VR X A R _ C H IT EC T U R E D H R U V F O R
G U L A B C H A N D E
N A R R A T I V E
P R A C T I C E
MARCH 2020
F O R
N A R R A T I V E
P R A C T I C E
MARCH 2020
VR X A R _ C H IT EC T U R E
H o w r e l e v a n t a r e a u g m e n t e d a n d v i r t u a l r e a l i t i e s ( A R a n d V R ) t o a r c h i t e c t u r a l a n d / o r u r b a n / c i t y d e s i g n ? D i s c u s s i o n s w i t h r e l a t i o n t o b o t h A R a n d V R t h e o r i e s a n d a r c h i t e c t u r a l a n d / o r u r b a n / c i t y d e s i g n t h e o r i e s .
i
/ /
A B S T R A C T
/ /
T he dev elopm ent in augm ent e d r e a l i t y (A R) and v ir t ual r ealit y ( VR) t ec h n o l o g i e s is r apidly pr ogr es s ing as a m e d i u m o f im m er s iv e and int er act iv e com m u n i c a t i o n wi t hin to
ar chit ect ur e.
ex plor e
it s
h is t or ical,
This
pot ent ial
t heor et ical
pap e r us es
and
aims
from
a
futuristic
a ppr oach, t o det er m ine t he r e l e v a n c e of
its
U s ing
re su rge nce the
d o cu men t
prim it iv e
as
a
m ode
his t or y
de mons t r at es
t he
of
of t he
r epr e s e n t a t i o n . t echno l o g y ,
r es ilience
of
AR
the and
V R. By loo kin g a t t he t heor ies of ar chit ect ur e a n d i t s rela tion sh ip with m ix ed f or m s of depict ion, t h e p a p e r d iscu sses the tr ans it ion f r om m oder n, pos t - m o d e r n a n d p a r a m e t r i c to the fu ture s of ar t if icially int elligent des ig n . A s w e l l a s m a k i n g spec ula tive the or ies , t his es s ay giv es pr os pec t i v e c o n c l u s i o n s t h a t . . .
. .. A R C H IT E C T U RAL THEORY WILL D E V E L OP FURTHER USE OF T H E V IRT U A L DIAGRAM AND USE A RT IF IC IA L INTELLIGENCE AND T E L E P R E S E NCE THROUGH T H E ME D IU M OF AR AND VR AS R E P R E S E N TAT ION .
Keywords: a ug m e n te d , vir tu a l, r e a lity, te l epresence, a rtific ia l in te llig e n c e , d r a win g , d ia gram, postm o d e r n , r e p r e se n ta tio n , in te r a c tive , i mmersi ve.
C O N T E N T S
A B S T R A C T I N T R O D U C T I O N H I S T O R I E S A U G M E N T E D V I R T U A L
O F
/ /
i 01 03
A N D
R E A L I T Y
A R _ C H I T E C T U R A L
08
T H E O R I E S F U T U R E S
O F
12
A R _ C H I T E C T U R E A N D
V R
S P E C U L A T I V E C O N C L U S I O N S C H I T E C T U R E
O F A N D
18
A R _ V R
F I G U R E S A N D B I B L I O G R A P H Y
20
0 1
/ /
I N T R O D U C T I O N C on ce ive d in 19 25 by J ohn Bair d, t he t ele- v i s i o n ( T V ) – visio n a t a d is t ance 1 – was becom ing m o r e t h a n // 2 Anon (2015). Television A Chronology of British Television, Bradford, National Media Museum.
ju s t a pr ot ot y pe f r om a lit t le v i l l a g e o n th e I s land of Tr inidad. I n t he a d v e n t o f W o r ld W ar I I when Br it is h TV w a s s h u t
/ / 1 // Biocca, F., Kim, T. and Levy, M.R. (1995). The vision of virtual reality. Communication in the age of virtual reality.
down, t her e wer e an es t im at e d 2 0 , 0 0 0 set s . 2 Swit ching t he channel ove r t o l a s t
ye ar, th e figure s hav e gr own s ubs t ant ially ar e n o w i n the million s; 2 6.5 M TV hous eholds in t he UK 3 r e p r e s e n t the ma ss c on su m er is at ion capabilit ies of i m m e r s i v e
3 // Barb (2015). Estimating the total number of TV homes.
tec hn olo gy – th e f ut ur e f or an alt er nat e r ealit y w a s t r u l y m a s s i v e . // 4 Sherman, W. and Craig, A. (2003). Understanding Virtual Reality.
Vir t ual
r ealit y
( VR)
is
a
r ela t i v e l y
new
medium
of
re pr es ent at ion wit h a cer t ain t y p e o f c o m m u n i c a t i v e f o r m a nd it s def init ion is s t ill in f lux . S h e r m a n a n d C r a i g d e f i n e
it a mbiguo usly a s a com put er bas ed place t ha t e x i s t s a n d t h a t w e c a n ex pe rien ce. 4 In c om par is on, once again br oadly d e f i n e d , augmen ted rea lit y ( AR) is t he pr oces s of v ie w i n g t h e rea l world an d vir t ual object s s im ult aneous ly , w h e r e t h e virtu al in forma tion is ov er laid, aligned and r e g i s t e r e d w ith th e ph ysica l wor ld. 5 I n r elat ion t o one an o t h e r , A R
5 // Azuma, R.T. (1997). A Survey of Augmented Reality. Presence: Teleoperators and Virtual Environments.
d iffe rs sign ifica nt ly f r om VR in one cr it ical as pe c t : t h e p h y s i c a l w o r l d i s reta ine d as a c on t ex t wher e y ou ar e pr es ent ed a n d i n t e r a c t w i t h v i r t u a l o bject s . // 6 Sherman, W. and Craig, A. (2003). Understanding Virtual Reality.
In bot h m edium s , y ou ar e s ub j e c t t o a v i r t u a l w o r l d , im m er s ion, s ens or y f eedback ( r e s p o n d i n g t o u s e r i n p u t ) ,
and in tera ctivity . 6 By s im ply put t ing on a pair of c o n n e c t e d g o g g l e s y o u r p e rce ptio n of re alit y can be m anipulat ed, cer t a i n l y s t i m u l a t e d , p e r h a p s d isorie nta ted to t he point of naus ea, y et ult im a t e l y h y p e r - e n g a g e d , a l l w ith ou t goin g an y wher e. AR and VR r elat es t o w i t h t h e s a m e e s c a p i s m p e ddled by dru gs , alcohol, s ex and ar t, 7 t oki n g u p o n it s h isto ries in m ult it udinous applicat ions , b i n g i n g o n it s e ngageme nt wit h cur r ent ar chit ect ur al t he o r i e s a n d d e lvin g dee pe r int o it s f ut ur es .
7 // Schnipper, M. (2016). The Rise and Fall and Rise of Virtual Reality.
0 3
/ /
H I S T O R I E S A U G M E N T E D V I R T U A L
O F
/ /
A N D
R E A L I T Y
Forty-five yea rs on f r om t he f ir s t public dem o n s t r a t i o n of Ba irds’ te levis ed s ilhouet t e im ages in m o t i o n a t S elfridge ’s De pa r t m ent St or e in London,
8
8 // Anon (1925). Current Topics and Events, Nature.
t he p r o s p e c t
of AR an d VRs w as m at er ialis ing. Ther e wer e t h r e e k e y
p la ye rs in the bir t h of t he alt er nat e r ealit y ; M o r t o n H e i l i g i n 1 9 6 0 , I v a n S uth erla nd in 1 968 and Tom Fur nes s in 1988 ; e a c h u s i n g t h e i r o w n in dividua l visio ns t o f or m ulat e what t his new p o s t - T V t e c h n o l o g y c o u l d b ec ome . // Fig.1 Heilig, M. (1960) Patent for Telesphere.
M or t on
Heilig
f ilm m ak er
wh o
int er es t ed an
was
in
a was
creating
ex per ience
that
9 // Heilig, M. (2016). Resume.
was
gr eat er t han just w a t c h i n g a m o v i e . I n 1960, he pat ent e d t h e f i r s t h e a d - m o u n t e d dis play ( HM D) n a m e d t h e T e l e s p h e r e . I t had t he capabili t y t o v i e w s t e r e o s c o p i c t elev is ion m ak ing pat ent ed
wit h it
t he
true
binaural
earliest
t echno l o g y
10 // Augmented World Expo (2015). Tom Furness Being the Future at Augmented World Expo.
for
v iewing of a pr o s p e c t i v e v ir t ual wor ld. I v an t he
Sut her land s cr een;
to
wanted
sound,9
to
somehow
get break
in
to the
g la ss 1 0 be twee n t he phy s ical and t he v ir t ua l w o r l d s . H i s 1 9 6 3 P h D // 11 Sherman, W. and Craig, A. (2003). Understanding Virtual Reality.
th es is at M as s achus et t s I ns t it u t e o f T e c h n o l o g y ( M I T ) des cr ibed t he Sk et chpad s y s t e m d e m o n s t r a t i n g i c o n i c re pr es ent at ions of cons t r aint s , c o p y i n g , m o v i n g , a n d
d ele ting o f h iera r chically or ganis ed object s … u s i n g a l i g h t p e n a n d f acilita ting visua lis at ion. 11 This out lined a br e a k t h r o u g h f o r c o m p u t e r aide d de sign (CAD) in one of t he m os t inf luenti a l d o c t o r a l d i s s e r t a t i o n s
0 4
/ /
H I S T O R I E S
ONE OF THE M OST INFLUENTIAL DOCTORAL DISSERTATIONS EVER PRESENTED
e v er pr es ent ed 12 and f or // 12 Steadman, P. (2014). Generative Design Methods and the Exploration of Worlds of Formal Possibility, Architectural Design.
wh ich in 1988 he r eceiv ed th e
Tur ing
Awar d.
As
As s ociat e
Pr of es s or
of
Elect r ical
Engineer ing
at
Ha r v ar d
Univ er s it y
f r om
1 965 t o 1968, Sut her land, along s i d e B o b
S prou ll, we nt on t o cr eat e t he f ir s t AR and V R H M D syste m. He re fer r ed t o it af f ect ionat ely as t he S w o r d o f D amo cle s whic h, m os t int r iguingly f or t his di s c u s s i o n , w as primarily u s ed t o v iew ar chit ect ur al build i n g d a t a (espe cia lly h idden s t r uct ur al line) . 13 Lastly Dr. T ho m as Fur nes s , in his pos it ion a s U . S . A ir F orc e Pilot b et ween 1966 t o 1989, dev el o p e d a n d // 14 Anon (2015). Thomas A. Furness III, Ph.D., Human Interface Technology Lab (HITLab).
e v aluat ed v is ually - coupled s y s t e m s a n d
13 // Blecher, D. (2008). Augmented Reality, Architecture and Ubiquity: Technologies, Theories and Frontiers.
vir t ual int er f ace concept s t o im p r o v e t h e c o m m u n i c a t i o n o f inf or m at ion and cont r ol f unc t i o n s b e t w e e n t h e p i l o t a nd his s ur r oundings . 14 Fur nes s w a s f o r t u n a t e i n b e i n g
offere d a su bsidy f r om t he Def ens e Adv anced R e s e a r c h P r o j e c t s A g e n c y (DARPA) – a n agency which m ade piv ot al inv est m e n t s i n // Fig.2 Furness, T. A. (1986, September). The super cockpit viewport of virtual space.
br eak t hr ough t ec h n o l o g i e s f or
nat ional
s e c u r i t y . 15
15 // Anon (2016). About DARPA.
W hils t in t he m id d l e o f w a r a t t h e t i m e , he us ed t he f und i n g t o c r e a t e t h e ‘ D a r t h Vader ’- es que we a r a b l e S u p e r C o c k p i t . I t t ack led t he dif f i c u l t y o f c o m p r e h e n d i n g t he
egocent r ic
displays
ex ocent r ic v iews f r o m h i s air cr af t and com p e l l i n g l y int er f aced m achine. 16
hum a n
with
with
the
16 // Augmented World Expo (2015). Tom Furness Being the Future at Augmented World Expo (AWE).
0 5
/ /
T H E M IR R OR I S, A F T E R A LL , A U TOP IA , S I N C E IT IS A P L AC E LE S S PL AC E … AN U N R E A L, V I RT U A L S PA C E T H AT OP E N S U P BE H I N D T H E S U R FA C E
H I S T O R I E S
Fur nes s wit h
was
inundated
num er ous
calls
ques t ioning t he p o t e n t i a l us es of t he new f o u n d A R s y s t em ; a m ot h e r c a l l e d r egar ding
cur e s
for
cere bra l palsy, a s ur geon quer ied x - r ay m app i n g o f t h e b o dy, an d a fire f ight ing com pany want ing t o n a v i g a t e thro ugh
smoke- f illed
buildings . 17
Thes e
pr o s p e c t i v e
applica tion s co m plem ent St ev e Nichols ’ s p e c u l a t i v e // 18 Nichols, S. (1988). Posthuman Manifesto.
def init ion in 1988 of t he pos t - h u m a n a s being – not a s ingular , def ined i n d i v i d u a l , but r at her who can “ becom e” o r e m b o d y dif f er ent
ident it ies
and
unde r s t a n d
the
17 // Augmented World Expo (2015). Tom Furness Being the Future at Augmented World Expo.
world
from
mu lt iple, het er ogeneous per s pe c t i v e s 18 – F u r n e s s w a s re ally on t o s om et hing her e. C on ce ptu ally, h e als o s ugges t s t hat t he r e a l a n d v i r t u a l w o r l d i s se pa rate d th rou gh r ef lect ion, wher e t hings t ha t a p p e a r t o b e i n s p a c e ar e n’t rea lly the r e but we can v ir t ually int e r a c t w i t h the m. 1 9 Fo uc au lt s im ilar ly t heor is es t hat t he m i r r o r i s , after all, a uto pi a, s ince it is a placeles s pla c e … a n // 20 Foucault, M. (1984). Des espaces autres.
u nr eal,
v ir t ual
s pace
t hat
opens
up
behind t he s ur f ace 20 adding ano t h e r l a y e r o f r elat iv e augm ent at ion t o t he A R a n d V R th eor y of pos t - m oder n applicat i o n .
19 // Augmented World Expo (2015). Tom Furness Being the Future at Augmented World Expo.
0 6
/ /
H I S T O R I E S
// Fig.3 Sutherland, I., (1962) using the Sketchpad; AutoCAD’s ancestor.
Cu r i o u s l y ,
the
selected
his t o r i e s o f v i r t u a l i t y e a c h am b i t i o u s l y
challenged
t heir te ch no logical pr edeces s or s . Heilig conce p t u a l i s e d
21 // Biocca, F., Kim, T. and Levy, M.R. (1995). The vision of virtual reality.
t he modifica tion of t he t elev is ion s et t hat wr a p s i t s e l f arou nd o ur he ad s bot h lit er ally and m et aph o r i c a l l y, 21 S uth erla nd wen t on t o phy s ically m anif es t t he f i r s t H M D // 22 Hamit, F. (1993). Virtual reality and the exploration of cyberspace.
fo r
ar chit ect ur al
us e
and
pioneering
CA D in t he pr oces s and Fur ness t o o k t o e ject ing AR t echnology f r om t he m i l i t a r i e s Super Cock pit cock pit f or dom e s t i c a t i o n
23 // Garcia, M. (2013). Emerging Technologies and Drawings: The Futures of Images in Architectural Design. Architectural Design.
in t he r eal wor ld. T echnology , alt hough lim it ing at t h e t i m e , gav e each his t or ical appr oach a d r e a m lik e qua lity th rough innov at ion. Heilig s ugge s t e d t h a t
wha t is n ew h er e is m or e s ophis t icat ed ins tr u m e n t s a s o p p o s e d t o d isco ve ring the wor ld wher e t hey giv e y ou th e p o w e r t o d o i t m o r e easily. 2 2 Le arn ing f r om t he wor k ing his t or ies o f A R a n d V R a s a n e w m edium
of
rep r es ent at ion,
pr os pect iv ely
theorises
an
exploding
spe ctru m of po s s ibilit ies f or s ignif icant inno v a t i o n s i n a r c h i t e c t u r a l d esign. 2 3
0 7
/ /
0 8
/ /
A R _ C H I T E C T U R A L
/ /
T H E O R I E S
F O R A R C H ITECTURAL A N D S PAT IAL PRACTICES TO F U L LY ENGAGE WIT H T H E ‘EXPANDED’ F IE LD S O F INFORM ATION D E S IG N , V IRTUAL AND A U G ME N T ED REALITY, GA ME S D E SIGN AS W ELL Clear, N. (2013). A S E X IS T ING FORM S OF Drawing Time, Architectural Design. F ILM A N D VIDEO, THE O U T M O D ED C O N V E N T ION S OF TRADITIONAL A R C H I T EC T U R A L R E P R E S E N TATION W ITH T H EI R AR C A N E C H A R A C T E R ISTICS NEED TO B E R E P L AC E D . I n a similar ma nner t o how Heilig cr it ically c h a l l e n g e d t he sen so ry valu es of m ov ie wit h t he s peculati o n o f V R , // Fig.4 Spiller, N. (2013) Millennium Pavilion.
Sut her lands m ade
it
digit ally
Sketchpad pos s i b l e
to
m at er ia l i s e
the
24 // Herron, S. (2013). Plug-In, ClipOn, Tune-Up: A Throwaway Architecture with Optional Extras, Architectural Design.
dr awing t hr ough C A D , q u e s t i o n i n g t h e us es
of
pr im ar y
ar chit e c t u r a l m edium
for
drawing
as
the
communication.
Sim on Her r on, P e t e r C o o k , C J L i m , N e i l Spiller , Has him S a r k i s , D a n i e l L i b e s k i n d , and m any ot her s h o w e v e r , r i t u a l i s t i c a l l y adopt t his t heo r y . T h e f o r m e r a r g u e s t hat t he dr awing i s a s o p h i s t i c a t e d s k i l l t r adit ionally acq u i r e d b y a l l a r c h i t e c t s to
com m unicat e
with
client,
engineer
and builder 24 and t h e l a t t e r b e l i e v e s t h a t
0 9
/ /
T H E O R I E S
// Fig.5 FLW., (1935) De Stijl artistic encapsulated within building to show sense of symbiosis
dr awing is t he so u r c e o f ar chit ect ur e s om et hing s ee
and
s om et hing
[ wh e r e ] y ou
[ is } t hat
it’s
cannot proof is
of
there
but not clear ly v i s i b l e . 25 I r onically her e, L i b e s k i n d // 26 Oxman, R. (2008). Digital architecture as a challenge for design pedagogy: theory, knowledge, models and medium.
r elat es
dr awing
to
the
pos t - s t r uct ur alis t m et aphor of th e m i r r o r
25 // Tedx, T. (2012). Architecture is a Language: Daniel Libeskind at TEDxDUBLIN, YouTube.
th eor is ed by Foucault – could t h e r e b e s u c h a t h i n g a s dr awing com bined wit h m ix ed r e a l i t y ( M R ) o f A R a n d V R wh en des igning at bot h ur ban a n d c i t y s c a l e s ?
P o ssibly! W alte r G r opius , Fr ank Lloy d W r ight ( F L W) a n d L e C o r b u s i e r p io ne ere d the m oder n Bauhaus m ov em ent , as a p r o g r e s s i o n f r o m t h e ar tistic De Stijl, us ed a t heor et ical or ient at ion t o m o d e r n d e s i g n t h r o u g h the inte gra tion of ar t and des ign . 26 M ies v an d e r R o h e su pportively th eo r is ed t hat t echnology and ar c h i t e c t u r e // 28 Braham, W. (2007). Rethinking Technology.
a r e s o clos ely r elat ed [ t hat ] s o m e d a y
27 // Braham, W. (2007). Rethinking Technology.
o ne will be t he ex pr es s ion of t h e o t h e r. 27 Bo t h s uppor t t he us e of m ix ed m e d i u m s t o c r e a t e a n a r chit ect ur e wher e int r iguingly b o t h a r e t i m e - b a s e d ,
us ing tec hn olo gi es of t he per iod t o, as M ies s u g g e s t s , cr e ate a tru e sym bol of our t im e. 28 Oxma n e xplain s t hat changes in t echnology as o f r e c e n t have influ en ce d m ov em ent s s uch as par am et r i c d e s i g n w he re in ste ad it has becom e a m edium of ex per i m e n t a t i o n
29 // Oxman, R. (2008). Digital architecture as a challenge for design pedagogy: theory, knowledge, models and medium.
in itself . 2 9 Fra nk G ehr y ’s G uggenheim in Bilbao f o r e x a m p l e s h o w c a s e s // 30 Braham, W. (2007). Rethinking Technology.
th e new capabilit ies of CAD, a s w e l l a s c o m p u t e r a ided
m anuf act ur ing
( CAM ) . 30
The
non-repeating
fo r m s of t he m us eum dis play u n i q u e d i g i t a l m o d e l l i n g
1 0
/ /
T H E O R I E S
Fig.4 // Schumacher, P., (2015) natural flow of natural elements and urban elements. // 31 Schumacher, P. (2011). The Autopoiesis of Architecture. Vol. 1.
te chniques and, alt hough n ot us ed by G ehr y , lend th em s elv es to
quit e
well
par am et r icis m ;
a
moveme nt esse nt ially bor n and br ed of tec hn olo gy. L ike t he t heor ies of AR and V R as dyn amic m eans of r epr es ent at ion, P a trik
Sc hu mac her
s ugges t s
t hat
t he
d e sign pro ce ss is or ganic and r ev olv es ar o un d the th eo ry of aut opoies is r ef er r ing to the overa ll dis cur s iv e s elf - m ak ing of ar c hite ctu re. 3 1 Ma r cos
Nov ak ,
Br ian
Ma s s um i, Zaha Hadid as well as G e h r y a n d R e m K o o l h a a s , // 32 Sheller, M. (2007). Virtual Islands: Mobilities, Connectivity, and the New Caribbean Spatialities.
h av e pr ov ided new v is ual and c o n c e p t u a l v o c a b u l a r i e s fo r under s t anding cont em por a r y s p a t i a l c o m p l e x i t y. 32 T hr ough t heir r ecent f luid conce p t i o n s , i n wh at Nov ak t er m s as liquid ar chi t e c t u r e, 33 space can be s een in v ar ious w a y s ; i t s
d ec on stru cte d for m , in m ult iple geogr aphies , t h r o u g h its mobilisa tion a nd, t heor et ically , it s im por t an c e t o t h e
33 // Novak, M. and Benedikt, M. (1991). Cyberspace: First Steps. Liquid Architectures in Cyberspace.
m orpho logy of ph y s ical and v ir t ual s pat ialit ies 34 - h i n t i n g a t A R a n d V R // 34 Sheller, M. (2007). Virtual Islands: Mobilities, Connectivity, and the New Caribbean Spatialities.
bas ed f ut ur es . W e ar e, as t er m ed by M ar k Wi g l e y , c r o w d s, 35 o f a c om plex , ev er gr owing gr oup of p e o p l e . S u p p o r t e d b y i t s h is t or ies , AR and VR t heor y of t e c h n o l o g y a s a m e d i u m
of re pre se nta tion ex er t s gr eat collabor at iv e po t e n t i a l f o r t h e f u t u r e . A s d isco ve red thu s f ar , alt hough s om e m ay be pr o - d r a w i n g , the re is a cu rrent oppor t unit y t o dis cus s ar c h i t e c t u r e and th is c ou ld be t hr ough t he am algam at ion of C A D a n d alte rna tive rea lity bas ed v is ualis at ion t echnolo g i e s .
35 // Wigley, M. (2012). Mark Wigley | Architectural Theory: The Future of Cities, YouTube.
1 1
/ /
1 2
/ /
F U T U R E S
O F
/ /
A R _ C H I T E C T U R E A N D
V R
Fig.7 // House of the Vetti, Pompeii, (ca. 62-68 AD) Wall paintings in the Ixion Room creating illusion of depth.
// 36 Corke, G. (2016). Virtual Reality for architecture: a beginner’s guide, AECMAG. // 37 Sherman, W. and Craig, A. (2003). Understanding Virtual Reality.
T he client does not eas ily in t er pr et
t he
me dium
of
t r adit ional plan
and
sect ion, and at t im es not e v en
t he
ar chit ect
f ully
co mpre he nds th e ex t ent of t heir des ign un til it is fu lly c onceiv ed. 36 An alt er nat e rea lity c an he lp to enable a m or e r ealis t ic appro ac h to bo th v is ualis at ion and des ign. I m m e r s i o n a n d i n t e r a c t i v i t y , 37 b eing key a spec t s of AR and VR, bot h appe a l t o t h e p o s t - m o d e r n – wh er e an int egr at ion of bot h is a l r e a d y t a k i n g p l a c e . // 38 Jencks, C. and Kropf, K. eds. (1997). Theories and manifestoes of contemporary architecture.
In t he 13 ‘Pr opos it ions of Post - m o d e r n A r c h i t e c t u r e ’ , Jenck s o r nam ent
s t at es ( or
t hat
ar chit ec t u r e
pat t er ns )
whic h
must
should
esse ntia lly be sy m bolic and s y m phonic; h e n c e t h e rele va nc e of info r m at ion t heor y , 38 def ining an i l l u s i o n o f
necessitate 39 // Griffith, M. (2015). Art history 101: What is trompe l’œil?
spac e or de pth wher e none ex is t s ; lik e t hat o f G r e e k t rompe l’œil 3 9 an d r enais s ance per s pect iv e. T h i s 1 m m // 40 Garcia, M. (2016). 21st Century Post-modernism, Lecture.
th in s ur f ace r epr es ent s a v ir t u a l l a y e r 40 wh er e it dis play s t ex t s or m ov ie s t o g i v e a ddit ional inf or m at ion 41 and t a k i n g t h e e x am ple of building cons t r uct i o n , w a l l s c an becom e t r ans par ent t o di s p l a y t h e plum bing
…
par t s
can
s t ar t
blinking
41 // Engeli, M. and Kurmann, D. (1996). Spatial objects and intelligent agents in a virtual environment. Automation in Construction.
1 3
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Fig.8 // DCNS (2013) Virtual reality and augmented reality: Their applications in the naval-defence.
to
dra w
to
an
th e
at t ent ion
u nre so lv ed
con flictin g
or
sit uat ion, 42
furth er de mon str at ing t he p o ten tial
fo r
ov er lay ing
thro ugh au gme ntat ion and colla bo ratio n. // 42 Engeli, M. and Kurmann, D. (1996). Spatial objects and intelligent agents in a virtual environment. Automation in Construction.
AR and VR h av e
t he
pot ent ial t o int er f ace wit h t echn i c a l t o o l s , to im m er s e our s elv es in t he im a g e a n d in t er act wit h it . 43 W e ar e cur r en t l y l i v i n g
43 // Grau, O. (2003). Virtual Art: from Illusion to Immersion.
in a world wh er e childr en ar e gr owing up p i n c h i n g a n d s w i p i n g o n magazine s expe ct ing it t o be int er act iv e. 44 I t is q u i t e i n t r i g u i n g t o t h i n k tho ugh tha t we could hav e book s helv es of 1m m t h i n m a l l e a b l e d i s p l a y s w ith in-built imm er s iv e t echnology , of f ice d e s k s t h a t ar e opera ting sy s t em s ( O S) or ev en cit ies o f t r o m p e // 45 Engeli, M. and Kurmann, D. (1996). Spatial objects and intelligent agents in a virtual environment. Automation in Construction.
l’œil f açades which change t o a l t e r o u r per cept ions .
44 // User Experiences Works, (2011). A Magazine Is an iPad That Does Not Work, YouTube.
In com m on des ign pr oces s in p r a c t i c e , e v e n d u r i n g th e concept ual phas es , VR can b e a n e f f e c t i v e m e a n s
C H I L D R EN A R E GROWING UP PINCHING AND SW I PI N G O N M A G A Z IN E S EX P E C T IN G I T TO B E I N T ER A C T IV E .
of ex plor ing t he r e l a t i o n s h i p s b e t w e e n s paces. 45
As
Sut her land,
earlier virtual
found
through
reality
shows
object s t hat ar e n o t y e t r e a l a n d a l l o w s t he pr os pect iv e u s e o f A R a n d V R t o ex per ience t he p r o p o r t i o n and s cale of t he d e s i g n . 46 Engeli s peculat e
and t hat
Kurmann CAD
will
46 // Corke, G. (2016). Virtual Reality for architecture: a beginner’s guide, AECMAG.
1 4
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F U T U R E S
h appen in Vir t ual Realit y , // 47 Engeli, M. and Kurmann, D. (1996). Spatial objects and intelligent agents in a virtual environment. Automation in Construction.
H an i one virtu al
a
or
m or e
s et - up
wher e
one
des igner s
can
par t icipat e, while t hey ar e phy s ically in t he s am e or dif f er ent locat ions. 47
Ra sh id suc h
in
at
As y m pt ot e
exam ple
arc hite ctur e
of
of f er s
par t icipat or y
wher e
t hey
wer e
commissio ne d to s t or e a collect ion of w orks in a virtua l wor ld t hr ough wor ldwide colla bo ratio n for t he new G uggenheim // 48 Rashid, H. (1999). The museum as a digital experience. In Proceedings of the ICOMON meetings held in Madrid, Spain.
W E COULD HAVE BOOKSHELVES OF 1M M THIN M ALLEABLE DISPLAYS W ITH IN- BUILT IM M ERSIVE TECHNOLOGY, OFFICE DESKS THAT ARE OPERATING SYSTEM S ( OS) OR EVEN CITIES OF TROM PE L’ŒIL FAÇADES W HICH CHANGE TO ALTER OUR PERCEPTIONS.
Mu s eum in cy ber s pace. 48 This t y p e o f w i d e - r e a c h i n g vir t ual
ar chit ect ur al
collabor a t i o n
is
in
its
infancy
h owev er in anot her m anipulat i o n o f t h e t h i n d i s p l a y , fu elled by a bas ic hum an need t o p r o b e t h e u n k n o w n, 49 social m edia has been v er y s uc c e s s f u l .
Global ou trea ch of s ocial m edia, wit h t he lik es o f F a c e b o o k , I n s t a g r a m , Y o uT ube, Twitte r , Snapchat , Link edI n and P i n t e r e s t to n ame a fe w, has benef it t ed f r om hav in g v i r t u a l rela tion sh ips,
tu r ning
ov er
m illions
per
year,
and
con ne ctin g h un dr eds of t hous ands of people – s o m e more tha n o the rs hav e em br aced t his s ens e of c o m m u n a l virtu ality.
49 // Rashid, H. (1999). The museum as a digital experience. In Proceedings of the ICOMON meetings held in Madrid, Spain.
1 5
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// Fig.9 Asymptote Architecture (1999) Guggenheim Virtual Museum.
We are beginning to see the f or m a t i o n o f g r o u p s b a s e d ar o u n d
all
those
things
I nt e r n e t . T h e s u b s t a n t i a l l y po s t - m o d e r n
Japanese
subculture of Otaku is one such group. Interestingly t he y of
carry
de t a c h m e n t g ro wth th rou gh t echnological ev olut ion.
50
connotations
impersonality but
also
and of
Ar c h i t e c t u r e v e n t u r e s i n t o
this develo pme nt t hr ough AR and VR wher e w e c o u l d s e e a n O t a k u style virtua l worl d appear ing wher e people d o n ’ t p h y s i c a l l y m o v e y e t b e co me virtua lis ed in a play on a f our - dim ensi o n a l ( 4 D ) C AD based ‘Sims Cit y ’- es que wor ld. // 51 Garcia, M. (2013). Emerging Technologies and Drawings: The Futures of Images in Architectural Design. Architectural Design.
T hes e int er act iv e and im m er s i v e w o r l d s a nd
plat f or m s
hav e
pr ev iou s l y
been
50 // Tsutsui, W.M. (2008). Nerd Nation: Otaku and Youth Subcultures in Contemporary Japan.
c oncept ualis ed in m ov ies s uch a s A v a t a r , Iro n M an 2, and Pr om et heus 51 a n d a s o f r e c e n t h a v e phy s ically m anif es t ed t hem s elv e s a s f u t u r e t e c h n o l o g i e s . T his 4D m et hod of v iewing and m a n i p u l a t i n g d a t a h a s been
us ed
e ducat ional,
to
cr eat e s cient if ic
a nd ar chit ect ur al t oolk it s u s ing HM D’s s uch as t he Oc ulus Rif t , HTC Viv e and // 52 Garcia, M. (2013). Emerging Technologies and Drawings: The Futures of Images in Architectural Design. Architectural Design.
Mi cr os of t HoloLens , wher e im aging
and
dr awing
c an be done wit h jus t t he br ain, ent ir ely by pas s ing th e hands . 52
AR AND VR POSES THE QUESTION OF W HETHER ARCHITECTURE HAS THE NECESSITY TO BE PHYSICALLY BUILT AT ALL?
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Fig.10 // Iron Man (2010) Tony Stark designing the Iron Man suit by interacting with an augmented interface and through voice.
S c ho ols
of
a rchit ect ur e
ar e be gin nin g to us e t he q u alitie s
of
AR
and
VR
to e xplore de sig n ideas . At t he Bar t let t Centr e f o r A d v a n c e d S p a t i a l A na lysis (CASA) , t he univ er s it y is ex plor ing m e t h o d s o f i n t e g r a t i n g new tec hn olo gie s s uch as AR and VR in t o th e i r w o r k f l o w f o r u s e i n // 53 The Bartlett (2016) Centre for Advanced Spatial Analysis (CASA), University College of London.
c it y planning, policy and des ign, 53 T h e A d v a n c e d V i r t u a l a nd
Technological
L abor at or y
at
The
Ar chit ect u r e Univ er s it y
Research
of
in t egr at ing new t echnologies and c u l t u r a l ,
// Fig.11 Gulabchande, D (2016) Exploring the virtual diagrams of classi cal architecture at St Martin in the Fields, London.
aes t het ic
and
social
agendas t hat ex p l o r e a l l m anner
of
dig i t a l
and
v is cer al t er r ains i n c l u d i n g t heir
(AVATAR)
Greenwich
augm ent at i o n
and
is
also
54 // Anon (2016) Advanced Virtual and Technological Architecture Research (AVATAR) Laboratory, University of Greenwich.
s y m bios is. 54 I n an ef f or t t o e x p l o r e m y o w n d e s i g n pr oces s in m y M a s t e r s s t u d i e s , I a m cur r ent ly
us ing
Nemetschek’s
CAD
applicat ion Vect o r w o r k s , a l o n g w i t h a n elem ent of t he v i r t u a l d i a g r a m t h r o u g h W ebG L
to
ex p l o r e
VR
in
Googles
Car dboar d. This o u t o f b o d y e x p e r i e n c e is quit e inf luent ia l w h e n d e s i g n i n g a s i t i s f r om t his under s t a n d i n g t h a t h a s l e d t o a t hor ough br ief .
1 7
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// Fig.12 Matsuda, K. (2016) Hyper-reality - a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media§
The ide a o f n ot u s ing t he phy s ical body t o des i g n i s n o t nec essa rily a ne w t echnology wher e Sim - Cit y , M i n e c r a f t and Proje ct Aura in gam ing, ‘Aut ov er s e’ in G r e g E g a n ’ s novel Permu tatio n Cit y , 55 and NASA’s Q uant um A r t i f i c i a l // 56 NASA, (2016). QuAIL, NASA
In t elligence Labor at or y ( Q uAI L) , 56 h a v e a l l u s ed des ign t hr ough ar t if icial in t e l l i g e n c e (A I ) des ign pr ev ious ly . Robot ic s a n d i t s
55 // Garcia, M. (2013). Emerging Technologies and Drawings: The Futures of Images in Architectural Design. Architectural Design.
re lat ed t echnologies hav e adv an c e d o v e r t h e y e a r s w i t h th e em er gence of t hr ee- dim ens i o n a l ( 3 D ) p r i n t i n g , l a r g e scale Com put er Num er ical Con t r o l ( C N C ) a n d A I l a b s a ppear ing ev en in s chools of a r c h i t e c t u r e – A R a n d VR pos es t he ques t ion of whet h e r a r c h i t e c t u r e h a s t h e nec essity to be p hy s ically built at all?
1 8
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S P E C U L A T I V E
C O N C L U S I O N S C H I T E C T U R E
O F
/ /
A R _
A N D
V R
E V E RY H OM E SHOULD H AV E O N E . OH, O C C A S I O N A LLY T H E Y F R IG H TENED YOU W I T H T H EI R C LIN IC A L A C C U RACY, THEY S TART L E D Y OU , GAV E Y OU A TW INGE, B U T M O ST OF T H E T IME WH AT FUN FOR E V E RY O N E , N O T O N LY Y O U R OW N SON AND D A U G H T ER , B U T F OR Y OU R S ELF W HEN YOU F ELT L I K E A Q U IC K JA U N T TO A FOREIGN L AN D , A Q UIC K C H A N G E O F SCENERY. W EL L , H E R E IT WA S ! Bradbury, R. (2012). The Veldt in The Illustrated Man.
// 57 Minsky, M. (1980). Telepresence.
T he m os t r elev ant f ut ur es f or ar c h i t e c t u r a l t h e o r y r e s t i n th e v ir t ual diagr am and it will u s e a r t i f i c i a l i n t e l l i g e n c e a nd t elepr es ence – a t echno l o g y t h a t sugges t s f ut ur e ins t r um ent s t ha t w i l l f e e l a nd wor k s o m uch lik e our ow n h a n d s 57 – t hr ough t he m edium s of AR a n d V R t o c reat e a new s t y le of ar chit ect u r e . T he
only
h av e
ar t iculat ed
ar chit ect ur al t he
t he o r i s t
s ignif ica n c e
to and
power s of t he diagr am as a p r o g n o s t i c a rchit ect ur al r es ear ch m et hod i s C h a r l e s // 59 Mitchell, W.J. (2004). Me++: the cyborg self and the networked city.
Jenck s 58 t hough W illiam M it chell s p e c u l a t e s t h a t t h e c i t y c ould becom e a m as s iv e diagr a m m a t i c i n t e r f a c e i n i t s o wn r ight . 59 This could ex pand t o a g l o b a l s c a l e i n t h e sam e way t hat As y m pt ot e went a b o u t c r e a t i n g t h e N e w
Y o rk Virtua l Sto ck Ex change 60 as an inhabit ab l e v i r t u a l d ia gra m.
58 // Garcia, M. (2010). The diagrams of architecture: AD reader.
60 // Amelar, S. (1999). Asymptote’s dual projects for the New-YorkStock-Exchange. Architectural Record.
1 9
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Fig.13 // Asymptote Architecture, (1997) A virtual environment that visualizes numerical and statistical data, detects suspicious trading activity and tracks the impact of global news events on the market.
Fou nder Lab,
of
M I T’s
Ma rvin
AI
M ins k y ,
the orised we co uld hav e had
a
remo te-c ont r olled
eco no my by th e t went y - f ir s t cent ur y 61 t hr o u g h t e l e p r e s e n c e . T h i s d idn’t ha ppen but t he ar r iv al and wide s pr ead u s e o f t h e i n t e r n e t d i d b rin g u s in sta nt r em ot e acces s t o t hous ands o f h o m e s , office s an d stre et cor ner s . The t echnologie s b e h i n d tele pre se nc e are cons t ant ly being pur s ued by t h o s e a t
51 // Minsky, M. (1980). Telepresence.
A VAT AR La b a t The Univ er s it y of G r eenwich an d H I T L a b // 62 Schreer, O., Kauff, P. and Sikora, T. (2005). 3D videocommunication: algorithms, concepts and real-time systems.
a t t he Univ er s it y of W as hingt o n a s w e l l a s by m any ot her engineer s an d h u m a n fa ct or s s pecialis t s 62 wher e gr e a t p r o g r e s s i o n i s b e i n g ma de. The digit al er a of an i m m e r s i v e i n t e g r a t i o n o f te lepr es ence wit h t he v ir t ualit y o f t h e d i a g r a m a r e m o r e pr ev alent , r elev ant and necess a r y t h a n e v e r f o r o u r e v er - ev olv ing wor ld. As J obe s aid in 1992 Lawnm owe r M a n ;
V IRT U A L REALITY W ILL G R OW... JUST AS THE T E L E GR A PH GREW TO T H E T E L E PHONE. AS THE R A D IO TO THE TV. IT W ILL B E E V E RY WHERE!
2 0
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figure 01
Heilig, M . ( 1960) St er eos copic- t e l e v i s i o n a p p a r a t u s for indiv idual us e. Av ailable at : h t t p s : / / p a t e n t i m a g e s . stor age. googleapis . com / pages /U S 2 9 5 5 1 5 6 - 1 . p n g (Acces s ed: 2 J anuar y 2017) .
figure 02
Fu r nes s , T. A. ( 1986, Sept em be r ) . T h e s u p e r c o c k p i t an d it s hum an f act or s challenge s . I n P r o c e e d i n g s o f the hum an f act or s and er gonom i c s s o c i e t y a n n u a l meet ing. ( 30) 1, pp. 48- 52. SAG E P u b l i c a t i o n s .
figure 03
Com put er His t or y . ( 2014) His t or y o f c o m p u t e r s a n d co m put ing. Av ailable at : ht t p: / / h i s t o r y - c o m p u t e r . c o m / Moder nCom put er / Sof t war e/ Sk et c h p a d . h t m l ( A c c e s s e d : 3 J anuar y 2017) .
figure 04
Sp iller , N. ( 2013) M illennium Pa v i l i o n . A v a i l a b l e at: ht t p: / / www. neils piller . com / pr o j e c t s / m a v e r i c k de v iat ions / m illennium - pav ilion/ ( A c c e s s e d : 4 J a n u a r y 20 17) .
figure 05
Pe r ez , A. ( 2010) AD clas s ics : Fa l l i n g w a t e r h o u s e / Fr ank Lloy d W r ight . Ar chDaily . A v a i l a b l e a t : h t t p : / / w w w . ar chdaily . com / 60022/ ad- clas s ic s - f a l l i n g w a t e r - f r a n k lloy d- wr ight ( Acces s ed: 5 J anua r y 2 0 1 7 ) .
figure 06
Ec onom ou, K. E. ( 2015) ‘The Au t o p o i e s i s o f Ar chit ect ur e’ Pat r ik Schum ache r ’ s P a r a m e t r i c i s m an d t heor y . Av ailable at : ht t p: / /b l o g s . c o r n e l l . e d u / ar ch5302s p15/ 2015/ 05/ 20/ t he- a u t o p o i e s i s - o f ar chit ect ur e- pat r ik - s chum acher s - p a r a m e t r i c i s m - a n d theor y / ( Acces s ed: 23 Decem be r 2 0 1 6 ) .
figure 07
Mit chell, A. ( 2013) O il paint on w o o d - T r o m p e l ’ œi l . Av ailable at : ht t p: / / alanm it chella r t b l o g . b l o g s p o t . co . uk / 2013/ 07/ oil- paint - on- wood - t r o m p e - l - o e i l . h t m l (Acces s ed: 3 J anuar y 2017) .
2 1
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figure 08
DCNS ( 2013) Vir t ual r ealit y and a u g m e n t e d r e a l i t y : Th eir nav al- def ence applicat ion s . D C N S G r o u p . Av ailable at : ht t p: / / en. dcns gr ou p . c o m / p a r o l e - e x p e r t / vi r t ual- r ealit y - and- augm ent ed- r e a l i t y - t h e i r - n a v a l de f ence- applicat ions / ( Acces s e d : 3 J a n u a r y 2 0 1 7 ) .
figure 09
OpenBuildings ( 2001) G uggenh e i m V i r t u a l M u s e u m . OpenBuildings . Av ailable at : ht t p : / / o p e n b u i l d i n g s . c o m / bu ildings / guggenheim - v ir t ual- m u s e u m - p r o f i l e - 2 4 3 7 (Acces s ed: 3 J anuar y 2017) .
figure 10
Kr is f r os z , N. ( 2010) Augm ent ed R e a l i t y . N i k K r i s ’ Blog. Av ailable at : ht t ps : / / k r is f r o s z 1 3 3 . w o r d p r e s s . co m / 2010/ 05/ 25/ augm ent ed- r ea l i t y / ( A c c e s s e d : 2 Ja nuar y 2017) .
figure 11
Gulabchande, D. ( 2016) Ex plor i n g t h e v i r t u a l d i a g r a m s of clas s ical ar chit ect ur e at St M a r t i n i n t h e F i e l d s , Lo ndon. Univ er s it y of G r eenwich .
figure 12
Mat s uda, K. ( 2016) Hy per - r ealit y . A v a i l a b l e a t : h t t p : / / hy per - r ealit y . co/ ( Acces s ed: 3 J a n u a r y 2 0 1 7 ) .
figure 13
Canadian Cent r e f or Ar chit ect ur e ( 2 0 1 4 ) S o m e Ar chaeologies . Av ailable at : ht tp : / / w w w . c c a . q c . c a / en / is s ues / 4/ or igins - of - t he- digit a l / 3 1 2 7 7 / s o m e ar chaeologies ( Acces s ed: 2 J an u a r y 2 0 1 7 ) .
2 2
B O O K S
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