Page T2.2 . 10 November 2004                     
ArchitectureWeek - Tools Department
NEWS   |   DESIGN   |   BUILDING   |   DESIGN TOOLS   |   ENVIRONMENT   |   CULTURE
< Prev Page Next Page >
 
TOOLS
 
  •  
  • Going Wireless
     
  •  
  • Digital Design Divergence

    [an error occurred while processing this directive]
    AND MORE
      Current Contents
      Blog Center
      Download Center
      New Products
      Products Guide
      Classic Home
      Architecture Forum
      Architects Directory
      Topics Library
      Complete Archive
      Web Directory
      About ArchWeek
      Search
      Subscribe & Contribute
      Free Newsletters
       

     
    QUIZ

    [an error occurred while processing this directive]

    Digital Design Divergence

    continued

    Design Environments

    Historically, the inability of computers to comprehend any design activities that take place outside the computational environment itself, hence the need to design "in" the computer, had the unintended but critical effect of transforming the computer from a design "tool," in the traditional sense of the word, into a design environment: a "place" where design occurs.

    Instead of following the designer, like a pencil does, allowing him or her to design wherever and whenever desired, computers force designers to come to them. Consequently, designers must fiddle with all sorts of knobs, switches, and gadgets to set the machine up so it can begin to support the design activity and, in general, are constrained and shoehorned into the machine's environment.

    By becoming the environment where design occurs, the computer has changed the culture of the design profession. In the early days, when computers were too expensive to sit idle, designers had to work in shifts a most unnatural imposition on the oft intuitive and serendipitous process of design.

    Later, the addition of Internet communication abilities extended their design environment to encompass not only the individual designer, but also other members of the design team the manufacturers of the objects that are used to assemble the design, the clients, the public, and other interested parties.

    The Internet has contributed to creating a global design environment, diminishing the importance of colocation and transcending time zones. As a consequence, there is better integration of the various parts of the design. But there is also a need to accommodate the schedules and work habits of others, to control the flow of information, and sometimes the loss of ownership of the final product.

    Habitable Physical Environments

    Changing the culture of the design profession by placing it within the domain of the computer is, however, only the first of three emerging effects of computers as environments. The second effect computers as inhabitable physical environments was envisioned by the Architecture Machine Group at MIT in the early 1970s.

    In its 21st-century incarnation, the vision of inhabitable environments infused with many computational devices has taken the form of computer-controlled temperature, humidity, lighting, security systems, elevators, doors, even electronic building "skins," creating seamlessly networked and ever-changing electronic landscapes.

    The diffusion of computers into our everyday environment has the effect of making the environment more "intelligent" at least more cognizant of our presence and activities and enabling "it" to take action on our behalf.

    Such actions can be based on simple feedback loops, such as the control of temperature through a thermostat or the opening of the supermarket doors as we approach. Or the actions can be model-based, such as scheduling elevators to meet the needs of rush-hour traffic in an office building based on expected activities rather than evident ones.

    Virtual Environments

    The third and potentially most radical effect of computers assuming a role of inhabitable environments is the advent of cyberspace a term coined by William Gibson in Neuromancer to denote the information space created by the Internet and its steady assertion of itself as a "place."

    Although it can only be experienced through the mediation of computers and can only be inhabited by proxy, cyberspace is fast becoming an extension of our physical and temporal existence, offering a common stage for everyday economic, cultural, educational, and other activities.

    Making places for human inhabitation in a nonphysical space raises interesting questions concerning presence, authenticity, adaptability, orientation, and suspension of disbelief. What kind of activities can be supported by nonphysical spaces? What will it take to support them in a socially and psychologically appropriate manner?

    Already video conferencing, e-commerce, and video entertainment are migrating to cyberspace, leaving behind the agoras, bazaars, and amphitheatres of the past. The new "space" is virtual, the construction of computers. But we humans have not changed, nor have our relationships with other human beings.

    The opening of a new kind of space made possible by computers and networks promises to revolutionize our perception of reality like no other invention before it and challenges the professions of architecture, town planning, and interior design which have been striving to accommodate human activities in the physical domain for thousands of years.

    The roles of computing, with regard to architecture, are thus multifarious and have varying degrees of impacts. They range from being tools that can augment certain traditional design activities, with little impact on the activities themselves, to more pervasive (and invasive) impacts as environments within which design and even inhabitation itself occurs.

    Discuss this article in the Architecture Forum...

    Yehuda E. Kalay is a professor of architecture and director of the Center for New Media at the University of California, Berkeley.

    This article is excerpted from Architecture's New Media: Principles, Theories, and Methods of Computer-Aided Design, copyright 2004, available from The MIT Press and at Amazon.com.

     

    AW

    ArchWeek Image

    Times Square, New York, is a physical environment infused with ever-changing media that blur the boundaries of space and information.
    Photo: Y.E. Kalay

    ArchWeek Image

    KAAD, a frame-based knowledge representation system for the design of hospitals.
    Image: G. Carrara, Y.E. Kalay, and G. Novembri

    ArchWeek Image

    Communication is the key to the success of design projects.
    Image: Xiaolei Chen, University of California, Berkeley

    ArchWeek Image

    The KAAD system can detect and flag the designer's mistakes.
    Image: G. Carrara, Y.E. Kalay, and G. Novembri

    ArchWeek Image

    The Guggenheim Virtual Museum is an Internet-based museum for digital and Internet art, where the user can view or survey recent electronic acquisitions as well as other museum content.
    Image: Asymptote Architects

    ArchWeek Image

    Architecture's New Media: Principles, Theories, and Methods of Computer-Aided Design.
    Image: The MIT Press (architecture by Form4, photo by Steve Whittaker)

     

    Click on thumbnail images
    to view full-size pictures.

     
    < Prev Page Next Page > Send this to a friend       Subscribe       Contribute       Media Kit       Privacy       Comments
    ARCHWEEK   |   GREAT BUILDINGS   |   DISCUSSION   |   NEW BOOKS   |   FREE 3D   |   SEARCH
      ArchitectureWeek.com © 2004 Artifice, Inc. - All Rights Reserved