CYBERTECTURE - Schumacher Studio - AADRL by Stefan-Tzon Manousof

CYBERTECTURE Cyber-Urban Incubator

THESIS PREP PATRIK SCHUMACHER STUDIO

CYBER-URBAN INCUBATOR

CYBERTECTURE PROTOTYPING WORKSHOP

STEFAN TZON MANOUSOF | QI YANG | AMIN YASSIN | YANG YU 2020 | 2022 PHASE II

CYBERTECTURE Cyber-Urban Incubator

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CYBERTECTURE Cyber-Urban Incubator

CYBERTECTURE PATRIK SCHUMACHER STUDIO

CYBERTECTURE Cyber-Urban Incubator

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“CYBERSPACE: A NEW UNIVERSE, A PARALLEL UNIVERSE CREATED AND SUSTAINED BY THE WORLD’S COMPUTERS AND COMMUNICATION LINES. A WORLD IN WHICH THE GLOBAL TRAFFIC OF KNOWLEDGE, SECRETS, MEASUREMENTS, INDICATORS, ENTERTAINMENT, AND ALTER-HUMAN AGENCY TAKES ON FORM: SIGHTS, SOUNDS, PRESENCES NEVER SEEN ON THE SURFACE OF THE EARTH BLOSSOMING IN A VAST ELECTRONIC NIGHT.” CYBERSPACE: FIRST STEPS MICHAEL BENIDIKT

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CYBERTECTURE Cyber-Urban Incubator

ARCHITECTURAL ASSOCIATION London UK 2020-2022 DRL Architecture and Urbanism (MArch) PROGRAM DIRECTOR Theodore Spyropoulos PATRIK SCHUMACHER STUDIO COURSE MASTERS Patrik Schumacher Pierandrea Angius STUDENTS Stefan Tzon Manousof (Greece/USA) Qi Yang (China) Amin Yassin (Israel) Yang Yu (China) 5

CYBERTECTURE Cyber-Urban Incubator

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00 INDEX ABSTRACT

01 THESIS PREP 1.1 Studio Brief 1.2 Thesis Statement 1.3 Incubator Networking 1.4 Parametric Design

11 12 14 16 17

02 THESIS RESEARCH 2.1 Virtual Online Platforms 2.1 Modern Work Space and Office Buildings 2.3 Apparatus / Technological Tools

23 25 33 43

03 DESIGN PHILOSOPHY 3.1 Envision 3.2 Architectural Inspirations 3.3 Design Objectives

47 48 50 54

04 CYBER-PHYSICAL INTERRELATION 4.1 Interrelation Types 4.2 Digital Twin 4.3 Space Expansion

57 58 62 68

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CYBERTECTURE Cyber-Urban Incubator

00 INDEX 05 DESIGN CONCEPT

06 SITE ANALYSIS

07 BUILDING MASSING

113

08 INTERIOR ORGANIZATION

177

09 VIRTUAL INTERACTION

239

10 VIRTUAL DOMAIN

267

11 CYBER-PHYSICAL PROTOTYPES

281

12 PRESENTATION TRANSCRIPT

309

BIBLIOGRAPHY

325

CYBERTECTURE Cyber-Urban Incubator

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CYBERTECTURE Cyber-Urban Incubator

ABSTRACT The emergence of COVID-19 has drastically altered social interactions, shifting them towards a model of distant communication. One of the most highly affected areas of this transition is the working environment, where the main challenge is to preserve the same level of communication in the new remote circumstances. For this, numerous video-conferencing applications are being used, however, the existence of multiple three-dimensional cyberspace platforms hints at a more functional and efficient virtual interaction. The post-COVID era is estimated to attain the elements of remote working, combining them into a hybrid model of “going to the office” and “working from home”. Accepting the benefits of the remote model allows for the expansion of a necessary approach towards the virtual world and its relation to the physical world. For this reason, the future of cyberspace holds a swift sophistication of the virtual, the development of which will be highly influenced by architects. CYBERTECTURE introduces the innate exploration of a cyber-urban incubator, a space where both the tangible and intangible worlds meet, interact, and expand, aiming to create a highly fluid and productive working environment. Ultimately, this environment generates and evolves start-up companies, fundamentally propelled by complex communication systems. The association and relationship between the real and the virtual are a crucial aspect of this new working incubator, therefore, the analysis and understanding of inter-world collaboration scenarios has been a key driving factor of the project. The research makes use of the spatial complexity that arises from a hybrid set of systems, conclusively defining new levels of communication and flexibility that the conventional, physical workspace lacks. This hybrid scheme is achieved through the designs of various systems at different scales, both physical and virtual, ranging from human-scale furniture to urbanscale structures, allowing them to correlate and grant agency to users.

Title Cybertecture Cyber-Urban Incubator Names Yang Yu Stefan Tzon Manousof Amin Yassin Qi Yang Patrik Schumacher Studio 2020-2021 Course Masters Patrik Schumacher Pierandrea Angius DRL Architecture an Urbanism (MArch) Architectural Association London UK September 2021

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Image 1. Globe. From Technology.org website. https://www.technology. org/2013/07/24/couldcassiniseeyou-on-the-day-theearthsmiled/

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CYBERTECTURE Cyber-Urban Incubator

01 THESIS PREP 1.1 Studio Brief 1.2 Thesis Statement 1.3 Incubator Networking 1.4 Parametric Design

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1.1 STUDIO BRIEF Thesis

The space of social communication after Covid-19 should be designed simultaneously as both real and virtual navigation and communication realms, as cyber-urban spaces, seamlessly integrating physically immediate and digitally mediated communicative interactions, constituting a new augmented mixed reality. The matrix is coming.

Premise: All Design Is Communicative Framing

The life process of society is a communication process that is ordered via rich typology of communicative situations. It is the designed environment, both physical and digital, that distributes, frames, stabilizes and coordinates these distinct situations and unfolds them within a designed order that allows us to self-sort as participants of various specific social interactions. The designed spaces – real or virtual - are themselves communications: they are communications that define, premise and prime the communicative interactions that are expected to take place within the respectively framed territory. Designing is communicative framing. This insight is made here the explicit premise and agenda for a systematic design research project that bridges architecture and virtual interaction design.

Current Social and Technological Condition

In our post-covid-19 world work environments will have to be seamlessly connected up with the virtual communication spaces for those who will participate remotely rather than via physical co-presence. We will increasingly see mixed meetings where multiple real and multiple virtual participants join a single communication event. The design of these virtual communication spaces will increasingly become the domain of architects rather than of mere graphic designers. This is where a lot of the architectural action and innovation will be happening in the coming period. Any design project in this space involves all of the three parts of the architect’s project distinguished in ‘The Autpoiesis of Architecture’: the organizational project, the phenomenological project and the semiological project. The semiological project is crucial: While all urban spaces are never only mere physical containers that carry and channel bodies but always already also information-rich navigation and semantically tagged interaction spaces, this information-rich, semantic charge and communicative capacity is the very essence of all cyberspaces. As communication and collaboration moves into the digital domain utilizing tools like Zoom, communication events must be scheduled and the opportunities for unscheduled, informal encounters and exchanges are lost. In virtual conferencing worlds like Confer-O-Matic informal encounters and spontaneous fringe activities become possible again. In a spatially rather than graphically structured internet navigation and event framing, the events become more layered and dynamic, increasing inter-visibility and allowing for dynamically shifting hierarchies within the scene, in contrast to the static page lay-outs of web-sites or the static grid of faces or letters identifying participants in tools like zoom. The 1990s conception of the web as cyber-space can now we realized via technology transfer

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CYBERTECTURE Cyber-Urban Incubator

The Cyber-Urban Incubator

The new computationally empowered economy implies a shift from routine work to intensely collaborative work patterns. Nearly all work becomes creative work like R&D, media & marketing, and finance, together feeding the world of robotic fabrication and software as service. This implies a momentous intensification of communication and collaboration. Agglomeration economies and co-location synergies motivate urban densification, allowing for the roaming exploration of social spaces, affording unplanned and unexpected, but never wholly random, encounters. Start-up culture will further proliferate in this historical trajectory. Co-working and incubator spaces will make up an increasing part of the urban fabric, interlaced with education and spaces for a more freewheeling networking and socializing. The idea on a Cyber-Urban Incubator is proposing to double up these urban realms with corresponding virtual realms, not as digital twin replicas but as congenial extensions with their own laws of navigation, encounter and interaction but integrated via spatial interfaces and via a unified spatio-visual language as integrated system of signification. Physical spaces will afford windows into virtual spaces where the semiology is the same and the logic of gathering and communicating is similar enough to allow for the transfer of competencies from the real to the virtual realm. Inspiration is drawn from ‘metaverses’ like ‘decentraland’ and ‘Somnium Space’, playful social VR environments that are inhabited via avatars and allow for virtual land ownership, virtual construction, and economic transactions. However, the Cyber-Urban Incubator is not such a free-for-all playing field but a designed high-performance working environment for curated clusters of creative start-up companies. Patrik Schumacher

CYBERTECTURE Cyber-Urban Incubator

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1.2 THESIS STATEMENT The Cyber-Urban Incubator is both a physical and virtual high-performance working environment, one that demands a fluid, ever-changing layout that promotes the exchange of knowledge, professional interactions, and socialization. As effective space design provides the frame of communication scenarios, the added virtual, spatially designed aspect of the Incubator, aided by the evolution of technological apparatuses, extends the possibilities of interactions, and provides an alternative basis for the formal challenge of conventional space layouts and operations. The research and functional comprehension of existing cyber platforms, in terms of communication frames and cooperation, is key and provides a fundamental basis of future explorations, in addition to the technological devises and the methods of data collection, transmission and projection between the real and cyber universe. Furthermore, the distinction of the spatial and operational connection and relationship between physical and remote participants is of crucial significance. It can be categorized into three distinct groups, “virtual twins”, where sections of the real and virtual worlds act as synchronized replicas, “space extensions”, where the boundary of one universe serves as a window to the other, and “remote controlled kinetic telepresence”, where elements of the physical world are controlled and navigated from distant users. Under this relationship, the Incubator’s virtual aspect creates extra fields of exploration in all parts of the ‘Autopoiesis of architecture’. The organizational, phenomenological, semiological and dramaturgical aspects are analyzed and designed from both physical and virtual perspectives, aiming at a coherent but also distinguishable outcome. The main goal is the design of a single project comprised by two highly-linked but separate and legible components, the physical and virtual world, that utilize their strengths, but still underline the homogeneity of the Incubator.

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CYBERTECTURE Cyber-Urban Incubator

Image 2. VR headset. From Future Architecture website. https://futurearchitectureplatform. org/ projects/47d38dcc-ae71-4b77-94378d53b6599929/

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1.3 INCUBATOR NETWORKING Modern day society and economy demands a worldwide momentous intensification of communication and collaboration, which implies that the role of technology is becoming increasingly important. As the interactions keep on densifying, the formal explorations of social spaces of serendipitous, but never completely random, encounters keep on broadening. Additionally, cutting edge technology has altered the conventional work methods, creating new modes of cooperation, and stimulating distant communication between people. Within the Cyber-Urban incubator curated groups of start-up companies can set their foundations and expand their horizons, capitalizing on the dense network of communication and collaboration provided. These networking systems operate on the basis of innovation, decentralization, flexibility and adaptability, which become more complex as the number of network nodes increases. The final design proposal needs to incorporate these aspects and reflect the diverse, dynamic and adjustable communication densities within the built environment, creating high-performance designed spaces that push innovative ideas to their limit, in terms of the layout combined with technological utilization.

Image 3. Networking organization From Patrik Schumachers in class semiology lecture

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CYBERTECTURE Cyber-Urban Incubator

1.4 PARAMETRIC DESIGN The rise of computers and later on the internet, has seen the rapid development of virtual worlds, either through gaming, social or business collaboration platforms, the domains of which allow the connection and interaction of users from all corners of the world. The core aspect of cyberspace is the embodiment of data into its constituents, something that complies well with the semiological notion of space not being a simple physical envelope that carries and channels bodies, but a data overflowed universe that communicates with the users, sets the types of interactions and creates the rules of participant existence. CYBERTECTURE takes advantage of this virtual environment which provides an excellent field of application of the key principles of parametricism as stated in the “Autopoiesis of Architecture” (organizational, phenomenological, and semiological aspects), the last of which is tasked with expressing the by default informationrich nature of virtual worlds into a more intuitive architectural language. The use of parametric modeling procedures enables the importation of this vital information into the design generation phase, resulting in a multi-author urbanism model that is simultaneously complex, legible and sophisticated.

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Project Aspects “THE BUILT ENVIRONMENT, WITH ITS COMPLEX MATRIX OF TERRITORIAL DISTINCTIONS, IS A GIANT, NAVIGABLE, INFORMATION-RICH INTERFACE OF COMMUNICATION.” Schumacher Patrik [2016] “Advancing Social Functionality Via Agent-Based Parametric Semiology” in AD Parametricism 2.0

Communication is the premise of all design, the rich typological elements of design set the behaviour and interaction frames of those present. Whether in a working environment, educational institution or any other social space, communication is the basis of people’s cooperation. The role of architecture is to set spatial arrangements that reflect the social organization, as well as provide the necessary information to the users throughout their journey, such as navigational orientation and behavioural indications. To this end, spatial legibility is a crucial element of space as it is the primary medium that signifies the social meaning of space. Consequently, both the semiological and phenomenological aspects of user experience are core elements of this research. Additionally, the existence of a virtual counterpart creates the need for the exploration of the dramaturgical aspect of the project, as it sets in motion the interaction design research which can then be extended to the physically built environment.

Phenomenology

Phenomenology is the social theory study that is intensely concerned about the way the world appears to the person experiencing it. From an architectural point of view, this can be directed towards the spatio-visual experience of the users and the way this perceptual information is narrowed down to identifiable components of communication. Its tight association to space results in the high significance of the relative positioning of the participant and the object. The potential of different user placement providing divergent perceptual experience results provides an engaging field of design research and is a driving factor for this project.

Image 4. Heizer’s City. From Mythos And Monumentality: Michael Heizer’s City Stands Unseen In The Nevada Desert. https://www.ignant.com/2019/05/16/ mythos-and-monumentality-michaelheizerscity-stands-unseen-in-thenevadadesert/ 19

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Semiology

THIS SPACE IS AVAILABLE YOU CAN BEHAVE INFORMALLY (MORE TO COME)...

THIS SPACE WILL BE AVAILABLE YOU MUST BEHAVE FORMALLY (MORE TO COME)...

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CYBERTECTURE Cyber-Urban Incubator

Dramaturgy

All design is user interface and user experience, and cyberspace is highly involved with both topics. The dramaturgical aspect of the project emphasizes on user interactions and the responsive, spontaneously created spatial environments generated by the interaction inputs. Virtual domains capitalize on these properties due to their flexible and adaptable capabilities and provide a perfect field for dramaturgical research. Additionally, since the Cyber-Urban Incubator is consisted by highly linked real and virtual domains and cyberspace is by default focused on user interactions, the applications of the dramaturgical aspect are naturally pushed toward the real world, a field in which it hasn’t seen much involvement yet, through the use of kinetic, robotic and AI empowered built environments.

CYBERTECTURE Cyber-Urban Incubator

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02 THESIS RESEARCH 2.1 Virtual Online Platforms 2.2 Modern Work Space and Office Buildings 2.3 Apparatus / Technological Tools

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2.1 VIRTUAL ONLINE PLATFORMS Technological progress has led to the development of virtual platforms geared toward long distance contact. Some of these, such as Zoom, provide simple, static, video conference call communication, while other more advanced ones, produce an environment that promotes higher quality interactions and cooperation, via designed, immersive cyberspaces, that provide tools and technical support for easier and more effective collaborations. COVID-19 has resulted in the rise of remote work and education, a fact that is expected to last beyond the end of the pandemic thus, these platforms will continue to be developed and enhanced in the post COVID-19 era. For the purpose of this studio, research and study on existing online communication applications was conducted, aiming at a deeper comprehension of the connection between real and cyber space. This chapter will highlight the most relevant case studies that provide crucial information on the function of virtual environments.

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Second Life (Educational Space)

PRODUCER

Second Life is a vast virtual platform created for social purposes that allow players to set up their own venues, so they can create meeting spaces with a variety of functions. For example, in this wrap-around workshop space, the conference host can speak in the center and the participants can listen around. Everything in Second Life is designed or programmed from scratch by users.

Linden Lab

PLATFORM Mac OS X, Microsoft Windows

YEAR 2006

FUNCTION Social activities

USERS NUMBER Unlimited

REQUIRES PC / VR

USER DEPICTION Avatars

Image 5. Second Life http://slnewser.blogspot.com/2017/03/

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CYBERTECTURE Cyber-Urban Incubator

MeetingVR

MeetinVR focuses on virtual working, collaborating and meeting experience that mixes cyber with real-life environments and users, in high definition visual quality that augments human interactions through accurate body tracking, illustrating natural motion gestures and eye contact. Additionally, MeetinVR offers a variety of virtual rooms, also found in a typical office building, such as lecture halls, seminar and workshop rooms etc.

PRODUCER MeetingVR Team

PLATFORM Mac OS X, Microsoft Windows

YEAR 2016

FUNCTION Business meeting

USERS NUMBER Small Groups

REQUIRES PC / VR

USER DEPICTION Image 6. MeetinVR https://dkonline.2021clearancesales. com/content?c=meet%20in%20vr&id=8

Avatars

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Vspatial

PRODUCER

VSpatial provides a virtual working environment, giving access to a Virtual Reality multi-monitor customizable setup that allows users to work efficiently from anywhere. Via this online platform, users can create complex, flexible, and immersive office environments. The system can operate any software while, it additionally allows to host collaboration meetings, where the participants are depicted either as avatars or through web cameras.

vSpatial, Inc.

PLATFORM Mac OS X, Microsoft Windows

YEAR 2016

FUNCTION Business meeting, individual work

USERS NUMBER Small Groups / Individuals

REQUIRES PC / VR

USER DEPICTION Avatars / Web Camera

Image 7. Vspatial https://www.vspatial.com/

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Burning Man 2020

Burning Man is a festival focused on community, art, self-expression, and self-reliance held annually in the United States. The 2020 version of the event was held online due to the ongoing pandemic. The event derives its name from its culmination: the symbolic burning of a large wooden effigy, referred to as the Man, that occurs on the penultimate night of the festival. The significance of this case study lies in the fact that the construction had already began when it was forced to transfer to the virtual world thus, it consists one of the few examples where it has both physical and virtual venues that correlate to each other.

PRODUCER Burning Man Project

PLATFORM Mac OS X, Microsoft Windows, mobile devices

YEAR 2020

FUNCTION Social activities

USERS NUMBER Unlimited

REQUIRES PC / VR

Image 8. Burning Man https://journal.burningman. org/2020/04/burning-man-arts/

USER DEPICTION Avatars

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Image 9. Asian Sky Group Virtual Exhibition and Conference https://www.asgvec.com/

Image 10. Asian Sky Group Virtual Exhibition and Conference https://www.asgvec.com/

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CYBERTECTURE Cyber-Urban Incubator

Asian Sky Group Virtual Exhibition And Conference (Asgvec) 2021

The ASGVEC is a virtual conference that took place in September 2021, featuring exhibit halls, vendor booths and a conference, and was a response to numerous in-person trade shows being canceled.

PRODUCER Asian Sky Group

PLATFORM Mac OS X, Microsoft Windows

YEAR

The event was hosted in an environment created in Unreal Engine and did not require headgear, making it accessible to everyone. The main selling point of the exhibition were the full size 3D photo-realistic aircraft models, which visitors could roam freely around and even take tours inside them. The employment of spatial sound was another crucial aspect, where noises would decay naturally with distance. The use of dynamic semiological elements, such as blue “electric fences”, that signify private and personal areas are of particular interest for this studio. The venue was considered a success by the hosts, as it provided a similar experience for a fraction of a cost.

2021

FUNCTION Exhibition and Conference

USERS NUMBER Unlimited

REQUIRES PC

USER DEPICTION Avatars / Web Camera

Image 11. Asian Sky Group Virtual Exhibition and Conference https://www.asgvec.com/

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2.2 CONTEMPORARY WORKING SPACES Working environments are a vital part of every business, as they need to provide functional outcomes that answer the current challenges and needs. As careers are in constant flux and the market and technology are continuously evolving, the office needs to adapt in order to keep competitive levels of productivity and efficiency. As we are slowly moving away from the Information and, arguably, entering the Experience Age, contemporary organizations and layouts need to reflect both, on one hand emphasis is placed on the production, communication and transfer of knowledge and on the other experiences will be available for everyone to perceive, through the use of technological devices. In this sub-chapter the case study of “Googleplex”, the corporate headquarters complex of Google, designed by Clive Wilkinson architects, will be presented. In addition, some key elements of the text titled “The 12 building blocks of the new workspace” will be mentioned. Published by the same author, this handbook attempts to predict the post pandemic return to the office and how architects can proactively approach the new circumstances.between real and cyber space. This chapter will highlight the most relevant case studies that provide crucial information on the function of virtual environments.

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Googleplex Headquarters

ARCHITECT Clive Wilkinson architects

In 2004, tech giant Google, selected Clive Wilkinson architects to design a diversified campus environment, integrating highly focused software engineering workspace within a support system of learning, collaboration, recreation, and food facilities. The existing site was composed by four existing buildings and the architects were assigned to connecting them into one community.

YEAR 2005

AREA 180.000 Sq. Ft.

LOCATION Mountain View, California

The main design vision was the incorporation of workspaces with areas more commonly functionally associated to educational environments, loosely resembling university structures. By applying this logic to the building’s organization, the company aimed at promoting a new way of working that maintained an edge, reflecting ideas and attitudes that describe the company, such as individuals setting out goals for conceiving, investigating and achieving the impossible. In this unique working environment, which resembles a campus, the employees have the option of selecting work styles and environments, either as individuals or groups. These spaces range from more conventional office desks, to hot-desks and open plan configurations of furniture, all providing a plethora of working options. Within the direct vicinity of these workplaces, supplementary areas that meet basic work/life needs are located. Here workers can also encounter fellow co-workers for casual conversations, that promote the sense of the community, which can lead to powerful results. In addition to the “tech-talk” and formal lecture areas, which are positioned for organized teaching sessions, numerous white boards and sketch surfaces are located adjacent to the “main street”, promoting fruitful conversations on serendipitous encounters.

Image 12 & 13. Google Headquarters by Clive Wilkinson Architects https://clivewilkinson.com/portfolio_ page/google-headquarters/

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The next step involved the conceptualization and design of 13 distinct environments, which once again resembled areas associated to a college campus. These spaces were further categorized based on a hot/cold diagram, hot meaning public and active zones, while cold being private and secluded. The organization layout follows a simple allocation of work neighborhoods along a “main street”. All shared resources are located along this street, and range from meeting rooms, to tech talk spaces, to microkitchens and library lounges. The end result of providing designed outcomes that covers both individual and group work offers the best of all possibilities, one that promotes both individual and collective ambitions. Additionally, the combination of work spaces with leisure and social areas provides a boost in efficiency and productivity.

Image 14 & 15. The 12 Building Blocks Of The New Workplace study. https://clivewilkinson.com/the-12building-blocks-of-the-new-workplace/ 36

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2.2.1 The 12 Building Blocks Of The New Workplace

ARCHITECT Clive Wilkinson Architects

YEAR 2021

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The users of the new workplace are divided into three groups: the ‘Anchors’, ‘Connectors’ and ‘Navigators’. The first group are people that regularly go to the office (4-5 times per week), the second are the hybrid workers (2-3 times per week) and the last are users that rarely visit the office. The new workplace is required to respond to all three of these user groups and a link is made between the type of user and the hot/cold diagram which they are better suited for. Frequent users generally require colder areas to conduct their work, while ‘Navigators’ need hotter, since they mostly focus on collaborations and meetings.

The complex relationship between the different types of users, the activity levels of spaces and the overall structure and mentality of each business requires solutions that are adapting to evolving organizations as the future of workspaces is rather difficult to predict. As a solution and as a final part of the handbook, the 12 Building Blocks are presented, which are sorted into three groups based on their activity level: active, transitional and inactive. Some of these Blocks have played a influential role in the development of this project, such as the Plaza, the Pitch Room, the Avenue and the Booth, and are generally conceived as more complex forms and groups of elements seen in conventional offices, while some recommendation is given on how these parts can connect on a plan. For instance, the Avenue is not just a hallway, but a main circulation system that expects and is equipped for creative, serendipitous encounters that promote successful collaborations. For this reason, Booths are located adjacent to the Avenue, where these random encounters can flourish. Last but not least, recommendations are also given for remote participant communications, which is highly relevant to the topic of this studio.

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Image 16 & 17. The 12 Building Blocks Of The New Workplace study. https://clivewilkinson.com/the-12building-blocks-of-the-new-workplace/

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Image 18 & 19. Google Charleston East by Heatherwick and BIG architects. http://www.heatherwick.com/project/ google-charleston-east/

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2.2.1 Googleplex Headquarters In 2004, tech giant Google, selected Clive Wilkinson architects to design a diversified campus environment, integrating highly focused software engineering workspace within a support system of learning, collaboration, recreation, and food facilities. The existing site was composed by four existing buildings and the architects were assigned to connecting them into one community.

ARCHITECT Bjarke Ingels Group Heatherwick Studio

YEAR 2013 (In progress)

AREA 1.100.000 Sq. Ft.

LOCATION

Mountain View, California

In this unique working environment, which resembles a campus, the employees have the option of selecting work styles and environments, either as individuals or groups. These spaces range from more conventional office desks, to hot-desks and open plan configurations of furniture, all providing a plethora of working options. Within the direct vicinity of these workplaces, supplementary areas that meet basic work/life needs are located. Here workers can also encounter fellow co-workers for casual conversations, that promote the sense of the community, which can lead to powerful results. In addition to the “tech-talk” and formal lecture areas, which are positioned for organized teaching sessions, numerous white boards and sketch surfaces are located adjacent to the “main street”, promoting fruitful conversations on serendipitous encounters.

CYBERTECTURE Cyber-Urban Incubator

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Image 20. VR Headset. https://www.dirac.com/in-hifivirtualrealitymight-be-better-than-reality/

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2.3 COMMUNICATION TECHNOLOGIES In addition to the research of the existing online interaction environments, the exploration of communication technologies also took place, i.e. technological devices that bring people together. These devices consist the main connecting tools, the analysis of which is crucial for the comprehension of the limits of modern-day technology. These apparatuses are characterized by the simple function of continuous and simultaneous data collection and projection. This section focuses on the overview of the different devices and technologies, as well as highlighting each ones key functions.

DATA COLLECTION _LOCATION _MOTION TRACKING _SOUND

FROM “PHYSICAL” TO “VIRTUAL”

DATA PROJECTION FROM “VIRTUAL” TO “PHYSICAL”

CYBERTECTURE Cyber-Urban Incubator

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From a technological point of view, the function of the devices involved in this interaction can be narrowed down to the simple steps of data collection, transmission and projection. Some of the studied devices include Augmented and Virtual reality glasses, holograms, screens, motion tracking systems etc.

01_HYBRID TECHNOLOGIES

SMARTPHONE

AR GLASSES

VR GLASSES

02_DATA-PROJECTION TECHNOLOGIES

PROJECTION

SPEAKER

SCREEN

HEADPHONES

HOLOGRAM

03_DATA-COLLECTION TECHNOLOGIES

MIC

CAMERA

JOYSTICK

GPS TRACKER

MOTION TRACKING

SPACE SCANNER

ROBOT

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Image 21. Screen Touch. https://techpenny.com/do-smarttvshave-touch-screens/

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DESIGN PHILOSOPHY

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03 DESIGN PHILOSOPHY 3.1 Envision 3.2 Architectural Inspirations 1.3 Design Objectives

CYBERTECTURE Cyber-Urban Incubator

DESIGN PHILOSOPHY

3.1 ENVISION A crucial part of the exploration of real and virtual domains is the distinctions of the capabilities of each and the capitalization of their strengths. To this end, the boundless nature of cyberspace creates a unique and creative opportunity, described by unparalleled levels of spatial flexibility and adaptation. The expansion and contraction of purely virtual spaces is only limited by computing power, easily achievable by todays standards as proven by online gaming platforms. Additionally, the highly customizable quality of cyberspace extends the possibilities of a decentralized, bottom up, userinfluenced and ever evolving outcome, both in terms of layout configurations and User Interface.

THE BOUNDLESS NATURE OF THE CYBERSPACE

DESIGN PHILOSOPHY

CYBERTECTURE Cyber-Urban Incubator

CYBERTECTURE does not refer solely to either real or virtual space but aims at connecting them together, linking the emerging virtual domains with architecture. Through spatial design, a corresponding virtual space is established on top of the real one, directly linking physical and cyber domains. The unique features of cyberspace drive the design process, setting into question conventional architectural approaches and layouts. To this end the main research question is: How do the qualities of cyberspace expand the possibilities of architecture when directly linked with it?

CYBERTECTURE Cyber-Urban Incubator

DESIGN PHILOSOPHY

3.2 ARCHITECTURAL INSPIRATIONS Tianjin EcoCity Ecology and Planning Museums

The Tianjin EcoCity Ecology and Planning Museums played an important role in the conceptualization of the project in its initial stages. It is comprised by two different volumes that complete each other into a perfect rectangle. This element binds them together, creating a clear link and establishing their unity into a single project. This building kick-started the research of the relationship of the physical and virtual domains and their spatial implications.

Image 22. Tianjin EcoCity Ecology and Planning Museums https://afasiaarchzine.com/2013/01/ steven-holl-architects_18/

DESIGN PHILOSOPHY

CYBERTECTURE Cyber-Urban Incubator

Water Pavilion

Designed by Lars Spuybroek, the Water Pavilion is the epitome of flexible architecture, a building conceived as a dynamic system within which there is a constant, computermediated interaction between users, environment and building. The idea of creating a communicating architectural environment, has clear connections with the way the Cyber-Urban Incubator can act as a communication apparatus, between the physical and virtual world, or in other words how architecture and its spatial qualities can become a piece of technology.

Image 23. Fresh H2O, Fresh Water Pavilion (Image from Frac Centre). https://www.frac-centre.fr/auteurs/ rub/rubinventaire-detaille-90. html?authID=133&ensembleID=344

CYBERTECTURE Cyber-Urban Incubator

DESIGN PHILOSOPHY

Balloon For Two and Plug-In City

The next two examples present ideas from the 60’s and 70’s that showcase the possibility of temporary and flexible architectural elements, attaching as prosthetics onto bigger buildings. The “Balloon for two” by Zamp Kelp describes a simple case of having a temporary and flexible aspect, while the Plug-in city by Archigram depicts the result of multiple autonomous and movable units added to a greater mega-structure and the implications that network would have as a whole. For the scope of this project, the prosthetic units and their connection to a greater building are of particular interest as they can be related to the purely virtual rooms that expand and are related to physical space. Additionally, cyberspace can be seen as a flexible and temporary space, that appears only when needed.

Image 24. Air supported balloon for 2 people 1967. https://www.zamp-kelp. com/balloonfor-2/

DESIGN PHILOSOPHY

CYBERTECTURE Cyber-Urban Incubator

Image 25. Plug-In City by Archigram https://www.dezeen. com/2020/05/12/ archigram-plug-in-city-petercookdenniscrompton-video-interview-vdf/

CYBERTECTURE Cyber-Urban Incubator

DESIGN PHILOSOPHY

3.3 DESIGN OBJECTIVES

_BRING CLOSER PRESENT AND DISTANT USERS, USING SOPHISTICATED AND THREE-DIMENSIONAL VIRTUAL DESIGNED SPACE

_LINK BETWEEN EMERGING VIRTUAL DOMAINS AND PHYSICAL ARCHITECTURE INTO A HYBRID MODEL

_IDENTIFICATION OF THE BENEFITS AND POSITIVES OF CYBER-PHYSICAL INTERACTIONS AND INTEGRATION THROUGH PARAMETRIC SOLUTIONS

_ADAPTATION AND RESPONSIVENESS TO USER ACTIVITIES AND BEHAVIOUR IN BOTH DOMAINS OF THE CYBER-URBAN INCUBATOR

DESIGN PHILOSOPHY

CYBERTECTURE Cyber-Urban Incubator

LOCAL USER

REMOTE USER

How do the qualities of cyberspace expand the possibilities of architecture when directly linked with it? And how can the gap be bridged between local users and remote users?

CYBER-PHYSICAL INTERRELATION

CYBERTECTURE Cyber-Urban Incubator

CYBER-PHYSICAL INTERRELATION

04 CYBER-PHYSICAL INTERRELATION 4.1 Interelation Types 4.2 Digital Twin 4.3 Space Expansion

CYBERTECTURE Cyber-Urban Incubator

CYBER-PHYSICAL INTERRELATION

4.1 INTERRELATION TYPES Within the incubator the interaction and communication processes require redefinition as they are forged between the physical and virtual realms thus, a core objective of the project is the clarification of the relationship between the two. The overlapping ability of the two universes and their mutual existence within the incubator is crucial. Three main associations were regarded in order to form the connection between the physical and the virtual spaces: (a) Digital Twins: The two realms act in parallel and in synchronization, meaning that the same event occurs in both worlds and it is up for the users to decide from which side they choose to experience it from. (b) Space Expansion: The two universes do not share spatial domains, however, are still linked through a communication medium, usually a screen projection, which acts as a window into the opposite world. (c) Kinetic Remote Controlled Telepresence: The ability to control or influence building components distantly.

A_DIGITAL TWIN

B_SPACE EXPANSION

C_REMOTE KINETIC CONTROL

CYBERTECTURE Cyber-Urban Incubator

CYBER-PHYSICAL INTERRELATION

STRATEGY A VIRTUAL AND PHYSICAL REALMS ACT IN PARALLEL AND IN SYNCHRONIZATION

STRATEGY B THE VIRTUAL EXTENDS THE PHYSICAL SPACE THROUGH SCREENS OR SURFACES

STRATEGY C THE ABILITY TO CONTROL OR INFLUENCE BUILDING COMPONENTS DISTANTLY (TELEPRESENCING)

CYBERTECTURE Cyber-Urban Incubator

CYBER-PHYSICAL INTERRELATION

A_DIGITAL TWIN

SCANNER

GPS TRACKER

AR GLASSES

VR GLASSES

MIC

JOYSTICK

SPEAKER

HEADPHONES

MOTION TRACKING

B_SPACE EXPANSION

CAMERA

MIC

PROJECTION

SCREEN

SPEAKER

HEADPHONES

CYBER-PHYSICAL INTERRELATION

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C_REMOTE KINETIC CONTROL

SPEAKER

HEADPHONES

MIC

CAMERA

AR GLASSES

VR GLASSES

JOYSTICK

MOTION TRACKING

After distinguishing the interrelation types, the appropriate technological equipment is assigned to each, aiming at fulfilling the requirements of data collection, transition and projection.

ROBOT

CYBER-PHYSICAL INTERRELATION

CYBERTECTURE Cyber-Urban Incubator

4.2 DIGITAL TWIN The notion of digital twins expresses the fact that a territory has a physical and a virtual realm and are highly linked, acting in parallel and in synchronization, meaning that the same event occurs in both worlds and users can experience it either in person or remotely. The virtual twin can either be a scanned version of the physical space or a slightly abstracted virtual environment accessed by the remote users, similar to on-line collaboration platforms. The virtual world is experienced through VR headset by the remote users, while the local users use AR or MR headset to interact with the remote users’ avatars.

CYBER-PHYSICAL INTERRELATION

CYBERTECTURE Cyber-Urban Incubator

PHYSICAL AR

VIRTUAL VR

In the digital twin the same space can be simultaneously experienced by present and remote users. The present users (red) experience the physical space and through the use of AR lens they see the remote users’ avatars (blue). The remote users (blue) experience the virtual twin of the same space. Using VR lens they see virtual space and the physical users’ avatars (red).

CYBERTECTURE Cyber-Urban Incubator

CYBER-PHYSICAL INTERRELATION

Avatar Explanation PHYSICAL USER

Present in the buildings

PHYSICAL

REMOTE USER

Not present in the building. Logs as a virtual avatar and is augmented in the physical building

CYBER-PHYSICAL INTERRELATION

CYBERTECTURE Cyber-Urban Incubator

REMOTE USER

Not present in the building. Logs as a virtual avatar and is augmented in the physical building

PHYSICAL USER “FOOTPRINT”

Present In The Building. Scanned And Augmented In The Virtual Twin

VIRTUAL

There are two main user groups, the physically present and the remote. From the physical point of view, the present participants are shown with their natural appearance, while the remote are depicted as green avatars. From the virtual side the remote are also shown green, while the present are rendered blue.

CYBER-PHYSICAL INTERELATION

Space Scanning

CYBERTECTURE Cyber-Urban Incubator

3D laser scanning is already in use in a variety of industries, with applications ranging from mobile to terrestrial and airborne data collection projects. Because laser scanning measures accurately, it is highly effective for making digital 3D recreations of space, objects, and landscapes. In this aspect it can compete with “photogrammetry” as a tool for digitizing reality. LiDAR methods produce a geo-referenced and non-colored 3D point cloud. This dense point cloud is highly detailed and often includes small objects, such as cables or wires, that photogrammetry may not recognize as easily.

LiDAR (accurate)

Photogrammetry (less accurate)

Image 26. LiDAR vs photogrammetry as tools for digitizing reality. https://www.pix4d.com/blog/ lidar-photogrammetry

CYBER-PHYSICAL INTERELATION

CYBERTECTURE Cyber-Urban Incubator

STEP I (SCANNING). USERS IN THE PHYSICAL SPACE ARE SCANNED USING 3D LASER SCANNER (LiDAR)

STEP II (“FOOTPRINT”). THE USERS ARE TRANSLATED INTO VIRTUAL “FOOTPRINTS”

PHYSICAL

VIRTUAL

STEP III (CRISS-CROSSING). ONCE BOTH WORLDS ARE ACCURATELY MODELED, USERS AND SPACES CAN BE CRISS-CROSSED, I.E. BY PROJECTING AVATARS OR “FOOTPRINTS” OF THE PRESENT USERS INTO THE VIRTUAL PLATFORM, AND BY AUGMENTING THE AVATARS OF THE REMOTE USERS INTO THE PHYSICAL SPACE. 67

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CYBER-PHYSICAL INTERRELATION

4.3 SPACE EXPANSIONS A key element of the virtual space is its limitless ability to extend itself, something that the physical is incapable of doing. In this case the screen acts as the limit of physical domain. This idea of creating a screen that acts as a mediator between the physical space and the virtual means that every surface, whether floor,ceiling or wall, can act as a gateway of communication and interaction with the opposite world.

PHYSICAL

VIRTUAL

SCREEN POSITION

CYBER-PHYSICAL INTERRELATION

CYBERTECTURE Cyber-Urban Incubator

These purely virtual domains have the ability to freely expand, and contrast based on the incubators needs. An important step for us was the exploration of the potential expansion size, its symmetrical or radial relation to the real space and the ratio of physical to virtual participants.

70%

30%

50%

30%

70%

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CYBER-PHYSICAL INTERRELATION

Space Expansion Clustering

Some initial explorations involved the exploration of space expansion in multiple setups. The following examples depict tryouts, where both virtual and physical workshops attempt to expand each other.

PHYSICAL ONLY

PHYSICALVIRTUAL

VIRTUAL ONLY

CYBER-PHYSICAL INTERRELATION

CYBERTECTURE Cyber-Urban Incubator

Space Expansion of Complex Geometry

Furthermore, the idea of ‘space expansion’ is implemented on more complex geometry, in order to explore the potential of the spatial relationship between physical and virtual realms, while taking advantage of highly expressed forms. The virtual addition is done by using the interior envelope as a projection surface thus augmenting the virtual space inside the shell space.

PHYSICAL

VIRTUAL

CYBERTECTURE Cyber-Urban Incubator

DESIGN CONCEPT

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05 DESIGN CONCEPT

CYBERTECTURE Cyber-Urban Incubator

DESIGN CONCEPT

LEVELS OF ABSTRACTION

VIRTUAL

PHYSICAL

REALISTIC

ABSTRACTED

The virtual and physical worlds act as separate, but highly linked entities. The representation of the data transmission is of major significance, as it allows a flexible control of data, that highlights both the similarities but also differences between them. Consequently, the main design concept revolves around the idea of different levels of representational accuracy between the two, within the digital twin scenario. Some areas indicate more accurate user and spatial depiction, which slowly begin to fade into more abstracted scenarios.

+ +

DESIGN CONCEPT

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REALISTIC ENVIRONMENT

ABSTRACTED ENVIRONMENT

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DESIGN CONCEPT

FADE IN

FADE OUT

The user’s avatar appearance is affected by the it’s distance from the center of strategically placed abstraction cores. In this example, the figure becomes blurred the further away it is from the center point of the core and vice versa.

DESIGN CONCEPT

CYBERTECTURE Cyber-Urban Incubator

The abstraction levels are highly influenced by field cores, that depict a strong realistic and accurate representation in their center. As the field expands and loses its potency, the objects become more abstracted. Additionally, different screen-based spaces are also used as connectors between the physical building and virtual spaces.

FIELD CORE B

FIELD CORE C

FIELD CORE A

INTERRELATION TYPE I: ABSTRACTION FIELD INTERRELATION TYPE II: SPACE EXPANSION

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DESIGN CONCEPT

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These field cores were then multiplied and allocated in three dimensional space, connected with the use of the metaball algorithm, resulting in a smooth up and down transition between the accurate and abstracted representation. Furthermore, an organization logic was also attempted to be made based on a 2D version of the metaball algorithm. Specific functions, such as seminar, lecture and workshop were studied and assigned to appropriate abstraction levels, resulting in an primitive organization sketch, as seen in the next page.

CYBERTECTURE Cyber-Urban Incubator

DESIGN CONCEPT

CYBERTECTURE Cyber-Urban Incubator

FUNCTIONS POSITIONED ON THE ABSTRACTION FIELD

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DESIGN CONCEPT

Ceiling Height Signifier

From the users point of view, the signifier for this transition is translated to the height of the ceiling. Higher clear ceiling height equals to realistic representation and vice versa. Additionally, spatial qualities can also be affected by this field. Architectural elements, such as meeting spaces, can also be affected by the transition.

TYPE 01_ GRADUAL CEILING CHANGE

TYPE 02_ SUDDEN CEILING CHANGE

DESIGN CONCEPT

CYBERTECTURE Cyber-Urban Incubator

TYPE 1_GRADUAL CEILING CHANGE

FADE OUT

FADE IN

FADE OUT

CYBERTECTURE Cyber-Urban Incubator

DESIGN CONCEPT

TYPE 1_GRADUAL CEILING CHANGE

03_ENVELOPE Ceiling height Semiology

02_ VIRTUAL FIELD LEVELS Levels of Abstraction

01_FLOOR PLAN Functions

EARLY PLAN ORGANIZATION

01_

02_

03_

04_

DESIGN CONCEPT

CYBERTECTURE Cyber-Urban Incubator

TYPE 2_SUDDEN CEILING CHANGE

REALISTIC AVATAR

ABSTRACTED AVATAR UNDER LOW CEILING

CYBERTECTURE Cyber-Urban Incubator

DESIGN CONCEPT

Abstraction Tryouts

Converting the physical space to the virtual realm means that different spatial elements have to undergo a process of dematerilization. In this section, few examples of dematerilizing elements (exterior mask, interior spaces and furniture) are presented. 00_PHYSICAL MODEL (EARLY ITERATION)

01_ABSTRACTION MODEL 1 (THINNING \ PIXELIZATION)

02_ABSTRACTION MODEL 2 (DE-CONSTRUCTING)

DESIGN CONCEPT

CYBERTECTURE Cyber-Urban Incubator

ABSTRACTION OF THE EXTERIOR ENVELOPE WITH VARYING ABSTRACTION INTENSITIES USING ATTRACTORS

CYBERTECTURE Cyber-Urban Incubator

DESIGN CONCEPT

01_REALISTIC REPRESENTATION

02 88

DESIGN CONCEPT

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02_ABSTRACTED REPRESENTATION

06 89

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DESIGN CONCEPT

ABSTRACTION OF INTERIOR POCKETS WITH VARYING ABSTRACTION INTENSITIES USING ATTRACTORS

GRADIENT PARTICLE TRYOUT USING BITMAP FOR PARTICLE GRADIENT GENERATION 01

DESIGN CONCEPT

CYBERTECTURE Cyber-Urban Incubator

ABSTRACTED INTERIOR _VARYING ABSTRACTION INTENSITIES USING ATTRACTORS 91

CYBERTECTURE Cyber-Urban Incubator

DESIGN CONCEPT

01_ABSTRACTION DEGREES

DESIGN CONCEPT

CYBERTECTURE Cyber-Urban Incubator

DESIGN CONCEPT

PHYSICAL FURNITURE TRYOUTS_USING IMMERSIVE SURROUNDING SCREENS

ABSTRACTION OF FURNITURE USING FLOATING SURFACES AND THINNING OF MATERIAL FOR VIRTUAL COUNTERPART FURNITURE

DESIGN CONCEPT

CYBERTECTURE Cyber-Urban Incubator

ABSTRACTED VIRTUAL FURNITURE

A_REALISTIC MEETING TABLE

B_ABSTRACTED MEETING TABLE

CYBERTECTURE Cyber-Urban Incubator

DESIGN CONCEPT

ABSTRACTION LEVELS The final result aims at an either smooth or sudden transition between the different levels of virtuality, which enhances the virtual experience within the incubator. For buildings and furniture, the high abstraction level will make them more virtual, meaning they will gradually fade into a grid of particles. 96

DESIGN CONCEPT

CYBERTECTURE Cyber-Urban Incubator

REALISTIC

ABSTRACTED

CYBERTECTURE Cyber-Urban Incubator

SITE ANALYSIS

CYBERTECTURE Cyber-Urban Incubator

06 SITE ANALYSIS

CYBERTECTURE Cyber-Urban Incubator

SITE ANALYSIS

Site Overview Queens, NYC

The site is located in Queens NY across the Manhattan island on the forefront of the East river. The site is 150/355 m and is overlooking Roosevelt Island and next to Queensborogh bridge. The site is surrounded by the industrial part of Queens neighborhood from the eastern side and is bordered by the Queensboro bridge and the waterfront overlooking Manhattan to the west side.

100

SITE ANALYSIS

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SITE ANALYSIS

FURTHER SKYLINE VIEW

CLOSER SKYLINE VIEW [A] BLOCKED VIEW RANGE [B] CLEAR VIEW RANGE

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SITE ANALYSIS

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Views

The site’s position gives it a frontal view to the skyline of Manhattan and to Roosevelt Island in the closer range.

CLOSE / FAR SKYLINE VIEWS

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SITE ANALYSIS

RESIDENTIAL

INDUSTRIAL 104

EDUCATIONAL

SITE ANALYSIS

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SITE ANALYSIS

Design Intentions

Part of the design intention was to relate to some of the contextual advantages by creating a green strip link by the waterfront, joining the two green spaces from either side of the site and also taking into account the good access points to the site.

00_SITE

01_CONNECTING GREEN STRIP

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SITE ANALYSIS

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02_ROAD ACCESSES

04_BRIDGE CONNECTION

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SITE ANALYSIS

STREET SITE BOUNDARY SUBWAY LINE FERRY LINE SUBWAY STATION

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SITE ANALYSIS

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SITE ANALYSIS

PEDESTRIAN BOUNDARY SUBWAY LINE FERRY LINE SUBWAY STATION FOCAL POINT FERRY STATION SITE ACCESS POINT

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SITE ANALYSIS

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BUILDING MASSING

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BUILDING MASSING

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07 BUILDING MASSING

The building massing involved multiple iterations, all aiming at implementing core semiological and organizational aspects to the urban mass. Through multiple tryouts, the most successful examples were then further developed and potentially combined. The initial two prototypes took place in a non existing site, where the main focus was the development of a prototypical design concept which could be then implemented into any existing topography. The rest are applied to the NYC site and are tasked with combining the main concept developed in phase 1 with the challenges of the physical urban mass.

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BUILDING MASSING

PROTOTYPE 01

PROTOTYPE 02

PROTOTYPE 03

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BUILDING MASSING

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PROTOTYPE 04

PROTOTYPE 05

PROTOTYPE 06

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BUILDING MASSING

PROTOTYPE 07

PROTOTYPE 08

PROTOTYPE 09

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BUILDING MASSING

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PROTOTYPE 10

PROTOTYPE 11

PROTOTYPE 12

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BUILDING MASSING

PROTOTYPE 13

FINAL PROTOTYPE

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BUILDING MASSING

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BUILDING MASSING

02_ENVELOPE Ceiling height (semiological tool)

01_FIELD Organization

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BUILDING MASSING

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PROTOTYPE 01 Prototype 01 was an attempt to combine both the abstraction field metaball algorithm with magnetic fields, for a more complex outcome. The areas with the most realistic representation are have high ceiling height and big openings that slowly blend into the ground. The areas with the highest density magnetic lines indicate the cavities of the overall volume and have vertical transparent facades, instead of blending opaque envelopes.

02_ENVELOPE Ceiling height (semiological tool)

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BUILDING MASSING

CORE CORE A A _REPRESENTS STRONG FIELD AREA

CORE B A _REPRESENTS MEDIUM FIELD AREA

CORE C A _REPRESENTS LOW FIELD AREA

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BUILDING MASSING

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PROTOTYPE 02 The Prototype 02 envelope generation involved the allocation of three hierarchically different groups, of high, medium and low abstraction fields. These points were then connected through the metaball algorithm, which in turn influences and transfers the information to the envelope to be semiologically read by the user as the ceiling height. Additionally, the openings on the roof indicate the location of these points while several linings connect the lower strength cores to the higher ones, for navigational purposes. As a final touch and in order to add a clear hierarchical distinction for the stronger field points, a meandering structure is located that intertwines between them.

CORE A

CORE B

CORE C

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BUILDING MASSING

WATERFRONT FACADE Physical facade

WATERFRONT FACADE Virtually expanded facade

CITY-FRONT FACADE

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BUILDING MASSING

CYBERTECTURE Cyber-Urban Incubator

PROTOTYPE 03 Both previous iterations linked the metaball algorithm with the ceiling height, however their radial logic did not line up well with the rectangular and long shape of the NYC site. For this reason, Prototype 03 attempts to break the radial relationship by connecting multiple cores with a linear meandering structure. Although this iteration is considered overall unsuccessful due to it’s unpractical geometry, it introduces important aspects which will be developed in later examples, such as facade asymmetry and external virtual space expansions that are geometrically linked with the physical building.

PROTOTYPE 03 MASSING

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BUILDING MASSIN

SWARM SIMULATION

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BUILDING MASSING

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PROTOTYPE 04 The next iteration focuses at differentiating the building scheme by introducing a gradient differentiation from the city side to the riverside, in the form of a linear to curvilinear transition. Additionally, a transition takes place along the horizontal axis that represents the gradual differentiation of spaces from smaller to larger. Last but not least, the possibility of allowing horizontal green pathways and highlighting accesses from existing roads was looked upon, for better integration to the physical site’s circumstances.

DIAGRAMMATIC MASSING (Linear/Curvilinear Transition)

PROTOTYPE 04 MASSING With main design axis 127

CYBERTECTURE Cyber-Urban Incubator

BUILDING MASSING

MASSING OVERVIEW With design axis

MASSING OVERVIEW 02 Waterfront side

MASSING DETAIL Metaball influenced volume

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BUILDING MASSING

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PROTOTYPE 05 Another option was the creation of separate structures where the exterior shape is influenced by the shape of the metaball algorithm, so that it can represent the virtual field on the site. This option also focused on interweaving horizontal green pathways between the slices along the horizontal axis of the site.

FACADE VIEW Projections on facade strips

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BUILDING MASSING

PROTOTYPE 06 City side facade

PROTOTYPE 06 Overall massing

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BUILDING MASSING

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PROTOTYPE 06 & 07 The next two prototypes attempt to explore the possibility of a more orthogonal mass that is described by a sense of horizontality, through numerous long architectural elements, such as facades, atriums or entrances. Additionally,these examples introduce the intention of the floors gradually differentiating the hyper virtual spaces. However, the lack of a semiological meaning tied the roof, leads to a weaker connection to the virtual aspect of the project.

PROTOTYPE 07 City side facade

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BUILDING MASSING

OVERALL MASSING

WATERFRONT VIEW 132

BUILDING MASSING

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PROTOTYPE 08 Prototype 08 focuses on the differentiation of the form from the street to the waterfront and introduces the division of the mass into a higher and lower volume. The lower mass acts as a terrace in which access is given through the larger volume. This terrace oversees the waterfront and benefits from all the desired optical perspectives of the site. In this option the carving of the general mass, which represent the cores of the virtual field are modeled in free form compared to the metaballs and generate a series of atriums and pathways in the building that represent the hyper-virtual spaces.

CITY SIDE VIEW

CITY SIDE FACADE 133

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BUILDING MASSING

PROTOTYPE 09 In the next iterations, the enveloping form was highly influenced by the metaball algorithm and the connection it has to the abstraction level concept. The use of a cloth simulation falling on the metaballs provided the starting form, which depending on the subdivision count can either closely or loosely resemble the underlying shape. Another important aspect that is highly connected with the virtual representation of the project is the level of natural light allowed into the building. This is studied in different iterations, the first of which attempts to holistically link the abstraction level with natural light, while other attempts are made that allow linear alterations along the long axis.

METABALL ALGORITHM ON SITE

CLOTH SIMULATION AND RESULTING GEOMETRY

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BUILDING MASSING

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LIGHT PENETRATION Following abstraction logic

LIGHT PENETRATION Following linear logic

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BUILDING MASSING

EXTRUDED CLOTH

CARVING LOGIC On extruded cloth mass

CARVING LOGIC With virtual space expansions

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BUILDING MASSING

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PROTOTYPE 10 In this prototype, the cloth was extruded to provide an initial mass, which is described by a strong sense of asymmetry, due to its 3 rectangular straight edges that contradict the last curved edge which blends naturally with the ground. The main design concept is the contradiction and overlap of multiple systems. The relatively rigid shape of the extruded cloth is being carved out by a secondary metaball algorithm, which continues beyond the boundaries of the physical envelope, creating the external virtual space expansions. The final result aims at unifying the interior with the envelope, as the metaball system extends to the interior organization and generates interior atriums and courtyards, or even multi story interior spaces.

CARVING LOGIC On slabs

LIGHT PENETRATION On slabs

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BUILDING MASSING

CITY SIDE FACADE Openings as virtual placeholders

WATERFRONT FACADE Kinetic overhanging roof

WATERFRONT FACADE Virtual expansions when roof is extended

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BUILDING MASSING

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PROTOTYPE 11 Prototype 11 attempts to combine aspects from Prototypes 09 and 10. The amount of natural light allowed is controlled by the penetration of the roof, which is done by dividing it into strips, where the distance between them increases gradually along the longer side and by the size of the atriums which increases in a similar logic. The city facade is mostly opaque, only carved by the metaballs, similarly to Prototype 10, that act as place holders for potential space expansions. The waterfront facade contradicts the rest of the building, having a full transparent view that benefits from the desired optical views of Manhattan. The overhanging kinetic roof signifies the existence and size of exterior space expansions, in addition to serving practical purposes.

URBAN SIDE PERSPECTIVE

URBAN SIDE PERSPECTIVE 2

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BUILDING MASSING

OVERALL MASSING

URBAN SIDE PERSPECTIVE

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BUILDING MASSING

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PROTOTYPE 12 Prototype 12 acts as a refinement of the previous iteration, by applying the metaball carving system in both the roof and city front facade, while also keeping the dynamic overall shape of the strips, with the outlines not being fully split by the carving system. The erosion metabolic pattern follows the longer side of the building, while the waterfront facade is mostly transparent.

WATERFRONT PERSPECTIVE

AERIAL VIEW

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BUILDING MASSING

OVERALL MASSING

URBAN SIDE PERSPECTIVE

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BUILDING MASSING

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PROTOTYPE 13 In this semi final iteration, the main focus was set on connecting the occupiable roof with the street level. The strips act as ramps, associating the waterfront, building and urban side of the building, while also keeping the carvings, and terrace logic on the waterfront side. Additionally, a new gradient is introduced on the elevational side of the project, where the rectangular strips are transitioned to curved along the long side of the site.

WATERFRONT PERSPECTIVE

AERIAL VIEW

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unification

BUILDING MASSING

size

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FINAL PROTOTYPE - metaball allocation The final prototype began with the exact generation of the virtual metaballs. The logic behind the allocation of the carvings involved the creation of a cartesian grid where the long side would indicate the scaling size of the spheres, while the shorter one the fact of whether they would connect with each other or not. Based on the set of parameters, unifications would only be possible on the urban side of the building.

URBAN SIDE

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TRIAXIAL GENERATIVE ALGORITM RESULT

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Generative algorithm These parameters were then simulated in a generative algorithm, where the outputs were categorized based on three features. The number of virtual atriums, the volumetric ratio of virtual to physical space and the average distance between the metaballs. The combination of the result of the algorithm and personal aesthetic criteria determined which arrangements were further tested on the mass and eventually applied.

METABALL ARRANGEMENTS Test carvings on the stripped mass

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TRANSITIONAL STRIPS Between the urban side and waterfront 148

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Strip and metaball correlation The strips are informed by the location of the virtual metaballs, in such a way that ensures clean intersections between the carvings and the rest of the building mass. Additionally, this relation allows for a dynamic transition between the straight (urban) and curved (waterfront) sides of the project.

STRIP AND METABALL CORRELATION Relation of two main architectural languages 149

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Roof accesibility Furthermore, the strips blend the building with the surrounding topography and landscape, creating walkable paths to the occupiable roof, linking the waterfront and city sides.

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Inward and outward perspectives The occupiable roof and landscape were studied as a coherent system of perspectives and views, and utilize the position of the building in the urban mass. The designed seating funnels the users attention in all directions, while the waterfront landscape attempts to also relate to the media facade and the virtual activity linked within it.

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Media facade The strip logic allows for the media facade to have an elevational depth, which has a both short and long distance approach. The short distance pixelization allows for partial visibility of the interior, and slowly transitions to an coherent display as the user moves further away, enhancing the phenomenological aspect of the project.

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WATERFRONT MEDIA FACADE 153

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Rotating panels The panelization is comprised by rotating double sided screens. On one hand they can project different images in the interior and exterior, and on the other they can rotate,allowing natural light in, while also creating diverse phenomenological perspectives.

ROTATING LED PANELS

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CITY SIDE FACADE Openings as virtual placeholders

WATERFRONT FACADE Kinetic overhanging roof

WATERFRONT FACADE Virtual expansions when roof is extended

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MEDIA FACADE Rotating panels 156

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URBAN SIDE

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WATERFRONT SIDE

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MEDIA FACADE NIGHT VIEW

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MEDIA FACADE Throughout the day 162

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INCUBATOR AND WATERFRONT

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CLOSE RANGE SHOTS OF OCCUPIABLE ROOF 166

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ROOF/METABALL RELATION 168

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AERIAL WATERFRONT VIEWS 170

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URBAN FACADE AND MANHATTAN BACKDROP

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CYBER-URBAN NEIGHBORHOOD Relation between this year’s studio projects

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08 INTERIOR ORGANIZATION

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METABALL CARVING Interior partially generated by metaballs

METABALL CARVING Slabs discontinuation by metaballs

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Overall Interior Organization Logic For the interior organization, the main design concept is the application of a continuous system of curved surfaces. These surfaces can act as screens, walls or even structural elements, promoting the cyber aspect by creating immersive environments that projections can be made on. Furthermore, it links well with the semiological connection of the ceiling height being the signifier for the levels of abstraction, as it provides both gradient and sudden increases and decreases of the clear height. The use of the previously mentioned metaball algorithm in addition to geometries similar to minimal surfaces and the curved shell promote this concept well and the intersection between them has the potential to increase the levels of complexity, which is a desirable outcome.

PSEUDO MINIMAL SURFACE Gradual transition between floors

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Smooth Surface Research In order to achieve a three-dimensional space sloping surfaces were used around the metaballs that travel between the floors. These surfaces create a space that surrounds the users but also act as a supporting element due to their volumetric qualities.The desired is three-dimensional immersive interior which surrounds the users as they walk in between the working zones.

IMMERSICE SPACE

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-THE METABALLS ACTING AS STRUCTURAL ANCHORS -TRANSITIONING FLOORS

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Structural Supports The metaballs act as the main structural anchors within the space. The sloping transitioning surfaces that create the floors, walls and ceilings also contribute to the general structural strength due to their volumetric qualities and static height.

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Interior Organization #1: Linear Logic The first logic of the plan organization has to do with the programmatic aspects in the incubator. A rough right-to-left distribution of programs was created which transitions gradually from the working area (which includes individual and more intimate working stations) to the social area which has bigger gathering spaces. This transition aligns with the metaball growth as well. The collaboration area in between would have the meeting rooms and smaller seminars.

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Working Typologies Within the space of the incubator we define 3 main working sptial typologies that are identified by how immersive they are: 2D, 2.5D and 3D typologies. In addition to their differentiating levels of accessibility these spaces integrate different arrangements of the screening system and dictate the extent to which each space can be immersive.

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A 2D TYPOLOGY

B 2.5D TYPOLOGY

Inner Circulation

C 3D TYPOLOGY

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Interior Organization #2: Radial Logic The second logic applied to the overall plan organization is the radial transition (from the core of the metaballs to the outside) in the space’s level of immersiveness. 2-dimensional working typologies that are screen oriented are positioned in the outer loop. More immersive typlogies are closer to the center of the metaballs. We used height deformation on the floors to create a general transition from a 2D to a 3D environment.

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01_RADIAL FIELD

02_LINEAR FIELD

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03 METABALL ANCHORS

04_PHYSICAL SPACES AROUND THE METABALLS

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2D Typology For the 2-D typology the 2D metaball algorithm was used, which indicates the size of the working unit and its relationship to other units. This can indicate the hierarchy of the different companies which have different organizational structures working in the incubator.

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INCUBATOR HIERARCHY A. 1 Unit = 3-4 Workers B. 2 Units = 6-8 Workers C. 3 Units = 9-12 Workers D. 4 Units = 12-16 workers

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2.5D Typology The 2.5D typology (the semi-open pockets) is based on the hybridization and combination of spatial functions. The spatial elements are deconstructed into their basic components, such as study, class or social, and then reconstructed into hybrid pockets. This way the same pocket can include different types of uses contained in one unit or cluster.

PURE PROGRAM STUDY

HYBRID PROGRAM PLAZA

SEMINAR CLASS

MULTIFUNCTIONAL ROOM

LECTURE

CONFERENCE ROOM

SITTING AREA TEAM ROOM WORKSHOP BOOTH REMOTE POD

AVENUE (“CORRIDOR”) WORKING NEIGHBORHOOD

RESTAURANT RECEPTION CAFE / KITCHEN WORKSTATION / DESK

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01_CLASS

02_SITTING AREA

03_WORKSTATIONS

04_LECTURE

05_KITCHEN

06_SEMINAR

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SEVERAL COMBINATIONS OF THE 2.5D WORKING TYPOLOGY BASED ON TWO, THREE AND FOUR PROGRAMS IN EACH CLUSTER.

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step_6 i-open) (sem step_4

step_5 sed) (clo AREA A

step_3 n) (ope

ep_2 AREA B

AREA C

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1-PROGRAM SPACE

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3-PROGRAM SPACE

4-PROGRAM SPACE

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01_AVENUES (CORRIDORS)

02_BASIC GEOMETRY

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03_CONNECT

04_WORKING CLUSTERS

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“VIRTUAL FIELD” CORE (ATRIUM) 2-PROGAM CLUSTER

1-PROGAM CLUSTER

3-PROGAM CLUSTER

The 2.5D interconnected pockets typology aims at creating semi isolated working conditions within the space of the building. The vertical stacking creates a unique aggregation with both gradient and sudden transitions of the ceiling height. These areas have completely virtual spaces that are attached like prosthetics to the physical counterpart creating a relationship of adjacency between the completely virtual space (in the green color) and the physical space (in the gray color).

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3D Typology The 3rd and three-dimensional typology is the space of the metaball itself which acts as anchor in the physical space and as a structured element by supporting the floors. The metablls is also surrounded by an immersive surface which acts as a revealer of the augmented virtual world living inside it.

STRUCTURE

VIRTUAL WORLD

IMMERSIVE SCREEN

PHYSICAL FLOORS

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04 THE HYPERSURFACE AROUND THE SIDES IS USED FOR PROJECTION AND CAN LEAVE AN IMPRINT OF THE VIRTUAL WORLD STATUS IN THE PHYSICAL BUILDING. 217

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Transitioning Surfaces Transitioning surfaces were used for the interior language in order to achieve interior plasticity and fluidity. The plasticity of the floors around the metaballs create a different ceiling height for the different spaces so that the different functions have an appropriate ceiling height. For exampls, the lecture hall can have a higher ceiling than an intimate working station. This allows the interior language to determine how immersive and surrounding the space is in different parts of the building.

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04 THE GENERATED INTERIOR LANDSCAPE CAN ALSO HAVE THE SCREENING SYSTEM EMBEDDED IN THE ARCHITECTURE BY USING THE TRANSITION SURFACES PROJECTION SURFACES FOR COMMUNICATION. 229

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Hybrid Furniture In order to establish a relationship of adjacency between the physical and the virtual a set of furniture were developed that encourge hybrid interfacing depending on space’s function.

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The furniture peices are interlocked or mirrored in order to create a symbiosis between the furntiure used in the physical and virtual incubators. The virtual part of each piece is thinned and abstracted in order to avoid unnecessary structure, while maintaing a semiological and geometrical link between the two versions. 231

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01_MEETING

02_WORKING

03_SOCIAL TALK

04_SOCIAL GROUP 233

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01_OUTSIDE THE METABALL

02_TRANSITIONING FLOORS

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03_INSIDE THE METABALL

04_2D TYPOLOGY

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09 VIRTUAL INTERACTION

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Avatar creation Entrance is an important part of any building and logging in to the virtual incubator is of equal significance. The process starts with the avatar creation. The first step involves the customization of any particular appearance features, like hair, clothes and so on. After that the user can either pick to enter by creating a personal, virtual room or choose to log in the incubator. 240

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Virtual Incubator Access By choosing the second option, the users get an abstracted overview of the mixed space incubator, where they can get a general sense of the activity in the building. The particle swarm represent the users and the color coding has semiological meaning, signifying the physical or virtual existence. Additionally, by having this activity overview, users can make better decisions on where to enter the building. 242

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Mobile device log in Users can enter virtual space through different devices, such as mobile phones, VR devices, computers and so on, which can help people participate in virtual activities anytime and anywhere. 243

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User interface The information overlay of the cyber world is of crucial importance. Remote participants can perceive aspects of the information rich virtual world, such as inspecting other users for their information, having access to various personal and group chats, as well as being aided by orientation devices, such as minimaps or compasses.

minimap

personal information

notes

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A0_USER APPROACHES AVATAR

A1_AVATAR INTERACTION INFORMATION WINDOW DISPLAY

A2_AVATAR INTERACTION INFORMATION WINDOW DISPLAY

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PERSON A

PERSON B

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Personalized perspective The information rich environment creates opportunities in terms of phenomenological perception, as professional and personal information of each user can be stored within the incubators data-mine system. This information ranges from professional data, like the position and schedule, to personal, like a list of closest friends within the incubator. Each user’s phenomenology is then affected by these individual parameters, so with the aid of AR glasses, they are guided to different areas, either for professional or social purposes. This concept also extends to the semiological meaning of color, so users can have a personal phenomenological perception of whether they should be in the area at a given time or not. PERSON A

PROFESSIONAL INFO RANK_ #23 POSITION_ SENIOR PROJECT TEAM_ SHARON SPECIALISM_ IT

SCHEDULE MEETINGS_ 16:00 18:15 DEADLINES_ JUL 18

PERSONAL INFO HOBBIES_ CHESS FRIENDS_ JOE LUCY

SCHEDULE MEETINGS_ 10:30 DEADLINES_ JUNE 6

PERSONAL INFO HOBBIES_ SWIMMING FRIENDS_ CHRIS

PERSON B

PROFESSIONAL INFO RANK_ #-POSITION_ GUEST PROJECT TEAM_ -SPECIALISM_ IT

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A0_NAVIGATION MENU

A1_CHOOSING A SPACE WITHIN THE INCUBATOR

A2_A GUIDANCE ROUTE APPEARS, SPECIFIED FOR THE USER

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A3_ USER FOLLOWS THE ROUTE

A4_ FLY / BOOST FOR FASTER MOVEMENT IN SPACE

A5_DESTINATION REACHED

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Multi-Layer Screen The screen is a main communication medium within the incubator. By adding a layered logic to it, we can introduce a hierarchical significance to its content. As a general rule, we can say that objects placed on the background are rendered abstracted, while the ones positioned in the foreground can have a more accurate representation.

BACKGROUND

VIRTUAL

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BACKGROUND

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FOREGROUND

ROUND

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A0_TOTAL ABSTRACTION

A1_MIDGROUND USERS + BACKGROUND = ABSTRACTED

A2_MIDGROUND USERS + BACKGROUND = REALISTIC

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Abstracted Multi-Layered Interface

In the virtual world, different representations of the same perspective are possible, making use of the multi-layered conception and abstraction levels. This way, users can control which aspects require to be focused based on each occasion. The background in particular is of major significance. By depicting the data in a more abstracted version, we can fit more information to it. Realistic representations are limited by the natural objects and line of sight. By abstracting the information we can see behind walls and also see whether groups of people are interacting with each other, through the connecting red lines.

B1_MIDGROUND USERS + BACKGROUND = ABSTRACTED, FOREGROUND = REALISTIC

B2_MIDGROUND USERS + BACKGROUND + FOREGROUND = REALISTIC

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EMPLOYER OVER-VIEWING TEAM’S WORK

VIRTUAL POINT OF VIEW VR

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Data Overview Data overview can be presented to the appropriate personnel, like managers wanting to be informed about the progress of a group. For this the use of screen adjacent to the working areas is being used in the physical world, while the information can be seen as floating windows in the virtual, accessible and visible only to the proper manager.

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Lecture/Seminar

For the interior organization, the screen plays a prominent role as it enables communication with the virtual world, combined with AR overlays. The intention is the three dimensional organic expansion of space that is directly related to the physical and is enabled by the agents acting within it.

VIRTUAL POV

LECTURE SPACE_PRESENTATION MODE

LECTURE SPACE_HYBRID MODE (PRESENTATION AND VIRTUAL EXPANSION) 256

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_01

_02

_03

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MEETING SPACE_PHYSICAL MODE

MEETING SPACE_HYBRID MODE

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01_

02_

03_

SPACE EXPANSION IS TRIGGERED AT APPROACH

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Hyper-surface The addition of haptic features to the screen also deepens the communication possibilities, introducing gestures and body language into the interaction. By applying vibration sensors, users’ touch can be read and visually translated to the other world. For instance, a knock and a gentle tap can produce different patterns and transfer different messages, acting as an initial approach language.

INTERACTION WITH HYPER-SURFACE

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USER INTERACTS WITH PHYSICAL OBJECT

VIBRATION INTERPRETED BY AI

INPUT IS TRANSFORMED INTO DIGITAL COMMANDS

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HYPER-SURFACES ALONG THE AVENUE FOR INTERACTION WITH THE VIRTUAL DOMAIN

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INITIAL INTERACTION

COMMUNICATION BOOTH INTEGRATED IN FURNITURE

Screens adjacent to avenues As the users are navigated through the building they can make contact through the multiple screens allocated within them, the conversations can be transferred into the communication booths integrated in furniture. 263

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Booths

After the initial communication is introduced, the users can use adjacent furniture for deeper communication. These objects have the potential to unfold screens that create immersive environments, for both groups and individuals.

INTERACTION THROUGH SCREEN

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GROUP BOOTH

PERSONAL BOOTH

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10 VIRTUAL DOMAIN

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VIRTUAL DOMAIN

VIRTUAL DOMAIN The virtual domain is the pure virtual space, and is expanded from the physical space, occupied by virtual participants only. As explained earlier, some space expansions are individual spheres, while others are combined with the use of the metaball algorithm. Following the logic of the physical interior organization, we divide virtual space into social space, cooperative space and working space.

Woking Space

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Auditorium

Social Space

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Portals Virtual and physical spaces are connected with portals. Remote participants can join or leave the virtual domain by them, they also allow virtual participants to move freely between the virtual domain and the digital twin.

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VIRTUAL WORKING SPACE Virtual workspace is composed of many different functions of ceiling. It provides a place for all virtual participants to work together, people who gather from far away can work together in the same place, while they can also choose a suitable workspace for their own work. 271

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VIRTUAL DOMAIN

Participants of the virtual workspace can also interact and communicate with physicall participants through various screens and floating windows, which provide more complete functions for the virtual space and strengthens the connection between virtual and reality.

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VIRTUAL AUDITORIUM Virtual and physical participants can join the same meeting through an auditorium located on the border of the metaball, connecting both the users, as well as the cyber and physical spaces.

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VIRTUAL SOCIAL SPACE Virtual social space is an open and convenient space. Space design is flexible, virtual participants can communicate, interact freely or carry out any series of other social activities, for which the space can adapt to their needs.

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PRIVATE SPACE

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Individual areas are also part of the virtual world. These spheres are private and they are floating in space. People can create their own sphere and work individually or invite their friends to join and work together. People without permision cannot join these private spaces, while the spheres exterior look like screen, blocking visual contact from outside. The interiors of there private spaces were also designed. These spaces are simple and private, so people can have a private and customizable working environment. Different color means different private room, participants can create the private space which they need. These spaces can combine with each other to become a bigger private room, then virtual participants can invite more friends and work together.

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Ability to fly Virtual participants can fly in the virtual space, for more convinient navigation.

Hologram In the virtual world, hologram projections can replaces entities, adding extra depth to avatar representations.

Connecting screen Screens or floating windowns are a medium that help virtual participants communicate with the rest of the world.

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social space

virtual circulation

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space boundaries

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AUGMENTATION OF AN EARLY ITERATION DIGITAL MODEL

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Augmentation On Reality

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Testing with augmenting objects on reality proves that these can be done in different conditions, whether indoors or outdoors and in different lighting conditions. However a rough and dark surface is usually a better option for achieving a better augmented result.

A_OUTDOOR AUGMENTATION

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A_INDOOR AUGMENTATION

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Physical Prototype #1

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In our first physical prototype we wanted to test the implementation of augmentation on a small section which shows the metaball spaces residing inside the building space. These green spaces are purely virtual but attached to the physical building.

EXTERIOR VIRTUAL EXTENSION TO THE PHYSICAL SPACE

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Physical Prototype #2

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Then we tested with augmenting virtual spaces on a bigger model while also being able to control the visibility of the different project layers. This allows us to control the extent to which we want to reveal the augmented information.

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CARVED METABALLS REPRESENTING THE VIRTUAL SPACE CARVED OUT OF MASS

3D PRINT OPTIMIZATION

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In this model, the metaballs (which represent the hyper-virtual cores) are carved out from the general mass of the prototype. The carved space suggests the residing of a virtual space inside the physical and leaves an imprint on the physical space. It also creates the atriums inside and introduces a porous system. In addition to having the carving present on the exterior elevation.

MODEL PREPARATION FOR 3D-PRINTING

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Then we tried to create an augmentation of the virtual spaces on the physical model. As a first step we defined the surface and then we needed to calibrate the physical and virtual models to the same starting point so that the two can be as aligned as possible and that the augmentation is successful.

00_DEFINING THE SURFACE

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02_ALIGNING THE ROTATION ANGLE

03_ALIGNING ON THE X AXIS

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Physical Prototype #3

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Physical Prototype #4

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12 PRESENTATION TRANSCRIPT

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GUESTS Paulo Flores received his Bachelor’s Degree in Architecture from the Ibero-

American University in Mexico in 2003, and his Master’s Degree in Parametric and Digital Design from the AA in 2007. H joined ZHA in 2007 and was made Associate Director in 2018. He leads the firm’s Front-End Design Research Team, which inputs to a wide variety of project types, with focus on development of the firm’s creative approach to early concept design. Manuela Gatto was born in Italy, where she graduated cum laude at the IUAV (Istituto Universitario di Architettura di Venezia), then gaining her Master Degree with Honours at the Design Research Laboratory of the Architectural Association (AADRL). She taught at the IUAV in Venice and the AA in London, where she was joint tutor in the Intermediate School. She is co-author of the book “Negotiate My Boundary! Mass customisation and responsive environments” and has lectured widely in various universities including the Architectural Association, London, University of Hong Kong, La Sapienza University in Rome, IUAV University in Venice, Technion in Haifa, Tel Aviv University, University of Leige in Belgium, University of Graz in Austria, University of Ljubljana, Slovenia. In 2002 she joined Zaha Hadid Architects where she is currently Director. She has collaborated to a number of projects including the BMW Central Building in Leipzig, and led seminal projects such as the Bridge Pavilion in Zaragoza, SKY SOHO mixed used complex in Shanghai, Leeza SOHO, a mixed-use 207m tall tower featuring the tallest atrium in the world, and Danjiang Bridge in Taipei, which, upon completion, will be the world’s longest single-tower asymmetric cable-stayed bridge.

Prof. Stephen Gage is an internationally recognized leader in education of

interactive and performance architecture. He has taught at The Bartlett since 1993, holding posts as Director of Technology & Director of Architectural Design as well as leading various funded research projects, and supervising Masters & PhD students. His graduates are now some of the industry leaders in interactive and performance architecture including Jason Bruges, Dominic Harris & Usman Haque to name just a few.

Nassia Inglessis is an Artist, Engineer and Designer based in London and Athens.

She founded Studio INI as an experimental practice that couples rigorous design and scientific research with public engagement in immersive and experiential installations.

Jelle Feringa is an architecture and robotics specialist and as CTO of Aectual

responsible for the development and production of tailor-made building products at scale. While developing his PhD thesis at TU Delft, Jelle established a full robotics lab in the docks of Rotterdam. Here he developed the technical underpinnings for Odico formwork robotics, the first publicly traded architectural robotics company which he co-founded in 2012. Technologies that Jelle developed, include hotwire, hotblade, diamond wire cutting and large scale 3d printing and are applied in high-profile construction projects. Jelle has taught & lectured internationally at the Bartlett, Architectural Association, Paris-Malaquias, IAAC, ETH Zürich, TU Delft and Aarhus School of Architecture. Jelle is a founding partner of EZCT Architecture & Design 310

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Research. The work of the office is widely exhibited, exhibitions include the Mori Art Museum, Tokyo, Archilab, Orléans, Barbican Gallery Design Miami/Basel. Projects by the office are part of Pompidou Center permanent collection and the FRAC Centre Orléans. He is a long-term contributor of the PythonOCC project, and some of his fascinations include levelsets, stereotomy and powertools.

Tyson Hosmen is an Associate at Zaha Hadid Architects working with the ZH Code

group. He holds a Masters Degree from the AA DRL and a BA in Architecture from Virginia Tech. He has over 10 years of experience as a designer, software developer and researcher previously working in several architecture offices including Axi Ome, Asymptote Architecture, Kokkugia, and Cecil Balmond Studio. Currently his research focuses on the application of machine learning with agent-based systems.

José Pareja Gomez studied architecture at the De La Salle University in Leon,

Mexico and received his MArch from the AA DRL. He has taught at the Bartlett, UCL and lectured on diverse technology and architectural forums in Latin America and Europe. José joined ZHA in 2013 and has played a key role in the development of the ZHVR Group.

Vasilis Stroumpakos Diploma in Architecture A.U.TH. 2000, M.Arch in Architecture

and Urbanism with Distinction Architectural Association Design Research Lab (2002), Research Fellow Architectural Association (2004). Academic: Studio Tutor at Architectural Association DRL M.Arch (2002-2008), AA Media Studies (20062008), AA Diploma (2004), Adjunct Lecturer at Architecture Department University of Patras (2008-2020). Curator at Architectural Association New Media Research Cluster (2005-2007), Head of AA Digital Platforms, Architect at Zaha Hadid Architects (2002). Awards and Distinctions: European Design Awards, Feidad, Possible Futures (Miami Bienale), Plecnik Institution, Interactive Media Awards, AVA Digital Awards, Design Licks. Exhibitions: National Museum of Contemporary Art Athens, London Architecture Biennale, Milan Biennale, Miami Biennale, Arco the greek suspense Madrid, Software Boundaries Israel, Digital Topographies Thessaloniki. Publications at AD (Radical Interface), Blueprint, World Architecture Review, Piranesi Periodical, Feidad Exhibition Catalogue, Il Projetto, European Design Awards Catalogue, Spazio Architettura, New Italian Blood, AB magazine. He is co- author of Negotiate My Boundary! (AA Publications , Birkhauser).

Melike Altinisik is an award-winning architect and designer who is dedicated to

develop an innovative approach towards architecture and design. She is the founder of internationally recognised architecture practice MAA – Melike Altınısık Architects with offices in Istanbul and Seoul. MAA has been developing innovative and visionary projects that ranges from architecture and urban design to interiors as well as installations and product design. Melike is an alumni of the AADRL.

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PRESENTATION TRANSCRIPTS JURY COMMENTS

Paulo Flores I can start maybe just to first to say, I think that we’ve been having good discussions yesterday on similar topics, but I think this project is the first one that I really see the emphasis of from starting point to really create a sense, a language, a typology of how we could differentiate. What is a virtual arena that is inviting the physical world to get to no one to understand, I think that sort of initial metaballs configuration and placing them within the volume, and then the physicality starts wrapping it around it to very exciting and say conditions of spatial continuity and social interaction. But they do create this sort of sense that you do want to visit that the virtual arena. They were like a law is that what you enter that arena is not only a this nice, inverted metaball space, but you do create this language of windows where you can look into what’s happening in all of the virtual space. So I think that sort of creates a nice uh dialogue between wanting to be physical. But there is a reason why you will be physical wanting to go into that. Virtual arena become the use of the hybrid condition that I think it’s related a very successful new language of definition of what we can create from the sense of virtual and physical architecture. I think I want to also mention how it comes together quite well. In the overall physical geometry, I think the response to having eligibility on from the massing typology, let’s say, of that we are creating a new sense of space that is legible within the mass. And the two of them work together. I think it’s quite successful. And if they make into a very appealing overall, very elegant, designed on a very interesting architectural piece. And I think then looking at the there’s always that questionable balance of how much once you are in the digital world, how much presence you have of what the space that you entered into that physical. And I think you guys tried at quite well keeping some of the key ingredients that still give a sense that you are in the same space, that same physical space, where you have a complete transformation and and limitless boundaries of what that spatial interaction could become. Therefore, that sort of very fun idea of the porters jumping in and out. I think that’s also quite the opens up a very interesting topic to keep on this crossing. So I think overall I think I just like that it we can start reading the two worlds happening into one sort of condition. And then the expansion and leaving this option that this opens up is quite an interesting topic. And I think it starts to expand on the agenda that, I think setting off being this the first year. I think it has a lot of potential that it’s very exciting to keep on saying so well done.

Manuela Gatto I must say agree and really enjoy the presentation, enjoy the project, enjoy the questions as well. I think it really ii really like the fact that it starts addressing issues, also the relevance of this office, real estate, which is obviously something that it’s close to point of crisis at the moment. 312

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JURY COMMENTS

So bringing relevance to the office is, a collective space, where people are actually present, physically connected and physically working together is very important. And creating this level of excitement of that physical space is what really pushes people from living their own houses and actually going there. All think it could potentially quite a quite successfully addressed this issue that many companies have many comments or at least have and actually encouraging their employees to physically attend the office, something people don’t want do anymore. And that could link a lot of other issues, meaning difference and mental health, importance of socializing and coming together through your work and so on. So in that sense, I guess for me, what I really found interesting is your soft metaballs. I think the hardware that’s all around it. Maybe you don’t need it. I maybe what you need. I can’t kind of be mentioned in this being like a big, the type of project where you carve out, you take an existing, I don’t know the lord headquarter in central London completely unused. Now everybody is gone, nobody wants to be there. You cannot like carve out this big hole in stallion matter, your metaballs and bring them back to lunch in a way, like in even seen as a project of the purpose. And it could be very, very exciting. So well done, really like that.

Stephen Gage I was wondering during the presentation, whether there’s an extension to what I kind of understood you to be talking about, which is that you would go to a physical world and in that physical world. You might meet a group of people and then say to them, shall we meet virtually and actually that the choice at that. is collectively to go into a virtual world on the site. Now, one of the great advantages of that is that you would in fact have an amazingly but advanced virtual world possibility at your fingertips in terms of motion tracking. And in terms of scene setting, and in terms of a kind of virtual magic that could enhance what is actually a physical meeting. But I didn’t quite get there. I you’re AA kind of half got there with your running people, running through what looks like a perfectly ordinary setting with perfectly ordinary people sitting at machines. And then there’s a virtual person running through. And I was thinking. can we push that in terms of role play and adopting it, get some ancient person like missing? Actually, I wouldn’t mind being 23 and leaping across this world. So I’ll kind of reconvert myself into a virtual participant of this actual physical world. I think there are models of this kind of thing which are in kind of really advanced shooting upside game places that you can get, where you can really get a huge experience, virtual experience in a physical place, that maybe that uh, maybe this is me kind of like imagining it further than you’d like to take it.

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Nassia Inglessis I have to say, I agree with that. It brought the thought of the idea of the scenario where someone’s physically running to get to a meeting. And their colleague is just teleporting. And it raises, I think, the right questions of, if it feels so much more exciting, when you feel that you will come into an environment where that is a choice. There’s a choice between the physical and the, visual, a collaborative choice, and that it is, I think ii want to congratulate you on the design that it did feel that it really promoted the notion of fluidity and axis. Both has it exists within where it is in its site and its landscape, but also in terms of the visual and the physical in the fluidity within it? I did aa question that I read raises, and I really like how that you focused on the idea of virtually being used to create presence. And that actually have the people within the building as holograms who are remotely. Ii sort of and you mentioned them as being avatars. But I it makes me wonder of what is the experience of the person who is connecting remotely as an avatar? And could we be considering these parallel spaces in parallel existence? If you start thinking about actually what if these the physical spaces had a sister one somewhere else elsewhere in the world, we look at offices globally. And actually, the whole international office can coexist in one space by being virtual and physical. And these spaces are applicants of each other mirrors or variations, because and actually the movement that you have within the space where you’re physically is measured as a virtual movement within the space in a completely different country elsewhere in the world. And so that actually the experience is not for one that is remotely is a physical one as well. And it is could connecting virtually. I was thinking, is that be an extension? That’s one of the scenarios. Absolutely. The other thought was, again, when we talk about space, we look at these advertise as there’s a value than being having a presence. Yet, there’s a question for us challenge about occupancy and about how you is. Do can we consider alternative ways of representation of presence that doesn’t have to have a footprint in the space necessarily, or has a reduced footprint. So that actually we can have more people who are space without virtual unreal, without getting to the threshold of overcrowded or the threshold where it becomes saturated. In the same way, this could create interesting opportunities for if we are in a in a situation, in a crisis, where we need to be isolating, or we need to keep distances of how can you give that sense of being around people in the sense of a crowd when you can’t have one as well? So I think there’s a lot of interesting paradox is to be considered in that. But again, congratulations, all done.

Jelle Feringa Yeah, I think the brief of the studios is very striking and very interesting. So thinking 314

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JURY COMMENTS

about it. would I have a same? I don’t know. Yeah, so I am thinking back in a sense, I like the brief of the studio. I’m thinking of the New York stock, a change of asymptote back in the day. And thinking of that, it’s also realizing like, it’s unbelievable that architecture has left open that agenda for the last 20, 25 years, right? So I like that aspect of calling that back this territory in exploring sort of the architecture of the metaphors. Think this is all very, very cool. I also want to remind you is that not exactly two to date, but it was 600 years ago that Bunoleski invented the perspective, right? And sort of this running man seems that seems an imaginative concept of perspective, a in a virtual world, right? So especially thinking of the modernist with their total obsession of the hyper cube to test or arts, the 4th dimension, right? What are older? More radical ways of navigating space? I’m too old a to be a gamer or too boring or, whatever. Is that? But I even I know that a very famous game is portal, right? Which is really, it was for decades, it’s been ahead because it’s really the premises of the game is really exploring aa novel way of navigating space. So is that I like it, but it’s not radical in enough, perhaps the project, right? Also because technology is developing a break neck speed. If you’ve represented some work at assess the last month, these kind of extended reality glasses are becoming they’re a bit dull, right? But they will be become part of our environment. So I think the proposal could be technologically a bit more radical, quite a bit more radical. Why? Because I think this idea of making an architecture that extends to the metaphors or by the vice versa, is a very interesting id but when you build the technology that will be supported, had that technology that is interfacing with the building and the building that is interfacing with the technology must be sufficiently advanced to warren building. Right? So if the technology is still very much influx and still developing it at break next speed, it would be quite easily. There could be a mismatch between the build environment and the technology that is accommodating it. So I on one hand, we need to think about this, right? Because this is an urgent agenda, but I think, let’s say, in terms of proposition, a little bit more bolts might be interesting, right? Is that I miss a sort of science fiction edge in in in distance, is that, especially considering the advance of technology. And also aesthetically, I thought some of the renders looked a little bit old school, in a sense of, let’s say, the lack of the material models are a bit plastically and reflectively. So also, aesthetically, in a sense, it could have been more radical in that sense. So, sorry, bit more bolt comment.

Patrik Schumacher I thought some of the images just to intercept there. I think there’s a very strong aesthetic in some of the images and some of the degrees of abstraction. But if familiarity, the demilitarization element, I thought I think it’s quite strong. 315

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But I’m looking for this aesthetic. And we have another project to see what else to be, but, yeah, it’s an interesting quest.

Tyson Hosmer maybe just to follow up on that. At last comment. First of all, just to commend you guys, I think it’s really exciting step forward in Patrick’s agenda. And many of the discussions we’ve had over the last few years about kind of hybrid world between the metaverse and the physical world. And I think any questions of metaverse? They immediately always bring us to a question about extremes. Right? We imagine that now that we have this multi-dimensional space, we must do something very extreme, right? We there’s an opportunity there. I think that’s valid for sure. At the same time, I really like the idea of the augmentation. So the notion that this kind of tele presence and kind of physical presence are going to each other and pushing and pulling on its item. That’s quite a difficult thing to achieve. So I think the tension that you guys have proposed there is very interesting. And I think it’s very relevant to today. I imagine many of us, I think, really enjoy working remotely, but at the same time don’t enjoy sitting on zoom. Unfortunately, all the time. There’s a great opportunity here to really make this experience playful and productive at the same time. I think that like the images where you show these kind of ghostly figures within the physical presence, I think it’s good that we see them, because it really kind of immediately lets us visualize and challenge what’s the impact of that. But just to be a little critical, I agree with some of the all’s comments as well. I think you should really push a little bit further in terms of the extremities. For example, if this is a highly populated space, what is that like? There’s many people sort of connecting at the same time. What is that like? Just to see more variation in design studies as well with this metaball logic, we saw it sort of comes across that. There’s a singular design. And it would have been nice to see a little bit more variation and what the impact that would be. But that said, I think you guys overcame a lot of technical challenges in this project. And I think it was really well done. So thank you very much. Congratulations.

Stephen Gage I was wondering what the not this particular jury review would be like in the kind of world that you’re proposing. And it actually cause me to begin to think maybe inside that is a critique of the aspects of the project. Because I know where i’d like to be virtually and i’m all my virtual colleagues. I’d like my virtual colleagues to be in the room with you. As you present. I that to me would be the casing rather than living in the zoo. I’d like to live in the space as a virtual presence and somehow or a mother. I’d like to turn to somebody else in that space and make a comment to them, maybe whispered to 316

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JURY COMMENTS

somebody in a corner and the degree of sophistication of the technology that would require. I think, is almost irrelevant in the context of a project of this nature. Somehow it’s gonna be possible, maybe currently is possible. Ii think that what I’d say is that it be nice for you to actually be a bit more precise about scenarios in the project. of which the slightly one of them. Another one might be going to the bar and seeing somebody vaguely recognize in the corner and going over to them and how far that might actually be replaceable in a virtual environment, or maybe it shouldn’t be. I don’t know. I just think that the scenarios, maybe a clue to a further development of the thing.

Jose Pareja Gomez Yeah, absolutely. I I think that’s a key development that I think would be benefit the project in the next few weeks if you guys have some time to do some studies on this, because i’m pretty sure that everybody in this meeting was having a different version of how they would be interacting with this sort of project in a different manner. Right? I think also depending on how comfortable one fuse with the whole idea of being fully beautiful versus fully physical. Right? I think one of the really key advantages of the way that you have approached to break is that you guys are kind of talking about this as a very smooth gradient of participation, right? You decide whether you’re completely physical or whether you’re completely spiritual or anything in between. Right? So it also helps, I think, of boarding people into the idea that you could potentially be completely ritual. Right? So there is this I’m just used at working in front of my computer in front of my desk and have people literally walk to my desk to be able to interact with them. And then this the other extreme, where we’re all like these wally fat people in these moving chairs where we just don’t move and everything is happening in a virtual headset or something like that, right? And you navigate the space just by virtual my navigate in the outer, right? So if you’re not comfortable with other scenarios like this, helps on both people is lonely into this idea that more and more things can be into the world, and until it eventually becomes fully beat or completely detach yourself from that. And I think there’s also another component to that, which is that I think there needs to be a filtering system, right? You it would be useful for you to be able to decide what do you want to interact with. Right? So if is the space is completely open, and there’s just a lot of people and a lot of conversations happening, how can I filter? Those are particularly relevant to me, especially in an incubator, right? Where there’s so much development going on. Like you can specify what sort of conversations you wanna take, part you wanna visualize. That will also allow you to increase the size of the space, right? Because then the space can accommodate a lot of interactions. And then you just decide which ones you 317

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want to meet and which ones you’re gonna be able to listen to. I think something else is on the opposite side, right? One is the thing that you wanna listen to one. The other one is the things that you wanna broadcast. Right? So if you are inside the incubator, do you wanna be virtual and visual to the virtual people all the time, right? Or do you wanna be able to broadcast at the specific times? Right. The moment that you go inside the courtyard, you are telling you know when, I interact with people. When they just a part of the court that you, perhaps it kind of defines that kind of privacy layer. But I think it would be useful to be able to also say like wearing a meeting. But if anybody wants to walk in, by all means, right? Or say this is a meeting that I sing close and then that’s it. Right? So no beautiful person can simply working. Right? But I think there’s lot of scenarios that can be explore there. So if I was in your shoes, what I would try to do with perhaps use put myself in the foot of one of these users. And then just the employer system, what would I do? Are they in this incubator? Right? Like what would that mean? And how would that change the way that I work? Currently, right? I currently probably would be very different because I’m working from my so far, right? But a on a more, let’s say, standard they scenario where I used to work at my office like, how would that working? They be different, right? And what would again and what would I lose of this interact from these interactions? A overload, super interesting, super thought provoking. So very, very cool.

Patrik Schumacher And congratulations. Just for them. Slide a few points. I am really proud to see this. It’s very rewarding. We’re working on similar things as one very good actor for us and congratulations to the team, lot of the, great ideas and still has a lot of openness as well in terms of speculating. I but hosting what you said about filtering systems very interesting, important differentiation, more to see that larger crowds. All that is very, very important. And I thought urban interaction spaces, I’m looking forward to that as well. I we get into urban space, rather we laid. It’s great the way that the project projects, its particular pulsating life, but actually events in the urban spaces. There’s another thing I think we should start look at. But it’s been very productive, very, very amazed by this. And I do think that it has a lot of I’m not sure to push it to what to radical domains, the continuity between the existing spaces, because these are institutions, firms in combine to brands, etcetera. They have that it’s their particular virtual sites. And its true word was said in terms of satellite offices, remote participation, but in a particular place. For me, the continuity between the interesting communities you discovered between the physical and virtual expansions, I think, is very interesting, but the degree of abstraction that mirroring effect, the locating one within the other, I think these are quite stimulating quite a potent, important, because I think it’s quite and you are have investigated a lot of the technologies which are available. Terms of taylor present thing 318

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in terms of chronic paromic screens, ways forms of AR glasses. That’s a fascinating world. And there’s more and more happening on that level, holographic projections for special occasions, for special locations. So that’s happening. And we need to be aware of this as well. As the case study, research about various startup companies offering virtual meetings and what they are looking at and what is interesting there as well for me, that there’s a diversity in variety of interaction, scenario and situations, which one can characterize. So I totally agree with the comment that one would have to go more in depths into particular situations like even was talking about what would be a seminar situation or cried situation. I think next thing from yesterday as well, that integrating also and the stock exchange project was mentioned, the representation of the media of work itself, information representation, maybe three d models people can collaborate on. I we know that has been happening. But to bring these into the scenarios as well as so, it’s not always only talking with each other. It’s talking with media, with three d media and also navigating information. Itself uh, fascinating. So thanks a lot. Ii really I really feel charged out because this is something as the other you’re rightly said, it’s we could have started as a while ago. It was triggered by the corporate thing, which also triggered another thousand startup companies in this space. So it’s bit timely and it’s the journey starts here.

Theodore Spyropoulos I just want to pick up on a couple of points. I the triggers of discussions around metaphor, spirituality. I think, interestingly enough, I think within the digital domain and the discourse is around a lot of the work that we’ve been developing over 20 years has always been there. The 2 points that I would want to kind of expand a little bit on is something to do with what Stefan would say, relative to what the nature of this conversation would be like. If we had the opportunity to explore things would be be focused on our comments to each other, would be focused on experiencing the actual environments that the students would be generating. I remember certain experiments that we used to do with a early day with VR, m mall models and online kind of ways of exploring digital environments. And those things have been around for a long time. So the novelty is not really novelty in that sense, but the conversations about how one somehow expands the issue of virtual and real. In my estimation, I the team has done a really, I think, good job and somehow problematizing it in terms of the conversation today. But as we know, this isn’t about technologies having arrived. Technologies have been here for some time. They just haven’t been distributed. I think the implication, at least from my side, is to think more strategically about how building like the building itself is a piece of tangible media that it is an interface, and that in some sense, it it’s somehow, I think, has to break the orthodoxy of this binary virtual verse, real situation, because we should be potentially much more speaking about degrees of presence to look at a lot of 319

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the kind of telematic aspects that have been around, particularly in ardent technology for a long time. The degrees of presence, the degrees of engagement. I think, are things that we should be focusing on. At least that’s my estimation, because I think the conversations that are happening from the tech industry and so forth, for my sense, is very misplaced. Because I think in some ways, it’s a continuation of a certain kind of novelty within this space, which I think if we look at the history of how some of this kind of thought experiments were kind of played out, we can see different kinds of models and affordances within that primarily most of them spatial in terms of the internal versions of that, which were flattened into screen based this. And I think the re-emergence of what spatial means within that, I think is going to be very important. And I think the students are suggestive of a version of that. But I think its radicality will be in terms of exploring that without the bias of the binary model. I think in some ways, that’s where I think the trajectory of this kind of work lends itself. But I think it’s kind of super critical to try to think about what augmentation in this world would mean. I think beyond meeting and beyond entertainments, the gaming game of vacation scenarios that we’ve seen in the gaming industry have kind of created a new opportunity, just like digital software kind of opened up if it is to be explored in a space. I think the notion of experimenting with it as kind of lives, scenarios that we can kind of test, I think is super important. Otherwise we somehow are working as aux designer, in some sense, the notion of ideas of choice and experience, and how that somehow enables productivity in the work environment. But actually, what we’re doing is cons training, creativity. I think a lot of the other aspects that I think are much more intuitive. So it’s just more thought, because I think the conversations have been built up from yesterday to today. And I thought the comments from the other and Stefan are interesting from two different places, one where we’ve been and one where we’re going. And I think looking at the projects, and the discussions affords us the ability to kind of see what are the similarities of some of that more radical kind of digital design, kind of work from the 90s till now? And what are the things that to be honest with you are emerging, which I think can be targeted to, I think, a quite important kind of critical engagement with how some of the discussions around virtuality and metaverse are kind of evolving as a real live, kind of parallel emerging economy and emerging kind of concept of actually how we communicate with each other. So I just put that there. It’s not a critique directly to the students, because I think the students have done a very thorough kind of research, and I think they should be commended on that. But I do think as the thematic is kind of going to be involving over the next couple of years, I think for me, the issue of presence and a new language to kind of start to express this in ways that doesn’t have either the nostalgia of the past like 90s kind of experimentation where these things were talked about as hyper surfaces. 320

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And this kind of discussion of virtuality, and an emergence of a language that actually maybe is more true to the kind of spirit of actually what’s motivated these things. Because I feel like that will need to somehow emerge in parallel with the ways that we choose to work on the project. But I think with that, I don’t know if there’s any closing comments from Monica, we can kind of continue afterwards.

Patrik Schumacher I then thing is the current aesthetics with computing with the aesthetic of toy town. So it’s an easy win on that level, but it’s an instant quest. For me also what the aesthetic opportunities and risks.

Theodore Spyropoulos Yes, I think the one thing I would say Patrick is like, we’ve seen second life. I am not a gamer, but you see it for different learning environments with but children kind of really being able to kind of find intuitive ways, different communities to engage with and so forth. I’m thinking a bit more as a framework and to try to think about the argument why buildings matter in the world that’s becoming ever more ephemeral, I think is important. And I think that’s where the comment of moving with a kind of actuality and being more interested in the hologram than the people working there is something that we have the kind of challenge.

Patrik Schumacher I the interesting thing is, once we define the building and 12 as the interface, we’re designing the virtue and the interface itself, but their spaces faces. I think that’s the paradigm. And I I don’t anybody else work as of, but I can see all of our clients being interested the…

Vasilis Stroumpakos I would like to make a comment on show on this. A it’s a fantastic project, both in terms of development as well as the topics that it points it puts on the table. And I think the most crucial thing is this the attempt to find or to develop a hybrid space, a line or the surface between the hybrid the spiritual domain and the physical domain. And I think this is a very contemporary question that actually, the last 2 years of zooming just emphasized quite a lot, the lack of progress that has been made for the last 20 or 30 years in the way the interface design between the communication, between the human and the digital domain has developed. So all the different kinds of interaction that we have been using for the 2 years through zoom to make all the different types of activity that which have been using the 321

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physical world has shown that is a very little connection between the actual activities and the way they are interpreted in the distal domain. So screens, mouse’s keyboard, styluses, all this kind of stuff they are around for at least 50 years with actually no further development. So what you’re doing here is an attempt to bring this interface of communication, of interaction, of doing the activity, and embedding this interface in the building, in the surface of the building. I think here there is an attempt to convert the actual architectural surface or the architectural space into spread interface. But you can do the activity and communicate with others. So and I think this is a very, very essence of the project. And it’s very uh very, very interesting to see how this can evolve. And it’s crucial that architecture has to play a very major role in the evolution of this kind of connection and the development of the interface being part of the special environment rather than being a device connected on a desk. And I remember aa quite old project by Paul sermon, which was this telematic dreaming that you had two people lying on the beds, one being quite far away and the other being physically on the bed. This for me, was a very striking image that you can actually shed the bed as the very intimate interface that was completely physical. And the two people lying together there, one far away, and the other one in physical presence emphasized how crucial this convergence of this communication layer has to be than into the architectural space and rather than being constrained into a monitor or a computer screen. I believe that given that this agenda initiated the DRL will be uh quite interesting to see how this can evolve and proposes this kind of revolution for the next period. Thanks.

Melike Altinisik Maybe shortly, I can also mention about my thoughts. And in general, I would like to really congratulate the team, because I find this is really, really beautiful and very good research project. I especially starting from the design methodology, from the first initial strategies, choosing the metaballs system, and really enlarging this systematically from 2D, 2.5 D 3 D and even trying to maybe enlarge it into 4 D. And also like I architecture, architecturally speaking, it has this interesting and elegant, dissolved formal approach. And we can follow this virtual and physical spaces with the fluid fluidity dirty on one side, keeping all these really fantastic resource on one side. But on the other side, I totally also agree and keep questioning what tale was putting on the table. I believe in this meta world, metal worlds world, we need to question really deeply the way how we will bring up this new behaviors and new type of behaviors between the users and in the physical interaction is important in this virtual world. But are we really need to use the kind of in in a way representation of this physical world in this mutual virtual world? The way how I see is like, is it gonna turn into kind of the land of our unveiled projects at the end of today? And this becomes, for me really something questionable. That’s why also we can really find ways of really 322

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pushing the boundaries and not really keep the research only related uh to this i mean, the space itself, why we really need these buildings, architectural buildings, directly kind of representation of the maybe one day we can build them, but we can also push the boundaries, different ways of observing or investigating these spaces in this virtual world. I it’s not easy directly to develop these ideas, but I think it’s a great project to start questioning a lot of explore for the futures of architecture in this world. Well done and congratulations.

Theodore Spyropoulos I think what is being discussed is really trying to expand. and also look at the paradoxical relationships between the digital virtual verse, the real and situated, and try to see how we can kind of expand that discussion. With that, I think we’ve had a really good conversation on this, and I’m sure it will continue. With the next project. I want to, thank the students for the effort as we have two of them actually remote and too very situated in the lecture hall with us. So the hybridity is, in method, in practice, being tested at the moment, not only with critics, but with the team itself. So thank you for them. And joining for assisting and all of this. And we’ll continue with the next team. Thank you, thank you.

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BIBLIOGRAPHY Articles Schumacher, Patrik (2016), “Advancing Social Functionality Via Agent-Based Parametric Semiology” in “AD Parametricism 2.0” Morris, Caroline; Wernick, Amber (2021), The 12 building blocks of the new workplace, https://clivewilkinson.com/the-12-building-blocks-of-the-newworkplace-featured-in-workdesign-magazine/ Meachem John (year), Googleplex: A New Campus Community, https://www.clivewilkinson.com/pdfs/CWACaseStudy_ GoogleplexANewCampusCommunity.pdf

Books Benedikt, Michael (1992). “Cyberspace: First Steps” (Cambridge, Mass, The MIT Press) Hale, Kelly; Stanney, Kay (2015). Handbook of Virtual Environments Design, Implementation, and Applications (Human Factors and Ergonomics Series)

Websites https://www.vspatial.com https://www.meetinvr.com https://secondlife.com https://www.asgvec.com https://burningman.org https://www.hypersurfaces.com/ https://www.pix4d.com/blog/lidar-photogrammetry http://www.heatherwick.com/project/google-bay-view http://archigram.westminster.ac.uk/project.php?id=56 http://archigram.westminster.ac.uk/project.php?id=57 https://www.frac-centre.fr/_en/art-and-architecture-collection/nox/ fresh-o-pavillon-l-eau-douce-waterland-neeltje-jans-zeeland-317. html?authID=133&ensembleID=344 325

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STEFAN TZON MANOUSOF | QI YANG | AMIN YASSIN | YANG YU 2020 | 2022 PHASE II