GT24 - Raunak Chaudhary - Spatial Pair: developing a live spatial modelling tool in real-time
Spatial PaiR
De/augmenting the physical Environment through a live spatial modelling tool in real-time
Graduate Thesis 2024
Ronnie Chaudhary, M.Arch II
Graduate Thesis 2024
Ronnie Chaudhary, M.Arch II
“Technology functions essentially as the mediator between an individual and its surroundings: It is the very process through which an individual negotiates its own limits, and thus its own form, in the context of a mutual relation with the world around it. As such, technology is both a network of relations, and the very process of defining individuals.“
Pg: 27, para 2, line 9
Du mode d’existence des objets techniques and L’individuation psychique et collective French philosopher
Gilbert Simondon
Thesis Statement
The thesis hypothesizes and explores the ability of technology to interpret the environmental condition of a physical space beyond the ability of humans to directly express this condition through the information logic of existing design interfaces.
Many technologies like non-invasive techniques of electrocardiography, x-rays, auscultation of heart sound using a stethoscope, and temperature using thermometers, gene expression imaging, magnetic resonance elastography, optical coherence tomography, etc., have been used to access physiological information, but can we interact with this multisensory data in our surroundings to design and experience space at the same time?
The research explores technologies like spatial computing of Vision Pro and multi-surface techniques of drone projection as crucial tools to minimize the input and output lag of our interaction with environmental information beyond the format and cartesian coordinate system of constructing planes.
of physical environment using a digital interface
How can we design and experience data at the same time?
Can Subject and object both become active protagonist with independent variables ?
Can we interact with our surrounding by real-time perceiving multi-sensory data with sensors on our HMD displays?
“The mix of fluidity and stillness, publicness and secrecy of a puppet show theatre where certain things are allowed to move in plain sight, while others can do so only discreetly; characters can enter and leave the stage at will, but the vanishing and reappearance of the world behind them, stuck to the wooden frame that holds its painted fabric, must take place in secret. This image of the world stands still, offering a necessary background to their adventures“
Pg: 14, para 3, line 07
Federico Campagna, The reconstruction of reality “Technic and magic”
Kathputli: rajasthani puppet show
Rupayan Sansthan, Jodhpur, UNESCO Cultural heritage
“Traditionally, in architecture, the abstract space of design is conceived as an ideal neutral space of cartesian coordinates. In other design fields, However, design space is conceived as an environment of force and motion rather than as a neutral vacuum. In naval design, for example, the abstract space of design is imbued with the properties of flow, turbulence, viscosity, and drag so that the form of a hull can be conceived in motion though water.
Although the form of a boat hull is designed to anticipate motion, there is no expectation that its shape will change. form can be shaped by the collaboration between an envelope and the active context in which it is situated“
Pg: 10, para 1, line 03
Princeton architectural press, New york: Animate form
ANimate form
Greg lynn
Act 1
En-framing
The act opens up the presentation with a sheer reminder that we as designers with the current tools we possess design a space in frames. A derivative of strict and rigid cartesian system. What we are actually designing is a 2d frame of the space on a picture system machine.
The act plays footage from actual craftmanship moments creating an object in an environment revealing a reciprocal relationship with its context and mode of information.
Introducing multi-surface projection on inflatable surfaces with static visuals that illustrate the current cartesian coordinate system of framing used by existing tools prosing limitations to interact with the “material energies” of our environment.
It is difficult to overstate just how much both the architect and the people who use a building’s spaces rely on walls and surfaces to define what we refer to as architecture. Sketching with lines, making models with blocks, and then realizing those representations with solid masses of steel, stone, wood, and concrete is our fundamental method of operation.
Above: Carl Lostritto, computational drawing: depth cues , pg: 224
“One of architecture’s primary acts is to define the spatial boundaries that organize and hold specified activities within them. The behavioral properties of the materials used to make that boundary not only influence the physical characteristics of that space (maximum height, span, aperture sizes), but also determine how the human body perceives and senses those boundary changes (opacity, transparency, acoustics), which then informs the behaviors and movements of the individuals using the space. This definition of boundaries is one that architects have continually tested and subverted as new materials, construction methods, and social trends have emerged over the centuries. It follows that if energy could be controlled and deployed as physical boundaries that define and organize spaces that the human body can detect and recognize, wouldn’t that be architecture? .“
Pg: 14, para 2, line 15
The Air from Other Planets: A Brief History of Architecture to Come (Lars Müller), architect I SIA, FAAR Sean sally
Act 2 Matter and form
The act positions the dialogue with an animation expressing the relation of matter as a seperate material logic in relation to form which is dependent on the method of synthesis and mode of translation
The act plays animation on the physical surface depicting difference between matter and form which is usually kept hidden by the existing tools of design
The animation borrows from the botanical theory in the book “The matamorphosis of plants” by johann Wolfgang Von Goether and “A treatise on the kaleidoscope” by David Brewster in 1819 experiments on polarization and refraction of light.
Above:
In real life, 2019: Olafur Eliasson, Tate Modern London
Above figure:
Enteroendocrine cells connect to sensory neurons. Time-lapse sequence showing how a single Cck-GFP enteroendocrine cell (green) connects to a sensory neuron
“Satiety and other core physiological functions are modulated by sensory signals arising from the surface of the gut. Luminal nutrients and bacteria stimulate epithelial biosensors called enteroendocrine cells..“ Despite being electrically excitable, enteroendocrine cells have the necessary elements for neurotransmission, including expression of genes that encode pre-, post-, and transsynaptic proteins. This neuroepithelial circuit can serve as both a sensory conduit for food and gut microbes to interact with the nervous system “
A gut brain synapse; BOHÓRQUEZ DV, SHAHID RA, ERDMANN A, KREGER AM, WANG Y, CALAKOS N, WANG F, AND LIDDLE RA. 2015. NEUROEPITHELIAL CIRCUIT FORMED BY INNERVATION OF SENSORY ENTEROENDOCRINE CELLS. J CLIN INVEST 125(2):782-786.
Center of gastrointestinal biologydr diego bohorquez
Act 3 INTERDEPENDENT MORPHOLOGY
The act becomes immersive with the help of HMD displays “vision pro” where the mediator gets to interact with the “data receptors + data inhabitors” as a 3d objects in a passthrough mode.
These data receptors are supposedly in the form of Sensory “Epithelial cells” which morphs their shape based on your medium of interaction.
Ex: Interacting with how loud you speak will create more noise in its structure, interaction with the touch will stretch and compress its form, interacting with your eyes will make it move.
The interactions explores interdependency of data as a network of relations to morph in order of any magnitude. in constantly constructing and de-constructing our current reality system.
These sets of actions within the interaction are labelled in the virtual space and transmitted to the HTTP server
P1 (physical space)
Phase/A_Designing vision_os application
The act concludes with the interface design of the tool showcasing potential of interacting with the “material energies” of an environment
The final artwork is projected using the short throw projectors on the physical surface changing in real-time based on your interactions inside the vision pro headset forming a feedback loop to collapse the digital space with the physical space
Any action in the virtual space has a reaction in the physical space
The presentation ends with a set of questions that the thesis proposes to the discourse.
Phase/A.1_Designing vision_os application
Phase/A.2_Designing vision_os application
Phase/A.3_Designing vision_os application
Phase/A.4_Designing vision_os application
Phase/A.5_Designing vision_os application
Phase/A.6_Designing vision_os application
Ronnie Chaudhary, M.Arch II
Ronnie “Raunak Chaudhary” Thesis Adviser: Hernan Diaz Alonso
Setting up the Http and websocket connection
Phase/ C_1 visual scripting with audio inputs
Phase/ C_2
visual scripting with audio inputs
Phase/ D_1 visual scripting with audio inputs
Phase/ D_2
visual scripting with audio inputs
Chaudhary, M.Arch
Phase/ f surface projection/ visual design
“Yves Klein’s Fire Column is a starting point for defining material energies as building blocks for architectural construction. The material energies here sit within a new progression of symbolic column orders and have their own proclivities and material properties that inform architectural shape and aesthetics.“
Pg: 190, para 1: The Air from the other planets & Klein archive
Yves Klein: The Fire at the Heart of the Void
“Variables generally associated with a garden, including light, temperature, scent, air velocity are uniquely controlled in each of the siz units in an attempt to produce distinct microclimates in and around those shapes.”
A building defined by energy would have to change shape to accomodate shifts in the surroundings, much as a flame flickers when the wind blows.
Istanbul design Biennial
Sean lally’s: Amplification, simulations: Weathers
Each key on a traditional organ was rigged to “play” a particular part of the building, triggering rods that tapped girders or electrical currents that powered HVAC equipment.
On one level, people would experience the materiality and acoustics of the buildings in an unprecedented way. Who, after all, actively considers the musical key of the ceiling fan, or the timbre of the water pipes?
Battery Maritime Building, New York City
Playing the building, 2005
David bryne’s:
Bentonite mixed with water in aluminum-and-glass vat, with sound-activated compressed-air system and control console
48 x 108 x 144 inches (121.9 x 274.3 x 365.8 cm)
MOMA, New York
engineers
Robert Rauschenberg with
Carl Adams, George Carr, Lewis Ellmore, Frank LaHaye, Jim Wilkinson. Mud Muse. 1968-1971
Oosterhuis, Kas, and Lukas Feireiss. The architecture co-laboratory: Gamesetandmatch II: On Computer Games, advanced Geometries, and Digital Technologies. Rotterdam: Episode Publishers, 2006.
Bratton, Benjamin H. The stack: On software and Sovereignty. Cambridge, MA: The MIT Press, 2016
Citations
“Creating Your First Visionos App.” Apple Developer Documentation. Accessed August 30, 2024. https://developer. apple.com/documentation/visionos/creating-your-first-visionos-app/.
Jørgensen, Kristine. Gameworld interfaces. Kristine Jørgensen. Cambridge: The MIT Press, 2014
Park, Jae-Hyeung, and Byoungho Lee. “Holographic Techniques for Augmented Reality and Virtual Reality Near-Eye Displays.” Light, March 30, 2022. https://www.light-am. com/article/doi/10.37188/lam.2022.009.
Lynn, Greg, and Qing Lan. Greg Lynn form. Shijiazhuang Shi: Hebei jiao yu chu ban she, 2006
Van Schaik, Leon, SueAnne Ware, Colin Fudge, Geoffrey London, and Ian Nazareth. The practice of spatial thinking: Differentiation processes. New York: Actar, 2020.
Seffah, Ahmed, and Homa Javahery. Multiple user interfaces: Cross-platform applications and context-aware interfaces. Hoboken, NJ: J. Wiley, 2010
Lostritto, Carl. Computational drawing: From foundational exercises to theories of representation. Novato: ORO Editions, 2023 Campagna, Federico, and Timothy Morton. Technic and magic: The Reconstruction of Reality. London: Bloomsbury Academic, 2021.
“Playing the Building In Short.” David Byrne. Accessed August 30, 2024. https://davidbyrne.com/explore/playing-the-building. Kipnis, Jeffrey, and Annetta Massie. Mood river. Columbus, OH, New York: Wexner Center for the Arts ; Distributed by Distributed Art Publishers, 2002
Lynn, Greg. Animate form. New York: Princeton Architectural Press, 1999.
Perec, Georges, and John Sturrock. Species of spaces and other pieces. London: Penguin Books, 2008.
Ji, Qinglin, Huan Deng, Hanle Zhang, Wenhao Jiang, Feiyan Zhong, and Fengbin Rao. “Optical See-through 2D/3D Compatible Display Using Variable-Focus Lens and MultiArmstrong, Helen. Digital Design theory: Readings from the field. NY, NY: Princeton Architectural Press, 2016.
Klanten, Robert. Data flow 2: Visualizing Information in graphic design. Berlin: Gestalten, 2010
“Not a Typical Mud Bath: Robert Rauschenberg’s Love Affair with Technology.” SFMOMA, November 26, 2018. https:// www.sfmoma.org/read/not-typical-mud-bath-robert-rauschenbergs-love-affair-technology/#:~:text=Created%20 in%20collaboration%20with%20engineers,to%20a%20specific%20viscosity%20that.
“A Gut-Brain Synapse.” The Bohórquez Lab. Accessed August 30, 2024. https://gutbrains.com/articles/a-gut-brainsynapse/. Bohórquez DV;Shahid RA;Erdmann A;Kreger AM;Wang Y;Calakos N;Wang F;Liddle RA; “Neuroepithelial Circuit Formed by Innervation of Sensory Enteroendocrine Cells.”
“Building an Immersive Media Viewing Experience.” Apple Developer Documentation. Accessed August 30, 2024. https://developer.apple.com/documentation/visionos/
Credits
Thesis Advisor: Hernan Diaz Alonso
Special Thanks: Sreedath Panat (MIT), Ade Ayoade, Matthew Ragan, fred Ge, Prakash Mangalaram, Ana Estarita, Evan tedlock, Austin Lighte, Devin Weiser, Marcelyn Gow, Nicolas Amarelle and his team, Arman Atoyan, Damjan Jovanovic, Erik Ghenoiu, Joe Day, Nikhil Chaudhary and my family
