Kas Oosterhuis Hyperbodies Towards An E-motive Architecture

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Kas OosterhuisHyperbodiesTowards An E-motive ArchitectureBirkhäuser – Publishers for ArchitectureBasel Boston Berlin

0A CIP catalogue record for this book is available from the Library of Congress,Washington D.C., USA.Deutsche Bibliothek Cataloging-in-Publication DataOosterhuis, Kas:Hyperbodies : Towards An E-motive Architecture / Kas Oosterhuis. – Basel ;Boston ; Berlin : Birkhäuser 2003 (The IT revolution in architecture)ISBN:This work is subject to copyright. All rights are reserved, whether the whole orpart of the material is concerned, specifically the rights of translation, reprinting,re-use of illustrations, recitation, broadcasting, reproduction on microfilms or inother ways, and storage in data banks. For any kind of use permission of thecopyright owner must be obtained. 2003 Birkhäuser – Publishers for Architecture, P.O. Box 133, CH-4010 Basel,Switzerland.Member of the BertelsmannSpringer Publishing Group.Printed on acid-free paper produced from chlorine-free pulp. TCF Printed in ItalyISBN9 8 7 6 5 4 3 2 1http://www.birkhauser.ch1 The Information Architect in Society Today2 The Innovative Architect3 The Architect’s New Data-driven Practice4 The New Responsibilities of the Architect5 The Laboratory6 Architectural Education Revisited7 Building Bodies8 Data Carriers9 InformationTheory10 Input output Devices11 Information Flow12 Direct Access to the Project Data13 Distributed Being14 Artificial Intuition15 Split Second16 PC Computation Power17 Distributed Project Database18 Data-driven Process19 Communication20 Senders & Receivers21 Sensors and Actuators22 The Swarm23 Multi-player Interface24 Do not Kill the Process25 Connected Hyperbodies26 Instrumental Hyperbodies27 Transaction Spaces28 E-motive Bandwidth29 The Nature of the Game30 The Rules of the Game31 The Scale-free Networks of Buildings32 Bi-directional Connectors33 The Scale-free Networks of the Design Process34 Build Prototypes35 Direct Democracy36 Architecture in the Information Economy37 Glossary of terms38 51555862636567697074757678808283879092

1The Information Architect in Society TodayArchitects and their extended brains have the potential tobe the idiot savants of today. Struck by an article in theScientific American about idiot savants you suddenly realizethat the idiot savant is exactly what the number-crunchingpersonal computer is to the architect of today. An idiot savantis a person who is mentally retarded but at the same timedisplays remarkable capabilities in a specific but restrictedfield of knowledge. Some of these narrow-band geniusescan for example remember every single telephone numberof a complete telephone book. Some of them can reproducethe complete contents of a Shakespeare novel, but withoutany understanding of what it is about. They seem to havedirect access to the databases in their brains. But withoutthe filters of insight which intelligent people are so proudof having. That project database is both inside your head,inside computers, and in the brains of other people carryingrelevant data on the project. The exciting essay on idiotsavants in SA has implications for the understanding of ourbrains, and for the understanding of how the architect workswith computers. An architect these days creates his/her ownpersonal interface for direct access to the project database, inorder to be able to work in a process of collaborative design.[S]he must work fast, exact and above all intuitive. A welltrained intuition is desperately needed to be able to decide insplit seconds, like the Formula I driver. The architect insociety today is a well-trained hyperconsciousidiot savant. Today’s architect is an information architect,able to act intuitively and to process rationally at the sametime. The information architect of the 21st century combineshyperindividualistic selfexpression with a hypercollaborativeapproach.2The Innovative ArchitectThe truly innovative architect designs for an open sourceswarm architecture in realtime. Building components arepotential senders and receivers of information in realtime,exchanging data, processing incoming data, and proposingnew configurations as the outcome of the process. Peoplecommunicate. Buildings communicate. People communicate5

6with people. People communicate with buildings. tscommunicate with other building components. All aremembers of the swarm, members of the hive. You must faceit, buildings are subject to the digital revolution, and you mustwork with it. The innovative architect is not afraid of newtechnologies, but plays with the unheard of potential of thenew media invading the built environment. The innovativearchitect naturally investigates and practices architecture as arealtime transaction space, as a process in realtime. Swarmarchitecture is a true transarchitecture since itbuilds new transaction spaces. Swarm architectureis at the same time e-motive, transactive, interactive andcollaborative. Swarm architecture feeds on data generatedby social transactions, swarm architecture is the hive mindof the new transformation economy. Swarm architectureis design, construct and operate in realtime. Architecturebecomes the discipline of building transactions. That is whatarchitects do, they build transaction spaces. Architects arestep by step becoming conscious of the fact that they arethe designers of intelligent vehicles, executing a game of lifeand death. Architecture no longer has the hidden agenda toresist to external and internal forces. Architecture becomesthe science of fluid dynamic structures and environmentsrunning in realtime. Architecture goes wild. In the meantimethe other stakeholders in the collaborative design process areexperiencing the coming-out of swarm architecture. Swarmarchitecture manifests itself as the inevitable evolution ofarchitecture and the building industry. The innovative architectapplies swarm theory into the very fabric of society.New Babylon [Constant 1974] Hyperarchitecture. New Babylon is the ultimatehypercity of the seventies. Central in Constant’s view on the possible future cultureof New Babylon is that the bourgeois society is more threatened by creative actsthan by a demonstrative complaint against a conservative establishment. In thehyperarchitecture of New Babylon, a city in a state of permanent transformationof atmospheres, technique and materials, the nomadic citizen – the gypsy– never returns to the same place. Simply because there is no same place atany time. If the city-gypsy returns after months of intuitive navigation through theendless structures of New Babylon the place where [s]he started from may havechanged completely, both in software as in hardware. New Babylon is a hugekinetic structure operating in a true transformation economy.3The Architect’s New Data-driven PracticeIn the architect’s new practice students and staff give meaningto interaction in architecture and planning. They use gamedevelopment programmes to build the transaction spacesfor architecture and city planning. Time is spent to developthe theory and the practice of a true e-motive architecture.Research is based on the will to weave actual technologiesinto the daily practice. A student and a professional mustspend sufficient time on the hands-on research of new buildingprocesses. They must experiment with new elastic materials.Do not think of alchemizing different materials in a traditionalclash of materials, but think of experimenting with productionprocesses, and with the file to factory process. Establish ahotline between your 3d models and the production in metal,glass and concrete, or use 3d printers for the developmentof three-dimensional skins. Architectonic research must beneither futuristic nor academical. Always aim at implementingthe results of the research within one or two years, maximumfive years. Research must not be speculative, but based onimmediate practical possibilities, not yet done before, butfeasible right away. Regarding the issue of authorship, a strongbelief in collaborative design and engineering will show the wayahead. Think of collaboration inside a practice between artists,architects and programmers, and collaboration between thepractice and people from other disciplines like composers,graphic artists, construction engineers, publishers, installationengineers. Think of collaboration with clients and randompassengers. Engineers in a state of collaboration communicateas direct as possible with the actual producers of the work.And they want to communicate with them on the peaks7

8BCN Formula ESARQ workshop [ONL 2003] Realtime Urban Planning9

10of intuition and logic of all participants in the collaborativeprocess. Collaborativedesign in realtimepromises to be the way to raise the scientificlevel of architecture. Collaborative engineering worksif the participants feel the communication flow connected tothe other members of the swarm. Communication must beestablished on a digital platform where the work is based onparametric and genetic design principles. Based on scripts andformulas with a multitude of variables. Collaborative designand collaborative engineering works for you when all partiesinvolved are stimulated to submit the best of their knowledgeand experience.Schiphol Airport Hypercity. Consider Schiphol Airport or any other bigger hubin the global aviation network. Each time even a frequent flyer comes back toSchiphol Airport something significant has been changed. There is a new shop, anew café, a new pier. Suddenly [s]he becomes aware of the fact that a completenew wing with another ten or more gates is operational. There are new worksof art, the routing has been changed. Always thousands of new people flowingthrough the global peoples’s transportation hub. And often someone one onlymeets at airports since there is no time for local visits at the homecities of theglobal workers. The modern gypsies have a mission, and move on, they live in theworld, they are global citizens. The new airports are hypercities in themselves,growing ever faster and more and more out of control. The international airportnetwork is connected like the synapses in the brain. The airplanes tunnel theinformation through the network. Just check the dotted lines on the global map inyour glossy inflight magazine. Schiphol Airport is a hypercity.4The New Responsibilities of the ArchitectArchitecture needs style. Styling is a driving force inevolutionary processes. Just like car designers are involved inautomotive styling, architects involve themselves ine-motive styling. Styling is an active factor at all designlevels. Styling matters in the flowcharts of the concept, in theworkflow, in the programming, in the production process, in theway it looks when actually made. It matters especially in therealtime process of the lifecycle of the building. Then it is ratedby the members of the community, deciding how successful theproject will be in the evolutionary built environment. All phasesof the design process simply contain styling. Everything thatever has been made incorporates a style. You must not resistto styling, not resist to the experimental nature of the practiceof building challenging prototypes, and you certainly mustnot resist to the invasion of new media and nanotechnologyinto the very fabric of architecture. The e-designer givesshape to the flow of data, [s]he is a sculptor of information.Sculpting information is a most important responsibility of thedigital architect. If you don’t do it you will loose contact withthe actual production flow, which is taking place in society atlarge. Becoming masters in the art of sculpting information willplace the profession of architecture back in the genetic heartof product evolution. The new architect knows how to work inthe flow of data. [S]he steps into a running process, inventsflowcharts of design processes, and runs the processes inrealtime. The new designer operates in a stateof flow [Mihály Csikszentmihályi, Flow 1991].ParaSITE [Attila Foundation 1996] Language Development. Why did peopleconstruct language? There was no need for the apes to develop language toname food, friends or enemies. But once alien techniques are encountered, newtools are invented and they need to be addressed. The alien needs a name tobecome familiar. So the apes started to use specific sound-combinations for untilthen unknown new things and hence become human. And they did so duringthousands of years until a complete complex adaptive system named languagewas constructed. When a new integrated body of technique [car, television,computer] has come into existence, a new name is coined. The paraSITE body11

12Trans-ports [ONL 2001] Programmable Pavilion13

14is an inflatable sculpture that constructs language in realtime. It absorbs soundsfrom the local environment and from the [global] Internet, it instantly uses thesounds as nutritious samples for hungry computer programmes producing acomplex soundscape. The sound is connected to the light, ParaSITE performsduring nighttime what it learned that day. ParaSITE is an early attempt to acceptthat architectural bodies may need to develop an e-motive intelligence of theirown. That intelligence is both intuitive and rational, seen from the point of view ofthe newly constructed body.5components. Think of wireless gloves and headsets as longas they are not obtrusive for the freedom to move within theinteraction space.The LaboratoryThe laboratory is the workshop where actual digital andanalogue transactions take place. The laboratory basically canbe anywhere. The laboratory is a distributed being. It is built upof many nodes in something similar to a neural network. Someof these nodes are on the Internet, some in your cellphone,some in your laptop. But other nodes can be so big that theywrap around you as to immerse you in sort of augmentedreality. This kind of node could be a transaction space, aspace for interaction with other professionals and amateursalike. To facilitate the process of collaborative design andengineering we need to build rooms to support group designand group decision. We could call them hives. A fine exampleof such a hive is the proposed second life of the pavilionthe Web of North-Holland. In 2002 a delicate, but otherwisenon-interactive propaganda vehicle for the Province of NorthHolland, but after the closure of the Floriade a professionalfieldlab at the Delft University of Technology where studentsplug into the hive mind with their laptops. The Web will thenbecome a true transaction space. The space will facilitate andstimulate collaborative group design. Within the hive a varietyof multi-actor and multi-player networks are established.Collaboration and transactions in the hive can only take placewhen there is an operational two-way interaction between thestakeholders, when all parties involved are active, and whenall parties are willing to offer the best of their knowledge andintuition. Transactions are done by submittingand retrieving data to and from the projectdatabase, in any conceivable disguise, through anyinterface. Think of experiments with sensors, keyboards,numpads on mobile phones, GPS systems, speechrecognition, mouse, joysticks, bitmap tracking as negotiatingCybernetic Light Tower of New York [Schoeffer 1986] Programmable Soundand Light. Give and take. The cybernetic tower of the hungarian-french artistNicholas Schoeffer takes sound, light, temperature, wind and humidity from itsimmediate environment. The tower gives back movement, synthesized soundand dynamic light, in changing patterns as calculated by its brains. It respondsthrough the architecture of the spatiodynamic tower. The performing tower is apleasure to watch, it never repeats a specific pattern, it does not replay a fixedprogramme, but creates the programme in realtime. The tower is a performer, anurban actor. Art has in many ways precedented architecture. In the arts in the fiftiesand sixties dynamic and mobile constructs and atmospheres were prototyped,which are considered actual now in architecture. It can take many years beforegenetic information [in this case the realtime behaviour of structures] passes onfrom the prototype works of art works into the genetic code of the larger bodies ofarchitecture. Once it has settled there, its evolutionary strength can be tested onthe larger scale of complete cities.6Architectural Education RevisitedIn the laboratory students and tutors alike collaboratewith professionals from other institutes and with visionaryentrepreneurs from practice. To facilitate the concept ofcollaborative engineering you must build a game, which is aform of open architecture in realtime. Think of an open source15

16architecture. It is extremely important that designers do notonly talk about the process of collaborative engineering, butthat you actually make it work. You must work in theprocess, act in the flow. First then you will see and feelhow beautifully complex it is, and how precise and intuitive youmust act and think. You must think as a programmer writingcode. The designer must deal with simultaneous developmentof design and communication. The software used by theHyperbody Research Group and the ONL practice is basedon a graphic interface, like visual programming. Working withthe Virtools software includes the design of the architecturalenvironment and the structure of the communicationprocess. The mission of the modern architectis to design the rules of the game. The processof interaction, communication and collaborative design is aparametric game. The designers start proposing the rules ofthe game, and then they play the game together with otherstakeholders. Modern architects design their own designtools.The players experience the parametric game of architectureas a form of serious fun. The design is the formula, the playingof the game means setting the parameters. The players realize- by connecting the 3d model of the architectural design to thedatabase [tables, arrays] in realtime - that architecture is not anarbitrarily frozen choice of a running process. You realize thatyou are surrounded by a multitude of possible architectonicoutcomes, which all are just as valid and beautiful as any of theother configurations. The group design room is theultimate vehicle for direct democracy. Here youconnect directly to the people you work for and you work with.Not only experts are among the participators in the processof direct democracy, but especially our clients, our fellowcitizens, our friends, maybe also accidental users and blankminded passengers. Everyone becomes a possible player inthe transaction space, either consciously as a participator inthe designprocess, or unconsciously as a passenger whosepresence matters for the realtime behaviour of the swarmarchitecture. Architecture students must experiment with theart of collaborative design to prepare themselves for betterpositions in the active hive of the building society. To preparethemselves for their roles as the architectonic stage designerand game designer in a complex and fascinating practice inthe transformation economy.ParaSCAPE [ONL 1997] Sweet Spot. The ParaSCAPE project aims atconstructing an until then unknown hybrid of sculpture, instrument and landscape.ParaSCAPE is a crystallized landscape, shaped in a maelstrom of pouredconcrete and bodily gesture of the hand of the designer, capable of processingincoming sounds, and sensitive to user input through the sweet spot on top of thesculptural vortex. The activated ParaSCAPE triggers waves of travelling lightsthrough the lawn between ParaSCAPE and the new Mosque at the opposite sideof the Strip. The processes of ParaSCAPE are running in realtime. ParaSCAPEis an alien body. People in the streets recognize a new identity, an character ofunknown origin, and they experiment communicating with it. They dance on thesweet spot as to create new light patterns and new soundsscapes coming fromdeep within. People prepare for communication with the alien, and they will nameit. Then the alien body of ParaSCAPE is accepted by the community as an activemember of society.7Building BodiesBack in the seventies and eighties of the 20th century the art ofprefabrication reached it’s summit. Advanced office buildingswere conceived like unibodies. Prefabrication is precise, fastand accurate. One must develop the important details fromthe very beginning of the designprocess. A good exampleof a building body designed in the late eighties based oncustomized prefabrication is the BRN Catering headquarters[Kas Oosterhuis and Peter J Gerssen 1987]. At first glancea simple black box. But at closer inspection it reveals it’sintelligence: effective in detail, smart climate control, extremelyenergy conscious. The design of the machinery inside refersto the motorblock. That piece of machinery is not put on topof the roof as usual but placed in the pulsating heart of thebuilding. Usual practice for cars, but exceptional for buildings.This attitude provokes the idea of a building as a complex17

18integrity. The concept of a building as an unibody, as an inputoutput device. As a structure that is synthetically conceivedas a complex whole. These synthetic buildings representthe exact opposite of the then upcoming deconstructivist’sattitude. It is here at the end of the eighties that a firm basiswas laid for the notion of building bodies. The building body isa vectorial body, shaped by interior and exterior vectors. Thevectors act as multiple forces working upon that body. Fromthe inside out and from the outside inward. The buildingbody is a wellbalanced structural integrity.And that building body needs a skin. An exterior skin andan interior skin. Basically exterior skin and interior skin mustbe seen as a continuum. There is a change of climate ratherthan an opposition between inside and outside. Windowsare warpholes where the exterior skin foldsback into the interior. Doors are cuttings out of theskin. Like the mouth in the animal’s head. Nothing obstructsthe continuity. To view buildings as building bodies changesthe way one looks at built products. Architects no longer dealwith the repetitive catalogue style of the fifties, assemblingbuildings from the bit’s and pieces following the rules of linearindustrial production methods. These days mass-productionis no longer the rule. Nowadays mass-customization is thea most viable production method. In the process of masscustomization series of unique elements are produced. Seriesof unique building parts, put together to form the uniqueunibody, the synthetic building body. A building body can onlygo hyper if it has a consistent body in the first place, carryingand processing the information flow.Building Bodies [ONL 1995 - 2003] Mass Customization. A building body is acomplex integrated system of customized building elements. Body building is theact of building consistent metabolist unibodies. The building body is a vectorialinput output device, shaped by interior and exterior vectors. The vectors actas multiple forces working upon that body, from the inside out and from theoutside inward. The building body is a complex system of customized buildingelements. The concept of the building body is opposed to the idea of the bits andpieces form the fifties and sixties. The building body does not use prefabricatedelements from the building catalogue. The structural components of the buildingbody are made especially for that specific body. They may have been masscustomized, but never mass-produced. While the old process of mass-productionaims at producing many of the same elements [and hope for future absorption by19

20Queensland Gallery of Modern Art [ONL 2001] Spaceship21

22the market], while the process of mass-customization aims at producing uniqueelements applying data driven production methods. Building bodies designedand produced according to the rules of customization are more intelligent thanthe building collages of mass-produced building materials. Building bodies aresynthetic, integrated and unique.8set, the seats, the stairs, basically everything, which the usertouches, is continuously displaced, changed and transformed.All processes run by buildings, products and users togetherplay a key evolutionary role in the worldwide process of theformation and transformation of information.Data CarriersYou hear, see, smell, feel, taste, you process the information inyour brains and other organs. The processing of the informationlead to the productio of images and sounds, and you put otherprocessed matter into the world. People are metabolists bynature. Information is always subject to a continuous processof transformation. In that process there are many momentsthat the information travels from one processing unit towardsthe other. Information may be sent through wires, or maycarried by a vehicle. People are such datacarriers. Imagine asomewhat more complex situation where you find yourself inin dayly life. When youy drive a car, the car carries informationin the form of the luggage and in the form of yourself as thedriver. At the same time the driver of the car carries both theinformation that [s]he embodies as the information that [s]heprocesses in real time. The information produced during theprocess of driving a car consists of signals sent out by thecar to other vehicles: speed, direction, indicator, backlights,headlamps, sound of the claxon. The information carried maybe uploaded or downloaded upon arrival. Information justkeeps flowing and traveling. Information never stops to beprocessed. It is productive to imagine buildingsand other products as running processes inrealtime. And humans are part of that process. They triggerthings, they catalyse, they vectorize, they open doors, theyclose windows. They are the switches themselves. Now ifone applies this notion of information processing to buildingsand architecture, then think of buildings, which are continuallyabsorbing information, processing information and producingnew information. None of these building bodies are isolatedprocessing machines under any circumstance. They are allconnected through the information flow. Connected to eachother in the city, connected to the world through the Internet,connected to the users through the user’s interfaces. The lightswitches, the doors, the windows, the computers, the televisionTT Monument [ONL 2002] File to Factory. One work of art, one detail.The complexity of the TT Monument is in the surface, not in the number ofdifferent elements put together. The TT Monument is one continuous surface,one material, and hence one parametric detail. To practice parametric designis absolute compulsatory for a successful file to factory process of executingthe built projects. One must directly connect the 3d model of the design to theproduction techniques in the factory. Machine to machine communication, fromthe PC design machine to the production machine. For the production process ofthe TT Monument a Nurbs surface 3d model was made and sent in the disguiseof an IGES file to the milling machine of the modelmaker. The connection relieson a common language, which is spoken by the machines at both ends, the PCof the designer and the cutting machine of the producer. Direct and unfilteredshortcuts are needed. The machine reads and the file and executes the scriptlike an idiot savant.9InformationTheoryInformation has the intriguing tendency to enhance it’scomplexity. Scientists observe an universalevolution from pure energy [the intitial stageof our universe] towards pure information [thefinal stage of our universe]. And the good news isthat the humans, simply by performing all the operations whichthey perfom dayly, contribute to that evolution. They assist inthe inventions of ever greater complexities, they assist in theconversion of material from their raw information states intoproducts representing a much higher state of information.People are so lucky to catalyse the increase of the informationcoëfficient of the world around us. Life is rewarding. There23

24Virtual Operation Room [ONL 2002] Body PortalVirtual Operation Room [ONL 2002] Lymphatic System25

26is an increasing awareness of the importance to build newtheories on the nature of information. Some scientists [StephenHawkings] speculate that all matter and energy maybe described as a specific state of information.Other scientists [Tom Stonier] go one step further and proposethe existence of infons. Infons are information particles, whichare essentially different from electrons and protons. Theintroduction of infons opens up an new non-materialistic viewon the micrcosmos and the macrsosmos alike. Tom Stonierillustrates his view by looking at the electronic billboards onTimes Square. One experiences waves of information, butwhen it comes down to describing the process in the behaviourof electrons and protons the billboards do not change when theinformation content changes. Hence it is obvious thatthere are waves of information propagatedthrough the system. Stonier proposes convincinglythat similar waves of information flood through the universe.And he states that in the evolution of the universe people areexperiencing and developing [that is as seen from our arbitraryhuman point of view, that’s why I prefer to say that we humansarre assisting in the development] ever higher complexities ofinformation content. Life is a thriller.of details. Less is more. Less details gives more quality was the obvious aim ofMies van der Rohe. But let’s face it: Mies is too much. Too many details. Supposethe building body knows only one detail. In order to intelligently deal with a varietyof situations, that single detail must be parametric. For the production of the Webof North-Holland an exact procedure was written how to pick up the separateelements from the 3d model and pr

architect naturally investigates and practices architecture as a realtime transaction space, as a process in realtime. Swarm architecture is a true transarchitecture since it builds new transaction spaces. Swarm architecture is at the same time e-motive, transactive, interactive and collaborative. Swarm architecture feeds on data generated

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