesthetic. Such a redefinition of architecture might expand to numerous fields as this is ter, and a neighborhood of the house, and a city of the neighborhood, and so on. The automobile of the early 20th century, as an example, represented a shift in domain. With the conception of cars, we experienced an extension of
SENSUALITY
PERCEPTION
MATERIALITY
FIXATION
THEORY
SYNESTHESIA
PRIVATE
FETISH
EXPLORATION
With fabric and textiles as a loose constant - both in its physical use or its material logic - the explorations in modeling sought to use materials and application in unique ways. Casting plaster in lycra produced interesting forms that, as the materials and their reactions to one another were understood, could be controlled. What resulted were suggestive, almost human-like shapes that had intrinsic architectural characteristics (stability, aperture, boundary, hardness and softness, etc). The models represented a subversion of sense and perception - it was not all too clear how they were made but were clearly valuable for both their sight and tactile qualities.
POST-RATIONALIZE A post-analysis of the explorations alongside a crude architecturalizing of the models established the plaster casts not as objects, but as architectural form. By photographing and extracting the characteristics of each model, controllable variables that had direct links to architecture became clear (interior and exterior/edge frame and middle, hierarchy, points of pressure, layers). Post-processing of the photographs gave the explorations scale, continuing to not merely treat them as objects but rather as an interior wall or a building or a landscape. The post-rationalization of the initial exploration led a to a fuller understanding of the materials and process of making but, more importantly, allowed valuable architecture ideas to be extracted from experimentaion.
1. aperture / legs
2. hard boundary
3. softness
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SITE & CULTURE Tokyo, Japan offered specific socio-cultural concepts that would act as underpinnings of the projects and, moreover, offered unique conditions of urbanity. While the project wasn’t fully interested in all of the cultural implications of Japanese architecture (religious connotations, refined details, etc) - it was interested in the many niche sub-cultures of Tokyo and their place in an otherwise conservative culture. Japanese theories having to do with sociability, urban density, and the contemporary house were also important to the project. Located in the Akihabara District in the Chiyoda Ward of Tokyo, the site is situated in between a large historic park and a mian hub of the public transit railway - offering architectural site-specific design influences.
本郷三丁目
新御徒町
末広町 (Suehirocho) 御茶ノ水 御茶ノ水 秋葉原 (Akihabara)
新御茶ノ水
神保町
浅草橋 (Asakusabashi)
神保町
両国
岩本町 (Iwamotochō)
淡路町
神田 (Kanda) 馬 横山 (Bakuroyokoyama) 小伝馬町 神田橋
500 m 1 : 15 455
OTAKU
[ おたく/オタク ] The Akihabara District of Tokyo, Japan is especially known for its obsessive geek/fandom culture commonly dubbed ‘Otaku.’ Interests ranging from video-arcades to maid cafes, there is a prideful community of niche subcultures within the district. Outwardly expressed by the architecture (huge anime cut-outs and advertisements, street-level collector shops) and many of the people (cosplayers, loud colors, role-play). It is an area of Tokyo that questions the standards and expectations of conservative East-Asian tradition; a young generation not afraid (in fact, anxious) to express their interests no matter how perverse they may seem in “accepted” culture. The Akihabara District presents a unique set of social phenomena and a niche user group; an opportunity for a non-traditional architecture responding not only to the built context but the socio-cultural context as well.
URBANITY
Tokyo, being one of the largest and most populated cities in the world, presents conditions of extreme urban density. With its many unconventional forms of architecture (homes under bridges, shanty-stacked housing, left-over wedge plots of land) and the temporary nature of the Tokyo housing market, a contemporary precedent has been set concerning housing in Tokyo. Firms the likes of Atelier Bow Wow (right) have particpated in this discussion of hosuing in Tokyo - producing projects that celebrate site constraints and question sociability and living standards within Tokyo.
Circulation: Type and Access
Macro-Use
REVISITING PRECEDENTS Precedents were examined based on their formal logic, material use and application, sensory effects and qualities, and site specific qualities. Undertanding their respective successes and adapting them to the concepts of fetish, and neighborship - the precedents served as both inspiration and technique, prompting new considerations on a technical and conceptual level. A series of precedents were also examined as forms of representation - some being experimental ‘architectural’ drawings, others being what would be considered works of graphic art. By looking at precedents outside of the realm of architecture, new types of drawing were considered in order to express the concepts of the project.
1 Kanno Museum Atelier Hitoshi Abe
2 Bloom House Greg Lynn
3 When I am Pregnant Minimal Maximus Anish Kapoor
4 Roca London Gallery Zaha Hadid Architects
5 Japan Housing Kadokeshi I +S / Shintaro Matsushita + Takashi Suzuki Grass Building I Ryo Matsui Architects Inc. Rolls I Sinato Urbanprem Minami Aoyama I Yuko Nagayama & Associates
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NEW ARCHITECTURES Post mid-review considering the feedback and a new set of precedents, the conditions of deformation facilitating neighborship were more speciďŹ cally considered. By establishing situations in section and plan to move toward, deforming the party-wall was no longer arbitrary but directly based on the concepts of the project. Distilled conceptual diagrams were also developed to clearly highight the fundamental principles of the design. Technical plans, sections, and elevations were speciďŹ cally explored in this phase as well.
1. split level units
2. deformation of interior units
3. hard boundary exterior envelope
4. middle zone continuous circulation loop
PERVASIVE BOUNDARY The project explores the phenomenon of neighborship facilitated by architecture. Through form and material, the architecture begins to inform the relationship of neighbors - who have a niche lifestyle based on connectivity and anonymity. How might the fact that your bedroom sticks into your neighbor’s kitchen change your relationship with them? The smaller units invade the larger units, deforming the shared party-wall condition sometimes in a mysterious, bulbous-like way and othertimes as a highly suggestive, programmed deformation. Furthermore, contributing to the discussion of housing in Tokyo while acknowledging the unique subcultures of the Akihabara district - a new type of architecture emerges based on sensory space. The project is a seven unit apartment complex with a variety of sizes ranging from 70sqm lofts to 150sqm one and two bedroom units.
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