WIND - Tony Yu 2016

SEMESTER 2 2016 STUDIO 05:

WIND ARCHITECTURE 585188 TONY YU

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CONTENTS PART A A.1.1 INTRODUCTION 6 A.1.2- INFLATABLES 7 A.2.1 - RESEARCH 9 A.2.3 - PROTOTYPE II 11 A.2.4 - W/ INFLATABLES 12 A.3.1 - PETER LYNN KITE WORKSHOP 13 A.3.1 - KITES 14 A.3.3 - REFLECTION 16 A.4.1 - USER EXPERIENCE 19 A.4.2 - WIND 19 A.5.1 - MOVIE 20 PART A BIBLIOGRAPHY 22 PART B B.1.1 INTRODUCTION 26 B.1.2 DESIGN I 27 B.2.1 - NEW MEDIA 28 B.2.2 - IMMERSION && INTERACTION 29 B.2.3 DESIGN II 31 B.3.1 - ARCHITECTURE |& VIDEO GAMES 32 B.3.2 - RESEARCH I - SENSORS 34 B.3.3 - DESIGN III 36 B.4.1 - //IMMERSION ... ARCHITECTURE 38 B.4.2 - IMMERSION != INTERACTIVITY 38 B.4.3 - RESEARCH II 40 B.4.4 - DESIGN IV 41 B.5.2 - INTERACTIVE IMMERSION 44 B.5.2 - DESIGN V 45 B.5.3 - DESIGN VI 46 B.6.1 - DESIGN 48 PART B BIBLIOGRAPHY 54

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PART A INTRODUCTION

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A.1.1 INTRODUCTION Architecture is an externalisation - places human as a separate agency, as a spectator.

Architect Bernard Tschumi once said that architecture stops being architecture as soon as it leaves the paper, if architecture is the product of the architect, the laying of the brick to the physical interaction of spatial imposition on the user and the user’s imposition on the purity of the spaces, decrees architecture as profession of violence, architects fear the outside forces that impose on their architecture.

In the modern age of the spectacle, We talk about architecture as a static response (architects cant respond to the future) to a single moment of the paradigm of the now, but the context of Earth is similarly one that is never static, but it is composed of fractals upon fractals of moments of natural processes.

The dynamism of the natural orders is one that architecture largely circumvents; where spaces normally have a rejection relationship natural agencies: for utilitarian purposes usually, instead of engaging or designing with them. Where design is static for the imposed communication of certain ideas, it is the purity of a human-less architecture that ultimately paradoxically is unable to resolve its intention with the people.

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A.1.2- INFLATABLES Inflatables were a radical response to the waning ideas of modernism and the heaviness of brutalism, read as free isolated environments within environments, they created spaces which were infinitely smooth, with no distinction of traditional xyz-planes. They were a critique of the then current conceptions of planar space, and the physical manifestation of the disposable nature of design, inferring mobility, nomadicism and the possibility for freedom of re-arrangement.

Inflatables introduced uses for the miracle material plastic, and inflatables also became an exploration into emerging technologies; that of audio-visual communication, and environmentalism.

Despite this, Inflatables were put into the same light as Modernism’s soulless mass-production

at the end of its peak; they were critically unsuitable for inhabitation due to their fragility to the environment; technology could not keep up, and it was seen as an unsavoury victory over natural materials. Freedom of the planes could not resolve the formal patterns of the bubble that came to be, and the 21st Century revisits of the medium devolved further into temporary pavilions with light-displays.

Ark Nova - Arata Isozaki & Anish Kapoor Mobile temporary concert hall inflatable is an example of the state of 21st century Inflatables.

While the inflatable maximises on the sociocultural advantages and is appropriate for its usage, the inflatable itself is the modest bubble form with experiential light qualities.

We have to ask if it is the simplicity of program that has halted the exploration of the field, especially its missing ties to emergeing technology.

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Despite the metaphorical dynamism from ideas of freedom and mobility, Inflatables are largely static structures. Initial prototype aimed to explore the inflation/deflation of Inflatables, an area that is arguably the most dynamic of the medium but is largely ignored.

A.1.3 - PROTOTYPE I The question posed was whether the inflation process can be controlled in some way to tap into its potential for movement and beyond. The idea of something that could ‘transform’ was explored.

Magnets were used to hold areas in place and a valve was designed to control the amount of incoming air. Magnetic holds were of varying power, to correspond with ‘levels of forms’ the Inflatable could take.

(Bottom): Component for controlling air flow and air-tight valve

REFLECTION An approach of rapid testing would be more beneficial than an imposed idea from the start. The nature of the inflating was hard to calculate as was controlling the timing of the magnets. This was designed to be a linear transformation that results in the same static final form, something that would consistently transform, passively (like sails) or mechanically (introduction of further agents) could be achieved via various methods. The areas of ruin and decay, where architecture rarely explores, may also be of interest.

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A.2.1 - RESEARCH How do we subvert the spectacle if we are entrapped in the spectacle, the notion of radicalism proposes the death of architecture as we know it; architects like Pallasmaa argues for no more images, but modest multi-layered experiences that do not betray, but give more to the enraptured image. Archtiects like Holl frame an approach of intentional opposition and intrigue, and indulging in play to explore possibilities.

Pallasmaa associates the image and the experience to be mutually exclusive, yet for a society trapped in the spectacle, the notion of empathy, and the architecture for the civic realm is superseded by architecture’s supposedly ultimate goal addressing the utilitarian needs, the exceedingly small amount of spectacleworthy (the search for the new,) projects overshadow majority of built projects, it is inferred that spectacles need to adopt more modesty and multiplicity, while the rest of the overlooked built environment needs do the same for the opposite reason. While focused on the civic realm, Pallasmaa inadvertendly fails to acknowledge, yet still propogates the importance of experience, where in that whether it be in the spectacle or the inhabitation, their is a goal is for the -delight- of the user.

Holl is for the rejection of commercialism and repetition. Advocating for what is an even more ideological abstraction of a unique unity, one that is even more spectacular, extending past the image and into the experience. This similarly harkens to this notion of delight, albeit in opposition to the service of the architecture, but to propagate discourse for discourses’ sake.

Ultimately these viewpoints place architecture as experiences, whether as empathetic structures or ideological. The spectacle building is inadequate to give any new experiences outside of visual form, as static monuments that exist beside, and not with its users and agencies, that do not tap into the full potential of the experience.

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A.2.2 - RESEARCH PRECEDENTS Articulated Cloud - Ned Kahn A kinetic facade of translucent plastic squares on an aluminium space frame that changes with the wind and weather. The spectacle is the structure’s lack of resistance to the forces of nature and instead. The dynamic facade is experienced in the interior to the degree of the quality of light, and the experience of the noise (regarded as negative. The extent of the experience is one that configures the user as a spectator and the weather as the natural agency, both mutually exclusive.

Floatastic - Qastic Inflatable used as an element that allows for the dynamic generation of an interior space via the curtain-like anchors as it is compromised with the wind. The interior space is at the whimsy of the weather, where users have no agency in the experience other than the kinetic experience of the space, the dynamic response does not factor in the user other than the restraints.

Wallbots - Otto Ng Responsive wall to the elements, dynamic interpretation of the environment for the purpose of utilitarian delight of the user.

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A.2.3 - PROTOTYPE II

ARDUINO - GRASSHOPPER W/ FIREFLY

Second prototype exploring ways to control the ‘transformation,’ arduino controller was used with a standard servo to articulate an arm in the interior.

The arduino is accessed through Grasshopper via Firefly, extrapolating the possibility of inputs, the arduino can be given commands via any sort of Grasshopper input, perhaps via Kinect motion sensing, video sampling or environmental responses.

Skin deformed by the articulated arm inside

Further development of this prototype could be in conjunction of a moving frame with a system of magnets that would give the impression of instant ‘state-changes’ as various magnets snap into position. Depending on the amoutn of reinforcement of certain states or progressions of transformations, forms that were unpredicted may result just from the interaction of skin and frame.

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A.2.4 - W/ INFLATABLES Humans are but mere users, despite both civic and cultural service that architecture has to humanity, traditional projects rarely deal with interaction. Input exists for users as consulting parties, the user is never an agency in the architecture. Can architecture be not static, but a more cohesive generation by the input of its various agencies rather than a single imposition of moment’s experience.

The Inflatables early intention was an engagement of the two sides proposed by Pallasmaa and Holl, an architectural exploration that also had a foot in the cultural systems of living, from Buckminister Fuller and Frei Otto’s city domes addressed issues of the climate and Rayner Banham’s Un-house was a critique on the modern lifestyle. In a way, the bubble was the truest of abstractions, yet too ultimately too simple to harbour multi-layered experiences, they suffer from the spectacle condition of offering no more than they appear to be.

The untapped advantage of the Inflatable is in the process of its formation; a flexible material, with the flexible structure of air, and while it is dynamically generated and can be dynamically ruined, there is the potential to continuously involve this process in the continuous generation of form.

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A.3.1 - PETER LYNN KITE WORKSHOP

The workshop with Peter Lynn granted us the opportunity to experience some of the constraints and the depth of knowledge that goes into making a successful kite. On the technical aspects of sewing, accuracy and working with patterns and templates captures the detail and depth of the studio focus of a delivering a reality, and not just paper designs.

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A.3.1 - KITES The design of kites takes into consideration: -The lift of the kite is determined by its centre of gravity and its lift.

-Lift is achieved from the difference in pressure from the wind being obstructed, the form assists in creating differential low pressure on top, and high pressure below to achieve lift.

L = ½ x p x v^2 x A x Cl -The same elements of pressure and turbulence are relevant for architectural forms.

-Drag is determined by replacing the coefficient of lift with the coefficient of drag, relevant to the object.

D = ½ x p x v^2 * A x -The dangers of kites is in the its Apparent wind, the accumulated wind speed;

Apparent wind = v * (L/D) Which is roughly 3x the experienced velocity, exacerbating winds to dangerous levels -Ram air kites are best inflated when the point of pressure is at a maximum -Keep kite symmetrical, the pattern and sewing (mistakes too.)

-Bridle knots are to be consistently spaced from the kite.

-Bridle knots are to be adjusted only after a test in strong wind, from there, opposite pairs are to match.

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A.3.2 - KITES & WIND Moving forward with kites, taking from Peter Lynn’s words, the depth of knowledge that goes into the aerodynamic construction of the kite would make it difficult to explore formally, as well as the imbalances introduced via scaling it up. Instead of spatially, perhaps the Kites can become a spatial generator.

Configurations of agents and architecture Where human users are traditionally treated as observers or the sole interactor, can they instead be elevated to be an acting agency on par with natural forces? The relationship between human and architecture is one of paradoxical static formation, and not as continuous agencies, but can they be?

expressions, or client relationships, in the field of regenerative ecological design, where nature is treated at a client with the goal of not just restoration but betterment.

The force of the wind translated not as resistance, but as expression of the wind. Given that it is kites, the expression isn’t direct like that of architectural space, but experienced as a resistive force in your hands as the kite is caught by the wind, this resistance is one of violent interplay between the human agent and the wind, the kite is therefore a proxy to the experience. The relationship between the kite and the flyer is one of reciprocal rejection and relent. A battle for control of the space between agencies, a generative force of violence and conflict.

Widely known controlling relationships are renewable energy sources on the practical end. Relenting relationships of installations that capture the forces of nature for artistic

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A.3.3 - REFLECTION To further the integration of interactivity lies in this conflict of a continuous battle, the architecture is ruled by, and ultimately for, that which interacts, be it human or environment.

If interactivity enriches experiences, then interactivity that is the generation of their experience can only be even more powerful. To cross over to Inflatables as an exploration of this idea not only continues the cultural significance of technological explorations in architecture of the initial movement, but I hypothesise that it will synergise with the advantages of Inflatables.

The universal space of the Inflatable allows for the conceptual imprinting via its many agencies, human users and environmental alike create their own experiences in the space.

The flexibility of Inflatables likens itself to dynamic movement, the perfect grounds for interactivity. The inflatable embodies the Zaha Hadid ideology of the smooth blending of forms and functions, which in itself is a spectacle.

The structure (or lack there of), and the lightness of the medium allows for a greater flexibility in its control, however, interactivity that comes burdened with heavy loads might encumber the inflation itself. The question of using inflation/ deflation as a process in generation needs to be addressed due to the incompleteness of the structure when it is not fully inflated. The inflatables natural inability to properly resist the elements can be harnessed in its generation, the same applies for the destruction accommodation of humans, and both are properties that can be possibly exploited, or one area to improve.

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Spirit of Ecstacy - Cinimod Studio Interactive Light Particles Display, registering a single interactive user as the point of response.

It is a singular experience.

Liquid Crystal - Jason Bruges Responsive shimmering structure to movement and occupation of the space, while wide-ranging, its response is limited despite it’s wide physical ranege of senses.

Space Pirate Trainer - I-Illusions Virtual Reality that is much more involved and responsive than any architectural installment, where the line between architecture and joy-ride is, does not limit the focus on the experience.

While VR is limited in its deployment, and its scope in comparison to video games is much more fine, it allowed for new ways of interactivity like never before; one for one motion.

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A.4.1 - USER EXPERIENCE The history of soft architecture has been ingrained with technological exploration. User experience design spans various foci and across new mediums that deal with enhancing the user satisfaction and enjoyment through usability, accessibility and interactivity. Interactive experiences are attributed to more memorable experiences with higher impact via involving more of the user’s sense than just visually static experiences as with much of architecture, functions of input and output designed to respond to users’ actions enriches experiences.

The field of Interactive Architecture begins to incorporate these elements to create new experiences.

A.4.2- WIND From the violent feedback of the kite on flyer and vice versa, comes the idea of the fluid and dynamic interaction that is not bound by a single moment in time, unlike architecture.

Seeking to create a spectacle experience that is not static and a redefining of the user/ architecture relationship. The conception of that which is not a moment in time but something that can adapt, respond and interact with users is a technological and social response that will continue the explorations of soft architecture into the modern times.

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A.5.1 - MOVIE CONTROLLED INTERACTION -ARDUINO - PROCESSING - FIREFLY Can the moving image be made interactive too?

Treated as an exercise to skill up in these areas, an arduino ultrasonic sensor is used to calculate the proximity of a viewer, where this distance is translated into different overlays done in Processing of information that are more relevant to the scale in which the viewer would be looking at the display, from a title display

at max distance for easy identification, down to kite construction detail, sounds of wind increase the closer one gets as well.

Conceptually the display works but executed poorly due to a lack of skill and computational power. Thematically this small exercise somewhat goes against the idea of the conflict-

as-generation, it is strictly control; the user can only see certain elements at certian parameters, however this could be one way to instill a level of filtering actions, which is ultimately still required in the design of an interactive system. These interactions can be extrapolated to various inputs/outputs.

COMPOSITION FLOW USERS

FOOTAGE

DUAL ULTRASONIC SENSOR

FOOTAGE

DISTANCE (MM);

MOTION TRACKING (X,Y,Ang,Size);

ARDUINO IDE

PYTHON

WRITE to CONSOLE

DATA AGGREGATOR

FIREFLY UDP SEND

UDP RECIEVE

GRASSHOPPER

DISTANCE CONDITIONAL GENERATE DIFFERENT DISPLAYS

OVERLAYS 1. Distance-Max is a title card, aimed to give quick context via language, followed by a 2. workshop explanation.

2. Context for the day is followed by 3. highlighting the Kite location and 4, flight details from the motion tracked data are next.

Moving closer gives 5. details for the Kite and at Distance-min is 6. construction details.

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PROCESSING DISPLAY AGGREGATOR

DISPLAY OVERLAY LOOP FOOTAGE

1 - Title 1 - General Idea

Indicator bar at the top clarifying: -Segmented distances -Current distance(Yellow) -Current mode

2 - Title 2 - Footage Explanation

5 - Context: Date, Location, Weather

4 - Motion - Kite Trails

5 - Kite Details; Make, Type, Relative Vectors

6 - Kite Design

7 - Kite Construction

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PART A BIBLIOGRAPHY A.1 Tschumi, Bernard. 2012. Architecture Concepts. New York: Rizzoli.

Isozaki, Arata & Anish Kapoor. Ark Nova. 2013. Inflatable Concert Hall.

A.2 Pallasmaa, Juhani. 1999. “Toward An Architecture Of Humility”. Havard Design Magazine 7.

Holl, Steven. 2015. “Phenomena And Idea”. In The Material Imagination, 1st ed. Surrey: Ashgate Publishing.

Kahn, Ned. Articulated Cloud, 2004. Building Facade.

Qastic. Floatastic Pavilion, 2013. Pavilion.

Ng, Otto. Wallbots, 2012. Kinetic Wall System.

A.3 Peter Lynn, Kite Workshop leader, Melbourne, August 8-10, 2016.

A.4 Gube, Jacob. 2016. “What Is User Experience Design? Overview, Tools And Resources – Smashing Magazine”. Smashing Magazine. https:// www.smashingmagazine.com/2010/10/what-is-user-experience-design-overview-tools-and-resources/.

Bruges, Jason. Liquid Crystal. 2016. Responsive Tower Art Dosplay Cinimod Studio. Spirit of Ecstasy. 2014. Interactive LED Display I-Illlusions. “Space Pirate Trainer.” Video Game, I-Illusions, 2016.

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END PART A INTRODUCTION

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PART B DESIGN

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B.1.1 INTRODUCTION What does it mean for an Architecture that is realised by Violence?

In contrast to the tradition of architecture being the manifestation of a moment in culture, how can the dialogue of continuous re-imposition between user and building instead become architecture?

This appeal to dynamic architecture follows the work of interactive architecture, aiming to explore evolving technologies and the its integration into the multimedia world in parallel with the use of literary medium in society, moving to the mediated experiences of immersion/interaction1.

Taking cues from this shift in the literary medium, how can the subversion of imposition into a dynamic component be explored through the inherently flexible quality of soft architecture?

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B.1.2 DESIGN I The first point of departure is in the creation of an activity, the aspect that is Violent, and the Architecture, that is the result that is dynamic and not a captured moment.

Activity akin to a children’s game that then causese the inflation of a structure:

Motion data is read as power for a variable fan, translating into a spectacle of inflation/deflation

Activity, ‘work’ inflates the structure, achieved by either: -Wearables -Kinect (Indoors) -External Sensors (Camera etc)

This initial idea of perhaps as a condition of victory or a signifier of progress addresses a different approach to the experience of architecture, from a passive partaking to a generative activity. However the expected response; satisfaction and impact of the experience, may be quite shallow if the activity and structure are not related.

The dynamism however is in the partaking of the activity, more so than the inflatable. Perhaps this can also be an exploration of the participant as performance in the emergent strategies of the activity, as well as different ways the human body can interact with others and structure.

Furthermore, it is ultimately an imposition of a system in the structure, and as well as the experience that is mediated by rules and arbitrary responses from the structure. Immersion and interaction are unrelated to that which is the goal of the activity, While the experience is different, it probably does not engage with new media correctly.

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B.2.1 - NEW MEDIA As an answer to the call for radical, the spectacle experience [Part A] can be in the shape of new media, intrinsically a spectacle and also ultimately experiential. Immersive, and interactive medium takes the cognitive association of experiences stronger and more enjoyable. Interactivity allows for the forging of immersive, complex connections with the medium, resulting in a shared sense of identity and meaning2.

The redefining of spectator/medium relationship to participant re-engages the user. Literary mediums have immersion limited to the speed and ability of the reader to ‘create’ the experience in real-time memory. The shift to interactive media enables immersion to a higher degree as engagement with the medium is reflexively critically engaged with, moving the processing of the experience to the medium itself and not reliant on the participant3.

「How do we elevate the experience of architecture, from spectacle/experience to the spectacle experience and beyond?」

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B.2.2 - IMMERSION && INTERACTION

In the developing culture of mediated experiences, immersion and interaction are seen as conflicting yet cause/effect pairings.

The nature of immersion is in the, completely subjective, passive and mental absorption of a new reality. Interaction is however, the active actuation that makes one aware of the reality they have left behind4.

Where immersion therefore depends on the balance of interactivity, the matrix5 that interactivity is scaled against is pairs of internal/ external and exploratory/ontological, that detail the input/output relationship: External x Exploratory – is the participant viewing the predetermined Internal x Exploratory- is the participant taking a part of the predetermined External x Ontological- is the participant taking on the omnipotent figure of a system Internal x Ontological – is the participant affecting the system from within This sets a scale of unproductive to productive interactivity, from singular to multiple, closed to open and determined to emergent, within the constraint (or opportunity) of a limit on the system(s)6.

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INTERACTIVE ART INSTALLATIONS Kinetic Sand - Adrien M / Claire B Company Derived from the interacting with digital surfaces in new ways, a particle-based animation responds to the interaction of the object.

May the Force Be With You - Teo Park Kinect hand gestures control the orientation of a rigged up water-tank and its volume, it is then projected into the space.

These two examples use physical interaction as direct visual and physical feedback. The more senses captured by the experience, the more powerful the experience. In contrast to the common light display, which are confined to screens and are unimmersive which cannot create transportational space, it is empowering to use the physical space. However, these examples use interactivity as a reactive means, placing participants as creators, a relationship explored many times in the past where participants have an impact on the imposition, though in this case, the participant impositions are hiearchally obselete to the system and to other similar participants.

These examples do not yet reach the ontological effect that new media should strive to achieve.

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B.2.3 DESIGN II Rectifying the relationship of structure and participant to that of that which is acted upon and the acting agency combines the theme of violent architecture and new media. Through soft architecture can dynamism be formalised.

The ‘growing’ of a structure that can be affected upon ties in ideas of both internal/external ontological effects, where the interactivty becomes the immersive creation process, while still perhaps a mediated system, the variability in outcome differs from the precedent examples mentioned in the way that the effect may be personalised and thus reach ontological responses. The effect can be compared to the mere making of art and individual expression, however, in this case, it is the creation through a team effort.

This individualised to cooperative, perhaps emergent, result as an full-body interactive experience should be a powerful experience.

So by allowing agency in the architecture, it hopes to address the notion of the architectural imposition, and adds to the dialogue of perhaps a different way of architectural design.

Arms moved by a combination/ matrix of participants, leading to unexpected movements that need to be mastered

Wearable or held-module reads gesture data

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B.3.1 - ARCHITECTURE |& VIDEO GAMES Architecture has traditionally been an imposition; a doctored visceral experience or the authored flow of function. As a moment of society, culture or politics, any dynamic narratives are frozen in time, the engagement with architecture is a one-way predetermined dialogue, the experience is External x Exploratory as the user never truly ‘takes part’ through meaningful interaction.

The sub interactive-architecture is however, adopting new media concepts to elevate the built environment to more entertaining and memorable, relationship-redefining fields.

Installation or Architectural designers alike employ many game-like structures intentionally or not7. Architecture can however surpass the medium the of the digital screen, inherently physical, experiences can theoretically reach the most powerful form of ontological effect, bringing with it powerful experiences.

While traditional design Is more akin to cinema, an increasing amount of parallels can be drawn between where Architecture can go, and the evolving area of video games which is searching for new and more meaningful experiences.

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UNTIL DAWN - SUPERMASSIVE GAMES An interactive narrative driven survival horror game that centers around the butterfly-effect, players dictate the progression of the story at every turn, either through actual decisions, or success/failure with gameplay elements, with a complex branching of story elements that result in a variety of endings based on the choices one takes.

Ultimately, while an exemplar example of interactive narrative, Until Dawn exemplifies the pinnacle of reactive story-teling, reaching the level of Internal x Exploratory; their interactions do not feedback or affect that which acted upon it in a way that is outside expectations or the system itself1.

Despite this, the implications for empowering players to craft their own experience was critically successful. For architecture to adopt a much more ingrained user experience would be a way to engage with architecture that actually has a lasting impact past the spectacle.

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B.3.2 - RESEARCH I - SENSORS Interactive and responsive form can be achieved via reading the environment and participants.

Continuing from explorations with Arduino, the scope of available technology was researched to confine design decisions to the technology, while also exploring other opportunities.

ARDUINO - Sensor Modules Vibration Switch Magnetic Reed Switch

-Can be activated by Mobile Devices Microphone Analog Sound Photoresistor Ultrasonic Analog UV sensor Moisture Water

-Dry, damp,immersed based on conductivity Crash Sensor

-Low tolerant force miniature snap-action switch Line Tracking Sensor

-Contrast colour based detection of lines

-Usually used for mobile robots Digital Piezo

-Analog output Capacitive Touch Sensor Accelerometer Tilt Sensor

-Digital only; tilted or not Compass

-Accurate up to 1/2deg.

Gyro -Single-Axis

-3-Axis Phidget Touch Sensor

-Cpacitive touch, up to half inch.

-Works through conduction

-Can be attached to surfaces/volumes

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CO2 Sensor Heart Rate Sensor

-Ear Clip

-Chest Strap Collision Sensor

-Breakout includes noise reduction Gas Sensor

-O2, Methane, LPG, I-butane, acohol Dust Sensor

-Responsive to Particulate Matter of diameter 1um.

NFC Temperature Positioning – Poxyz

-Third-party position dedicated module Wii Nunchuck

ANDROID - Native Sensors Accelerometer Gravity Rotation Orientation NFC Temperatures Applications TouchOSC

-OSC-based GUI ESP Gestures

-Accelerometer based gesture trainer Arduino

-Amarino, Senseduino

-Shield attachments

ă€ŒThe elevation of the practice to higher levels of interactivity and immersion runs parallel with flexible, user-focused architecture that is split into the design of hardware and software; participatory systems of interaction translation to data, and responsive computer systems to engage in perpetual dialogue8.ă€?

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B.3.3 - DESIGN III Shifting from an architectural Activity, to a game, the goal becomes the creation of an immersive system that can further nuance the notion of imposition; The architecture becomes the game as an idea of authorship.

Structure has been abstracted into a controlled, but productive environment that allows the architecture to be used as the gameplay device.

The loop of the experience is critical to the ‘roles’ that are played out, while both parties have agency and can affect the other, there is a narrative of ascension to the creator which reflects the role of architect and user in a different dynamic that allows for change.

THE DESIGNER Has control over the structure, drawing on assymetrical gameplay, embodies the Architect, keeping the Player at their whim by generating obstacles in hopes of eliminating the Player.

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ROUTE Ascending corridor of ‘obstacles’ dictated by The Designer Role to be overcome; a rejection/change of authorship

CENTER Player ascends to The Designer Role where their aim is to remain the Designer for as long as possible, keeping Players away by generating obstacles

Gesture activated control over the extrusion level of each cell,

Contact with cell results in defeat.

Gestures no longer read and player cannot ascend unless they exit and enter again

THE PLAYER The player’s role is to overcome the design of the Designer, embodying the role of the new User in interactive Architecture, in hopes of ascending to the role of Designer themselves.

They are to navigate the corridor via interacting with the design to clear a path.

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B.4.1 - //IMMERSION ... ARCHITECTURE In critique of interactive game design is the intelligence of game systems; the software of flexible architecture, as they are but complex predefined sets of conditionals. Even if there is real choice in an interactive matrix as it is preprogrammed9, though how can one argue against the illusion of choice, which has been lauded as immersive experiences by consumers, despite never approaching ontological affects.

B.4.2 IMMERSION != INTERACTIVITY The immersive quality of a piece is what determines the connection with the participant, it is the depth and nuance of the experience compared with the breadth of interactivity.

The passivity of the immersive experience is ultimately defined by the robustness of the system.

Immersion is largely attributed to a fulfilment of expectation of interactivity; not enough interactivity pulls one away from the suspension of disbelief. A common example is the inability to venture into buildings in sandbox games such as Grand Theft Auto and Assassin’s Creed.

However, too much interactivity does not equate to a more robust, pleasurable experience. It can be detrimental to the overall vision where the participant is lost to the feeling of ‘engagement,’ the experience of breadth, and not the visceral experience.

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B.3.1 Until Dawn is an example of this system done to an incredibly complex level to mimic the butterfly-effect; all chhoices are preprogrammed.

However, being the built physical environment, the immediacy of ‘the fabricated world’ that is not reliant on screens or headsets means architecture is inherently more immersive.

However, the limit of the physical realm in terms of technology and the curated experience itself

is one that cannot escape the predefined matrix of choice, only offload the process.

In architecture, the illusion of choice and fabrication of experience are paradoxes of interactive media that are also its solution; while emergent effects reflect the natural systems that curated experiences aim to replicate, the design of a robust system that can empower the participant is what makes new media so experientially rich and powerful.

MINECRAFT - MOJANG A procedually generated world for activities of exploring, gathering, crafting, creating and building, and survival. The open-ended aspects of this extremely successful entry to the sandbox genre, while it boasts emergent gameplay1, it is critically experiences of engagement from a wide range of interaction within the limits of a system, and not true immersion.

However in this example we see the emerging qualities of ontological effects, where players are truely free to impact the world as they like.

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B.4.3 - RESEARCH II Further feasibility background research into the protocols for communication between potential hardware aspects of the design.

COMMUNICATION

METHODS

UDP – User Datagram Protocol -Based on IP network connections -Usually fast, but lacks error checking and there is no guarantee that data arrives in the correct order.

PC to Bluetooth – VIA SERIAL Roughly 10m effectiveness, Simple transceiver WITH the arduino from pc.

Effective 1 to 1

OSC – Open Sound Control -Works on top of UDP protocol – possible to organise data.

-Not limited to/dependent on a network connection

-Wifi - UDP -Requires a shield to receive/transmit

-Requires a shield for every ‘hub’

SERIAL -Bits over time;

-Xbee/Xively - IoT Arduino to Arduino

-Redundant for purposes if multiple Arduino is required; SPI

-Direct to PC communication would be better; refer to IoT -Ships at a clock pulse; IoT – Shield or Breakout possible

-Attached to the Arduino UART

-Can set components as wireless listeners, however, -Most used serial protocols – synchronous protocol that requires expensive. pre-agreement on transmission speeds (bit-rate); -Long distance is requires above 12V; Wifi- ESP8266 - UART -Cheap I2C -Cconnection times are longer, finnicky power; -Multiple Slaves and Masters; -Need to use the web app -Two line active wired; -Possible network IoT NRF24L01 – RF - SPI -Cloud service based transfer of information – dependent on -Possible network, but speed issues network -RF Serial SPI communication -Built in error checking BLUETOOTH -UDP, OSC, Console as string communication; -Short distance -NFC available, but reliant on Android device NFC -Electromagnetic induction activated, can be read/write only.

GRASSHOPPER -UDP, OSC as string communication;

-Wireless or Wired -Firefly direct Arduino Control PROCESSING -UDP, OSC as string communication; DMX -Processing Library -Arduino Library – Shields required;

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B.4.4 - DESIGN IV Developing nuanced interactivity - actions and reactions as a toolbox.

THE PLAYER Goal: Reach Designer in <time>

Introduce an object component that allows for interactivty that is more reliable than range finders. In developing depth, the instinctive and possible gestures, and their effects are considered against their intuitive and expected reactions and sense of wonder. This is to ensure a greater feeling of control/power within the player agency.

ANDROID - GESTURE Used as position sensor to control the structure cell by cell.

AR DISPLAY Health + Overlays of incoming Designer Changes

Game balance in favor of The Designer to make victory more gratifying.

GESTURE Acts on 1-to-1

PULL/PUSH Pulls/Pushes Cell

Designer Priority

Designer Priority

SWIPE Delays Designer changes by a small amt. of time

Designer Priority

Player Priority

HOLD

Used as pushback towards Designer Changes, if carried out for extreusion <time>, overrides command

TOUCHOSC + GESTURE Gestures enact cells set by TouchOSC

THE DESIGNER GOAL: Keep Player away for <time> ANDROID - TOUCHOSC + GESTURE 1-to-many response to give an elevated sense of control over the structure in when compared to their journey.

CELL

Crash Sensor to detect collision by player, resulting in defeat

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INTERACTIVE IMMERSION: STUDY EVERYBODY’S GONE TO THE RAPTURETHE CHINESE ROOM & SONY SANTA MONICA STUDIO A recent phenomena of gameplay centred solely around the narrative; ‘walking simulators.’ It is universally panned for its immersive experience, yet with little, or different interactivty (gameplay) compared to traditional medium.

Rapture is an explorative narrative, the setting is a small village where its inhabitants have mysteriously disappeared. The player interacts with glowing remnants and the town itself to piece together the mystery of the town.

While ultimately a narratively driven, singular, linear game, there is no narrative. The player is left to interpret the events by themselves through narrative cues and interacting with the village itself. The intrigue then becomes the ontological drive/affect for players to selfactualise and continue playing.

The ordinary and ‘expected’ setting of a village and its interaction with daily objects is predictable, which lends itself to the immersion, but it is ultimately the player agency in interpretation that is key to title.

Architecture is similar to this experience of self-actualised immersion, however it can learn from video games to adopt higher degrees of participant agency that is enabled by new technology to redefine the relationships and experience. While Architecture can be similarly ‘read,’ it is not experienced as an intended multiplicity with agency, whereas Rapture is ultimately too an imposition of illusion, it succeeds in its ambiguity lending to interpretation.

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B.5.2 - INTERACTIVE IMMERSION The entrapment of interactivity, is the selfactualisation of a participants goals in a given system. In contrast to the predefined matrix of choice, entrapment is immersion; the experience of depth, in a single interactive activity to the point if ignoring other options10. While conceptually it is the antithesis of interactive media, it is a powerful state when given the freedom of ontological effect. The system design therefore revolves around a captivating and nuanced activity that has the potential of an immersive dialogue. The potential of new media can be realised in creating meaningful and entertaining experiences.

Following B.4, on balancing Interactivty and Immersion: ă&#x20AC;&#x152;Experiences should be a controlled

breadth of expected, plausible interactions that are not constrictive of the system, but also not wide enough where engagement itself becomes the experience. The system itself requires nuance and the potential for ontological effects to create an emerging dialogue that will then result in an immersive interactive experience.ă&#x20AC;?

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B.5.2 - DESIGN V Alternate idea: Concept condensed into an interactive soft object in a system of pulleys and arms driven by servos, focused more on the gameplay loop of shift in player role: Two ‘controllers’ are on a loop, as maker and player. The player controller aims to find the maker controller through gesture ‘undoing’ of the object, like a puzzle-game. In doing so, the player reconfigures the object at the same time, where they hide the player controller, which has become the maker. The ex-maker controller that is revealed then becomes the next player.

This is a system that allows for an iterative loop narrative against the concept of imposition.

In reflection, as a one-player game that then leaves a legacy, it is perhaps more complicit to the analogy of designer and user, althought it results in a less interactive sculpture due to their only being one participant at a time.

Gesture control over the puzzle to discover its secrets.

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B.5.3 - DESIGN VI In reflection, there has been no drive for the gameplay loop other than for the sake of the epxerience itself; the self-actualisation of the goal was a want for experience and not a compelling interaction in terms of a narrative that was not on the meta-of architectural roles.

WARF[AIR] Drawing on the concept of hardware and software and the interpretation of the abstract, perhaps the relationship can be re-interpreted as the player as hardware; as the mediating a system of agents with spatial desires, in the form of an overlay projection, placing the user into the sole role of an architect mediating needs, not dissimilar to management genre of games Soft architecture is used to achieve the control of space to meet the demands of the â&#x20AC;&#x2DC;clientâ&#x20AC;&#x2122; agents, the dialogue perpetuates as the agents themselves can alter the physical space, continuing the idea of the imposition of wills into AI vs human like a traditional video game, the ontological effects is in the interactivty whilst the outcome can be self-actualised in any way the player sees fit..

REFLECTION Ultimately, a game of this nature, removed from the physical space of architecture, while thematically fitting with addressing violent architecture, might be too far an abstraction of the goal for adding to the dialogue, as well as lacking the physical scale of an architectural intervention.

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MECHANICAL DETAIL

TOP-DOWN AGENTS SYSTEM PROJECTION

ANDROID USED AS CONTROLLER, POSSIBLE OVERLAYS

AGENTS NETWORK Space is formed by the player to conform to the Agents needs, unhappy Agents can affect the space as well, becoming a battle of wills. While satisfication is the only mesearable factor, it is up to the player how it can be interpreted.

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B.6.1 - DESIGN The design had ultimately departed from the installation scale envisioned, partnering with fellow student Michael Mack to explore an installation scale combination of our projects.

PA[I]RASITE11 was a look into non-linear narrative experience with a structure that changes states depending on user engagement.

From WARF[AIR]â&#x20AC;&#x2122;s background, interactivty and the repertoire of nuanced interactions to create a more immersive outcome, the ontological response would therefore be fleeting in the extraction of the behaviour of the sculpture.

PA[I]RASITE

Design wise, the indivdualised panels were extracted as a potential for local material behaviour as opposed to centrally controlled form, which could then have itâ&#x20AC;&#x2122;s own global effect.

The concept became a sculpture that emotes the space that it exists in, exploring the spectacle as an experience revealing the effects of users on the imposition fo the design idea through the structure:

CHRYSA[IR]LIS 48

PROTOTYPING12 Simple diamond model that with a local stepper motor that would control the compression/ tension of the panel.

CONSTRUCTION DETAIL13 Stepper Motor mount sewed into seams, acts as the other end of tensioning line.

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MATERIAL BEHAVIOUR - LOCAL Kangaroo Simulation : UNTENSIONED TO LOCAL TENSIONED OVERVIEW

2 OVERVIEW

1

SIDE

OVERVIEW

SIDE

4 OVERVIEW

3

SIDE

SIDE

MATERIAL BEHAVIOUR - LOCAL Kangaroo Simulation : PRE-TENSIONED TO LOCAL UNTENSIONED OVERVIEW

2 OVERVIEW

1

SIDE

OVERVIEW

SIDE

4 OVERVIEW

3

SIDE

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SIDE

MATERIAL BEHAVIOUR - GLOBAL Kangaroo Simulation: RECOIL Simulation of tensioning in parts as reaction towards a moving particle, intended behaviour was the shrinking away of the form.

MATERIAL BEHAVIOUR - GLOBAL Kangaroo Simulation: AFFECTION Backwards simulation of finding the necessary factors for this form.

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BEHAVIOUR MAP14 Imposition, as movement in the space, interaction with space, is reflected in aggresion by the structure

ELECTRONICS MAP Based on practicality of components and viable protocols; RF or Wifi with the most potential.

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FEASIBILITY

LOGISTICS

ELECTRONICS Arduino Nano v3.0 $3.60 Ardhino Uno R3 $4.70 Breadboard $1.00 Jumper Cables --NRF24L01 $1.37 Stepper Motor $2.00 3D Printed Mount $0.60 Battery $10.00

Panels 4 Panels/group @ $23.00 1.5 hr/group -Cutting -Sewing -Cabling

MATERIAL Ripstop Nylon STRUCTURE

$8.99p/m

Construction 20hrs - Structure and agglomeration

FEASIBILITY -Dependent on the ability real-time large network communication -Dependent on battery power -Backup plans of offsetting communication and/ or power to an internal structure

SPACE -Construction: Grimshaw -Exhibit: Ceiling requisite SCHEDULE Week 1 & 2: -Testing to resolve sysstem of communication and power.

-Geometry developed in parallel Outcome: Systems and geometry resolved Week 3 -Fabrication begins

REFLECTION The criteria for assessment is in its performance and resulting dialogue with its participants.

Behaviouraly, does it engage with participants as expected, are their actions all accounted for and are their responses to the structure’s behaviour appropriate. If the structure is commentary on the expression of architecture’s response to the imposition that user’s apply, then does it successfully add to the dialogue of a new architecture that is flexible?

However, the proposed behavioural map is a direct interpretation of the notion of violence; that of rejection of activity in the space, it may result in being so shallow that it is read as just an aggressive, unfriendly structure. As users are all initially to be met with aggressive behaviour, the search for befriending the structure may not be obvious.

Feasibility wise, it is both a costly and ambitious project, with a high level of hardware complexity that should be avoided.

The behaviour of the material is also a fabrication of bottom-down complexity, there is no link between the panels to suggest that they are locally reactive, but it is a form of simulated local behaviour.

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PART B BIBLIOGRAPHY B.1 1. Stern, A.. 2008. Embracing the Combinatorial Explosion: A Brief Description for Interactive Story R&D, Lecture Notes in Computer Science, vol.

5334/2008, pp. 1–5.

B.2 2. Stein, Jennifer Leigh. 2011. “PUCK: PLACE-BASED, UBIQUITOUS, CONNECTED AND KINETIC EXPERIENCES FOR INTERACTIVE ARCHITECTURE”. Doctor of Philosophy (Media Arts and Practice), University of Southern California.

3. Ryan, Marie-Laure. 1994. “Immersion Vs. Interactivity: Virtual Reality And Literary Theory”. Postmodern Culture 5 (1). doi:10.1353/pmc.1994.0058.

4. Bolter, Jay David, Richard Grusin, Remediation: Understanding New Media. Cambridge. Massachusetts: MIT Press, 1999.

5. Ryan, Marie.-Laure, ‘Beyond Myth and Metaphor: Narrative in Digital Media’, Poetics Today, 23, 4, 2002, pp. 581-609 6. Bouko, Catherine. 2014. “Interactivity And Immersion In A Media-Based Performance”. Journal Of Participation And Reception Studies 11 (1): 260.

Levin, Gowan, Scrapple, 2005, Sound-based Object Interactive Art Installation Adrien M/Claire B Company, Kinetic Sand, 2015, Digital Screen + Interactive Object Installation, Teo, Park, May the Force be with you, 2014, Kinetic Rig + Projection, B.3 7.Dekker, Annet. 2006. “The New Art Of Gaming, Or What Gaming Can Learn From Installation Art”. In Game Set And Match II On Computer Games, Advanced Geometries, And Digital Technologies, 1st ed., 116-125. Rotterdam: Episode Publishers.

8. Friedman, Yona. 1980. Toward A Scientific Architecture. Cambridge Massachusetts: MIT Press.

Supermassive Ganes. “Until Dawn.” Video Game, Sony Computer entertainment, 2015.

B.4 9. Dove, Toni. 1994. “Theater Without Actors: Immersion And Response In Installation”. Leonardo 27 (4): 281. doi:10.2307/1575994.

Mojang. “Minecraft.” Video Game, Mojang, 2009.

B.5 10. Ryan, Marie-Laure. 1994. “Immersion Vs. Interactivity: Virtual Reality And Literary Theory”. Postmodern Culture 5 (1). doi:10.1353/pmc.1994.0058.

The Chinese Room & Sony Santa Monica, “Everybody’s Gone to the Rapture.” Video Game, Sony Computer Entertainment, 2015.

B.6 11. Michael Mack, “PA[I]RASITE”. Design Concept, University of Melbourne, Wind Architecture: Masters of Architecture Studio 5. 2016 12. Michael Mack, “Prototyping”. Model Photos, University of Melbourne, Wind Architecture: Masters of Architecture Studio 5. 2016 13. Michael Mack, “Construction Detail”. Vector Drawing, University of Melbourne, Wind Architecture: Masters of Architecture Studio 5. 2016 14. Michael Mack, “Behaviour Map”. Vector Drawing, University of Melbourne, Wind Architecture: Masters of Architecture Studio 5. 2016

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END PART B DESIGN

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