| RORRIM term two Camila E . S o t o m a y o r Tutor . S h a u n M u r r a y
Masters in Architecture c.sotomayor@ucl.ac.uk
|TABLE OF CONTENTS | ///\\\A SPONSOR’S PREFACE///\\\ ................................................................................ 3 ///\\\TECHNOLOGY///\\\.............................................................................................................. 5
///\\\INVENTED SPACES///\\\....................................................................................................... 8
///\\\MIRROR MIRROR///\\\.......................................................................................................... 8
///\\\DRAWINGS///\\\................................................................................................................... 13
///\\\FUTURE PLAN///\\\............................................................................................................... 24
///\\\BIBLOGRAPHY///\\\.............................................................................................................. 26
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An Imaginary Landscape undergoing change through three stages SWAMP smear
///\\\A SPONSOR’S PREFACE///\\\ The Brain is the author of Mirror Mirror. The Brain is used to further explain in Asides the project Definitions, Drawings, et. al.
hen organizing a tea party, or in this case a report, it is best to consult the experts. During her adventures in Wonderland, Alice exclaimed, “If I had a world of my own, everything would be nonsense. Nothing would be what it is because everything would be what it isn’t. And contrary-wise; what it is it wouldn’t be, and what it wouldn’t be, it would. You see?” [Alice, 1951] The dichotomy of alternates, what is and what isn’t, is fascinating. By creating a dialogue between virtual and actual, Mirror Mirror examines how space is perceived in a contemporary light. It accomplishes this by grasping traditional methods of viewing space and upgrading said methods with the aid of contemporary technology. Old-school meets New-skool with the utilization of Augmented Reality and Head Tracking. 3
An Imaginary Landscape undergoing change through three stages FOREST smear
Back in the Fall of ’08 the project began with three prescribed settings [swamp, forest, cliff]. Mythologies, by Roland Barthes, was on the nightstand at the time and the concept of semiotics was applied to the site analyses. The original three landscapes were never conceived with a narrative backbone. Instead, semiotics intervened by allowing the idea of each landscape to dictate its aesthetic; meaning, by deriving a hierarchical set for each [swamp, forest, cliff], signs and symbols pertaining to each site were gathered from around the world. After slicing, distorting, pasting and scaling, three imaginary landscapes were born. In order to further analyze each as a prospective site, I referenced the composing images back onto their geographic origins. Instead of a site being one stationary location, a site is now redefined as a collective, fixed through the lens of a camera and uploaded into cyberspace. 4
An Imaginary Landscape undergoing change through three stages. CLIFF smear
The imaginary swamp, forest & cliff were ribbons of landscape taken before, during and after an agent of change. For the purpose of this report it is enough to state that this agent is no longer part of the project. Instead the project continued with the images themselves as a starting point for an investigation into the perception of space. As smears of actual landscapes, the drawings become virtual projections over a period of time. ///\\\TECHNOLOGY///\\\ Exploring the spatial quality of these landscapes became important; one way of doing so was to introduce new methods of visualization with the aid of technology such as Augmented Reality and Wii Remote [Wiimote] Head Tracking. These applications have been selected because of their ability to add unforeseen factors to the project. By using Head Tracking and Augmented Reality the system between actual and virtual becomes immediate. To properly understand Augmented Reality a comparison with Virtual Reality is necessary. 5
Peter Anders’ Mixed Reality Spectrum
P. Anders defines Augmented Reality and Virtual Reality [what he coins Augmented Virtuality] at either ends of the Mixed Reality spectrum [see above].
Brain Aside 1 . Mixed Reality [MR] 2008. noun.As defined by P. Anders Ph.D is a “technology that reconciles and integrates virtual and physical worlds.”1
The user in Virtual Reality undergoes a complete immersion into a virtual environment; whereas Augmented Reality is the superimposition of information or virtual objects over the real world. Augmented Reality operates by recognizing prescribed symbols in a real-time video feed. Over these symbols a virtual object is then projected. Now imagine an object in a room with its own symbol. The Augmented Reality reads the space behind the object and superimposes it over the object. No longer visible within the virtual world, the object is now camouflaged or transformed. It would seem plausible that if what was on the screen were to be fed back via a projector into the real room the object would be camouflaged in reality. Since Augmented Reality works with a live video feed, an object in motion would be hidden as long as the camera could capture the space behind it. Parallel to the use of Augmented Reality is the Wiimote Head Tracking hack2. The Wiimote is the primary controller in a Nintendo game. What sets this hand-held device apart from its predecessors is its accelerometer and optical sensor technology that allows advanced motion sensing capability to manipulate and interact with a screen. Traditionally the player holds the controller and points it in 1 2
Anders, Peter. 2008. Designing Mixed Reality: Perception, Projects and Practice.
“As of June 2008, Nintendo has sold nearly 30 million Wii game consoles. This significantly exceeds the number of Tablet PCs in use today according to even the most generous estimates of Tablet PC sales. This makes the Wii Remote one of the most common computer input devices in the world. It also happens to be one of the most sophisticated. It contains a 1024x768 infrared camera with built-in hardware blob tracking of up to 4 points at 100Hz. This significantly out performs any PC “webcam” available today. It also contains a +/-3g 8-bit 3-axis accelerometer also operating at 100Hz and an expansion port for even more capability. These projects are an effort to explore and demonstrate applications that the millions of Wii Remotes in world readily support.” Johnny Lee
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the direction of the screen. Above the screen sits a sensor bar that emits infra-red light. The Wiimote picks up only infra-red light, thus connecting the player with the game. The controller has generated many a hack, one of these being the Head Tracking device. Developed by Johnny Lee while at MIT, the Wii Remote is reversed in orientation and instead searches for the user’s position in space. The user now wears the infra-red emitter, which the controller locates in space. As the user moves in space the Wiimote relays location to the screen and the display moves in sync with the user. The hack uses the Fishbowl software to operate. Fishbowl’s extroverted system allows the display to become three dimensional; by moving around the room, images in Fishbowl can slide past each other, space is perceived in all three axis. Working with Augmented Reality and Head Tracking has rooted the project in its dependency upon the image. Rather than accept the fact as a negative, the image is analyzed in representation as a positive through collection and hierarchy; Augmented Reality and Head Tracking allow a composite reading of space via multiple images. After the midterm review the entire Shaun Murray studio left for Plymouth to participate in a data visualization workshop. Architecture students met with other students from both the Oslo School of Architecture and Design, and Plymouth Digital Arts and Tech. Each group could make use of either an immersive theatre or a LED screen. Our group selected the immersive theatre. The task was to take data [room temperature, wind flow and student movement] from a campus building and translate it into an easy to read visualization; one that would dialogue between the building’s spatial composition and the data collected. After a few hours of brainstorming the data was then reduced to a hierarchy established by actual space. The data visualization began to take shape literally from this hierarchy. The goal was to make the visualization interactive, so that any user looking at the website’s live data feed could comprehend it. With the extraordinary talents of our Plymouth DAT programmer the group devised a series of nested Russian doll-like spheres. First, the building encompassed the three atriums which in turn held the lecture rooms. Each doll or globe would have a skin that reflected the appropriate data. So with changes in temperature it would pulse or change color. Brain Aside 2. Visuals + Examples . Ref: Plymouth Workshop . Mirror Mirror Blog Post# 35 . Month: March . Title: Bartlett + Plymouth + AHO = Workshop.3
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Sotomayor. Mirror Mirror blog. Entry date 06.03.09. Bartlett + Plymouth + AHO = Workshop
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Concepts born from this Workshop would later resurface within the Master’s project. No longer was the project bound to be an interactive projected space. From the workshop came a synthesis of information, technology and spatial connection. What first began as a visualization of a building’s data led to an unexpected abstraction of physical space. New virtual relationships of space came from actual room layouts. If these hidden spaces were conceptualized in a similar fashion to the Plymouth visualization, connections are derived between adjacent spaces. Connecting one’s present physical szpace with unseen rooms beyond. By using data such as sound, resonance, temperature or movement as input, space is perceived as constantly vibrating and fluctuating. ///\\\INVENTED SPACES///\\\ In order to construct definition and structure within the Masters project, two projects have been referenced: Kazys Varnelis’ Architecture for Hertzian Space and Dunne & Raby’s Placebo Project. Hertzian Space is defined as “a cloud of electromagnetic radiation that bathes us in information. Hertzian space is as real as the physical world. Physicists tell us that electromagnetic forces are far more powerful than gravity (a tiny magnet holds up a paperclip against the entire gravity of the Earth). […] What might an architecture that actively engaged Hertzian Space look like?”4 Varnelis’ concept of Hertzian Space was the inspiration for the Placebo’s eight objects. Within the realm of invented spaces, Dunne & Raby’s Placebo Project is an experiment that negotiates between people’s experiences with and attitudes to electronic objects. They surround us but do we notice? The juice machine, your television, even the headset you just picked up to answer an incoming call, they all emit electromagnetic fields. Unpacked from cardboard boxes and released from foam elbows, these electronic objects begin private lives invisible to our eyes. Only with extraordinary circumstances do we take notice; when objects malfunction or interfere. The Placebo’s eight pieces of “furniture” are designed to be familiar and simple in their ordinary capacity to illicit common responses from users. The focus here is not about the objects themselves but about the stories and narratives that tie the electromagnetic fields to the inhabitants of a space.5 Brain Aside 3 . Visuals + Examples . Ref: Placebo Project . Dunne & Raby . Mirror Mirror Blog Post# 39 . Month: March . Title: Kitchen + The Placebo Project.6
///\\\MIRROR MIRROR///\\\ From the three landscapes [swamp, forest, cliff smears] and the Plymouth Workshop Building investigations, Mirror Mirror now required a physical testing ground. Apartment 35b was selected as a next site. 4 5 6
Varnelis. 2008. Architecture for Hertzian Space. Dunne & Raby. 2001. The Secret Life of Electronic Objects Sotomayor. Mirror Mirror blog. Entry date 31.03.09. The Kitchen
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Brain Aside 4 . Apt. 35b, in an area known to locals as Little Venice, overlooks the canal and a small island inhabited by ducks and exactly two swans behind the Paddington Train station. During the weekends Little Venice is swimming with tourists, the satisfied faces of couples in love and hundreds of camera snaps capturing the 1847 Neo-Classical row-house décor. The Brain has resided here for 11 months and 15 days, having lived here in a previous sojourn to London. The Brain’s roommates include Apt. 35b’s owner Prof. P, one Sister G and two attention seeking missiles Fats and Smalls, secretly referred to as Laurel and Hardy of the feline set. Fats, an overweight Abyssinan can be found beached either in front of the always filled bowl of kibbles or lounging under Prof. P’s bed. Smalls, the moniker arising from constant comparisons to her companion, is part robot, part cat. The rumor goes that Fats pushed Smalls off the roof in a fit of jealousy and ever since Smalls has sported two titanium pins. She is credited with inventing the Smalls-shuffle.
Like any ordinary apartment 35b has within visible space an entire network of hidden spaces. Under floors and between walls are spaces that do not exist in everyday consciousness. These inaccessible depths hold the building’s organs and seem mysterious only when it comes time to repair damages. Brain Testimonial 1: Monday 3:15am in the morning. The Brain has Hidden Spaces on the brain… “For some reason, I can always hear when my neighbor downstairs, a middle-aged fellow, invites his guest to his bachelor pad. The first time I heard Barry White while brushing my teeth, my curiosity was peaked and after poking about I realized that only when standing by the sink was I able to hear sounds emanating from below. I began to imagine how I could relate this back to the hidden spaces within my apartment, like pinching together visible spaces with hidden ones. Now I start to wonder wherever I am in the apartment what is happening to those spaces I cannot see but can hear. I press my ear to walls and floors, trying to connect groans and creaks with rooms beneath and beside me. The water pump in the attic roars to life whenever a faucet is opened. If I go to the bathroom at 4:00am I measure the time I wash my face so as not to have the beast upstairs wake the entire house. I know my apartment well enough but when I hear my neighbors moving about the acoustics change. I can hear conversations coming through where there should be closets and stairs, not rooms. Have they discovered new rooms or are they living in the walls?”
top Under the Floorboards bottom Between the Walls
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Apt. 35b Composite drawing An attempt to show an alternative perspective of an ordinary space from an unsusual point of view.
In order to capture and measure the hidden spaces, light readings taken from cracks between boundaries became composite images that mapped obstructions and depth. Under The Floorboards and Between The Walls are two drawings that reveal unknown spaces within Apt. 35b. For this exercise Head Tracking was employed to reveal even more axial qualities of above, below and around the obstructions hiding spaces from the human eye. The quantity of light and depth in the sections combined with Head Tracking gave an intro-scopic perception of space. Head Tracking places the collective sections within an environment where a viewer not only blurs the seen and unseen but places the user in control of the degrees of concealment.7 Like Gormenghast in your living room floor, Alice through the kitchen sink or “Schrödinger’s Cat as retold by Rem Koolhaas: a potentially unreal maze of interconnected architectural spaces enshrouding you on all sides like a halo. Saint Crawlspace.”8 7
Readings of inaccessible spaces are possible via HT; you control the depth of perceived space and the cone of vision, to peer around, up and above. Augmented Reality presents a different system by referencing the virtual back into the actual world. The same spatial applications can be applied, by seeing inaccessible spaces simply through an overlay.
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Manaugh, Geoff, 2008. Sounding Rooms
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Hidden Spaces visualization drawing with an introduction to the conditioning between the Actual and Virtual space.
While visualizing Apt. 35b as a site active with pinched spaces, the lens of analysis was pulled to the hidden lives inside each room as parts of the entire virtual system. Virtual architecture can exist only by means of the physical systems that sustain it; requiring the body and mind of the imaginer. Since concepts of space are imaginary, Mirror Mirror embodies the co-dependency between Virtual Smears and Actual Space as a cognitive tool created in order to unveil and understand the extraordinary within the ordinary that surrounds us. Loveseats, tables, handrails, toilets all bloom palimpsests through surface slips, sound and smell. Like a chopping block that develops cuts and stains over time with use, everyday household objects grow fields that swell and congeal with interaction with the inhabitants of Apt. 35b. The secret lives of Apt. 35b’s objects in space are catalogued as Virtual Smears. Brain Aside 5 . Def. of: Virtual Smear | noun. sing. Palimpsests produced between objects in space and their users. Invisible to the naked eye Virtual Smears very much pertain to our physical world. Smears embody the secret life of surfaces, sounds and smells within an existing space. Their virtual nature is a result of their invisibility and as such, are posited in the middle of the Mixed Reality [MR] continuum as Cybrids [see def. Cybrid].
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Time interferes with the virtual smears as a hardening factor. Fats Beached with Kibbles.
Brain Aside 6. Def. of: Cybrid | noun. [as def. by P. Anders PhD] natives of mixed reality. An integration of mixed reality where virtual/physical objects reside; incorporating “the material presence of sensory objects with the capacities of virtual ones”9
Time interferes with the virtual smears as a hardening factor. Fats Beached with Kibbles For example, the longer Fats is beached in front of the kibble bowl, the greater the space around her soaks a Virtual surface smear. The longer the uneaten kibble remains on the floor the greater the smear. Sound comes into play with a vibration wave measured in decibels. One kibble “crrracks” in the mouth differently than two kibbles [see above drawing]. In turn, the Virtual sound smear of her teeth crunching each bite resonates off the surface smear. As a palimpsest triggered by the inhabitants of that space, with time the smears calcify into Virtual Residues. 9
Anders. 2008. Designing Mixed Reality.
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Brain Aside 7. Def. of: Virtual Residue | noun. sing. A spatial gradient produced over a period of time when a virtual smear is fossilized under an active smear. Slippages. adj. action pertaining to a Virtual Smear between physical object, Residue and user.
///\\\DRAWINGS///\\\ Several tools and techniques were used in an attempt to pin down the behavior of these Virtual smears. Working with 3d modeling software and Cinema 4D for animation purposes proved to be cumbersome and ineffectual in conveying the idea of surfaces exploding with pressure, or sound/smell resonating on a surface slippage. Brain Aside 8. Visuals + Examples . Ref: Cinema 4D animation . Mirror Mirror Blog Post# 58 . Month: May . Title: Stair Jiggle.10
It was through a series of illustrations that a more cohesive understanding of the slippages between surface, sound and smell within Apt. 35b was procured. During the course of one week the actions and events within the physical space of the apartment were charted as underlays to the Virtual Smears. The dance of The Ladies arriving for the pre-lecture tea affected the living room, while Smalls on the bed produced a smear that affected the sleeping individual. It has been a task to elaborate upon each drawing with a greater level of sophistication in order to explain the concepts of Virtual Smears and slippages. Referential to the aesthetics of the Virtual Smears, one project in particular has been helpful. Semiconductor’s Magnetic Movie animates invisible magnetic fields at UC Berkeley’s NASA Space Sciences Laboratories. Brain Aside 9. Visuals + Examples . Ref: Semiconductor’s Magnetic Movie . Mirror Mirror Blog Post# 46 . Month: April . Title: Invisible Magnetic Fields No Longer Invisible.11
Douglas Kahn describes Magnetic Movie as “the aquavit, something not precisely scientific but grants us an uncanny experience of geophysical and cosmological forces. Semiconductor [has] tapped into a new and ancient aesthetic of turbulence. We can hear it in the sounds of natural radio-naturallyoccurring electromagnetic signals from the earth’s ionosphere and magnetosphere-that course through Magnetic Movie, at times animating the animation, a quick nervous response condensed into static.”12 Magnetic Movie has been helpful in visualizing the behaviors and clashes of invisible forces within a physical setting. In relation to the Virtual Smears and the relationship to Actual space, animation is a goal, as the smears are lapsing over time they are imagined as constantly active. The Virtual smears fluctuate with the users of Apt. 35b and the events that occur within the physical space. 10 11 12
Sotomayor. Mirror Mirror blog. Entry date 23.05.09. Stair Jiggle. Sotomayor. Mirror Mirror blog. Entry date 22.04.09. Invisible Magnetic Fields No Longer Invisible. Kahn, Douglas. 2007, Semiconductor’s Magnetic Movie.
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///MONDAY\\\ 9:15pm Monday Evening - Boiling Water
Brain Aside 10. A cup of tea helps the drawing process... Boiling water with a rising pitch measured in decibels [dB]. Clicking the kettle in place also releases a virtual smear and when turned on the wall plug sizzles. With each drawing produced, the cause and effect between the actions in reality have to be shown to have a response within the virtual. Virtual Smear. CLICKK set to “ON” justified post kettle CLICKKKK in cradle. Handle + Cradle displacement + Lid grip = rotational smear expanding in X and Y axes. Degree of 52. Post CLICKK set to “ON” plus 9 intervals of 30 sec, boiling pitch grows EIIIII to 20 intervals of 30 sec = Sound smear.
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9:18pm Monday Evening - Milk in the Fridge
Brain Aside 11. Milk is a must with any cup of tea...The fridge is an oldie, and the rubber has cracked around the edges, so it is not properly sealed. The interior pungent smell of the fridge thus escapes from the corner when opened and closed. Virtual Smear. CRRREEAKK door open. Smell Smear + Surface smear + Sound smear active. USHHH of door closing + rasping on floor. Handle rotation down and up with surface pull.
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9:20pm Monday Evening - Cup of Tea Produced
Brain Aside 12 With all ingredients ready, the cup of tea is made... and the counter wiped. Kitchen spotless! Virtual Smear: Handle + Cradle displacement + Lid grip set to “OFF” = rotational smear expanding in X and Y axes. Degree of -52. Kettle pulled across counter and CLICKKK back into cradle. SCRRRAPE cloth smear expands with absorption of moisture and surface frictiont.
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///TUESDAY\\\ 10:30am Tuesday Morning - The Ladies Pre Lecture Dance
Brain Aside 13 Biscuits, coffee, sugar and milk set in the living room for the ladies’ pre-lecture chat. The dance around one edge of the table to prepare one cup of coffee interferes with the virtual smear of the coffee melting the chocolate biscuits nearby. Virtual Smear: Cups CLATTTER in saucers Surface smear expands. Mug handles rotate in X + Y axes 17 degrees with movement of chairs and use of sugar bowl. Heat smear of coffee press melts chocolate biscuits -4 %.
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11:39 Thursday Morning - Ladies Lecture Before Brain Aside 14 For two days during the week, the studio in Apt.35 is used as a lecture room. Ladies from the Heath make their way down to chat, have a cup of tea and become informed about what new London exhibition is happening at the local museums. This pre-lecture chatter hovers over the virtual smear. I am unsure about its current visualization as I mean to have sound and smell affecting these surface smears. I want the reaction to be more intrusive. Virtual Smear: The Ladies chatter set to “ON” - Surface smears = erroding smears. Prof. P begins lecture and erroding smears set to “ON”.
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1:12 Thursday Afternoon - Ladies Lecture After
Brain Aside 14 Once the Ladies have left and several hours passed all that remains of the morning is the resdue of the speaker, Prof. P. By now the Virtual Residue has formed a drip and congealed.
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6:15pm Tuesday Evening - Smalls is Fed
Brain Aside 15 If not fed promptly at six in the evening, Smalls protests. The prepared bowl of food releases pungent fish smells further enticing the feline to dinner. After being satiated, the bowl is pushed to the side of the kitchen and upon impact with the wall leaves a smear. Virtual Smear: Bowl CLANG on wood floor surface smear set “ON� + cat proximal + smell smear = two expanding smears on X axis. First dip into food a fast pass = smear displaced smoothly. Second dip into food a hovering affaire = smear helmet clash with pungent smell smear.
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///WEDNESDAY\\\ 6:30am in the Morning -The Big Sleep
Brain Aside 16 Having just awoken the body’s imprint is still on the bed. Rotations throughout the night are measured and revealed once the covers are pulled back; while the Virtual smears, made during the night, pop and push away from the mattress surface.
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///FRIDAY\\\
9:50pm in the Evening The Brain Curled in Chair
Brain Aside 17 The corner envelopes and the chair is positioned to look out onto the room, perfect for a nap... the longer the sit the more the drip progresses from the outer surface of the chair... eventually the cat gravitates to the corner and both erodes even further the seat edge and produces a sound which affects the head loll upon the chair... Virtual Smear: SCRRRAPE set at edge of loveseat + Smalls’ claws = surface smear pulled in z axis up 2 seconds + Sound smear eRRUPTS in steady 3 Db intervals marked by one long SCRRRAPE. Brain sitting in loveseat smears space for 3 hours. Calves pull smear away from seat and head lolls counted at two rolls within the second hour.
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///SATURDAY\\\ 7:12pm Saturday Evening - Sister G’s Scarf Scent
Brain Aside 18 Our bodies in space also hold virtual smears within the apartment. Scent on a scarf becomes an unexpected residue of the earlier morning. Here, the drawing is exploring the visualization of scent, its timed release and pungency. Virtual Smear Chin rotation degree 25 in diagonal X direction SCRRRATCH scarf. Scent waft in Z axis to nostril WHHHIFF. Smear first potent at 2 seconds then fainting plus 6 seconds.
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///\\\FUTURE PLAN///\\\ The series of illustrations just presented a behavior particular to the surface, smell and sound smears. The set of drawings that followed sought to explain further the interactions and the smears’ Virtual characteristics. Fridge Door take I and II along with Watching TV were helpful in establishing a 3dimensional language for the smear. The smear is illustrated with depth of surface and saturation of color can signify potency of smell. Exploring these qualities and behaviors is essential at this point, either through drawings, models or animation. As Mirror Mirror presents visible space in a different light, the Wiimote and Head Tracking introduced during the final presentation as a lens to the world of Mixed Reality and Virtual Smears. The drawings that have been done so far set the tone for the remaining work yet to be completed during the next month and a half before the Masters finishes. 24
Bringing the bodies of Apt. 35b’s inhabitants is one key aspect that will be included in future work. The Ladies, Prof. P and the Brain act as mediators within the realm of Mixed Reality. The smears respond to these triggers and their relationship clarifies what is leaving a residue within Virtual space. As cognitive markers to the spaces one takes for granted, the Virtual Smears and Residues are revealed as multi-scaled extraordinary spectacles within our ordinary scope.
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///\\\BIBLIOGRAPHY///\\\ Alice in Wonderland,. 1951. [film] directed by Clyde Geronimi. USA: Walt Disney Pictures. Anders, P. 2008,. Designing mixed reality: Perception, Projects and Practice, Technoetic Arts: A Journal of Speculative Research Volume 6 Number 1, pp. 19–29, doi: 10.1386/tear.6.1.19/1, United Kingdom. Baird, George,. 1969. “‘La Dimension Amoreuse’ in Architecture” from Charles Jencks and George Baird, Meaning in Architecture. In K.Michael Hays, ed. Architecture Theory since 1968. 3rd Edition. Massachusetts, U.S.A.: MIT Press in assoc. with Columbia Books of Architecture. pp 69. Barthes, Roland,. 1972. Mythologies. Edition du Seuil 1957. United Kingdom: Vintage 200 Classics. Beckmann, John., 1998. The Virtual Dimension: Architecture, Representation, and Crash Culture. New York. Princeton Architectural Press. Dunne, Anthony & Fiona Raby,. 2001. The Secret Life of Electronic Objects, 1st Edition, Basel, Berlin, Boston. Birkhäuser. Grosz, Elizabeth,. 2001. Architecture from the Outside: Essays on Virtual and Real Space. London, England. MIT Press. Kahn, Douglas,. 2007. Semiconductor’s Magnetic Movie. Animate Projects Commission. Semiconductor Films, <http://www.semiconductorfilms.com/root/Magnetic_Movie/Magnetic.htm> Kelley, Kevin,.1994. Out of Control: The New Biology of Machines. U.S.A.:Fourth Estate. Lee, Johnny Chung,. 2008. Johnny Chung Lee: Projects. Carnegie Mellon University. <http:// www.cs.cmu.edu/~johnny/projects/wii/>. Redmond, Washington. Macey, David,. 2000. The Penguin Dictionary of Critical Theory. Great Britain: Penguin Books in assoc. with Clays Ltd. Manaugh, Geoff,. 2008. Sounding Rooms. <http://bldgblog.blogspot.com/2008/06/sounding- rooms.html>. California, USA: BLDGBLG Website. Sotomayor, Camila E,. 2008-2009. Mirror Mirror. <http://vasavoircamille-theteaparty.blogspot.com/> Varnelis, Kazys. 2008, Architecture for Hertzian Space, Architecture + Urbanism magazine. Issue 2008:5. <http://varnelis.net/articles/architecture_for_hertzian_space> 26
Without the insight of tutors, friends, colleagues and family one risks a project's core decaying into monocromatic tunnel-vision. Here I thank my tutor Shaun Murray for providing tireless intelligence and understanding with my work . Doron, Shin, Aubrey, Dave and Rikard for their humor, friendship and loyalty. Finally I dedicate this project to my parents, Monica + Cristian Sotomayor and my sister Gabriela you make projects like this possible. Thank You.
| RORRIM
2008 . 2009