Virtual Interactive Architectures

Pixelate - applied Reflexive Tile script

2008-02-11T21:10:00.000-08:00

This work is the result of a research project conducted at the Graduate School of Design in collaboration with Dido Tsigaridi. Our research produced a 360 degree rotating mirror platform utilizing Shape Memory Alloy metals set into a particular counterbalanced formation. The idea was to create a field of mirrors (sensor enabled) to respond to human presence and movement. The bottom of this post describes the proposed (Dec. 2005) responsive surface in more detail.

While this project has remained dormant, I have been trying to visualize the dynamics of the surface (presumed to be a wave-like motion) for some time. The construction of the rotating mirror platform was meant to demonstrate the movement of a single modular unit. Up until this point, the most I could do to visualize a full scale ripple effect was to model it through standard 3D programs and at best, produce an animation of that movement. Recent innovations to the Second Life platform (and more specifically the development of the 'reflexive tile script' by Oze Aichi), have now provided the ability to study the effect of avatar/human proximity real-time on the individual and overall tile movement response.

While this method is used only to simulate the idealized movement of the prototype wall tiles, it remains an demonstrative way to study the dynamics of distributed responsive form. This idealized representation of the surface movement (which is not quite as fast in its physical form) presents the opportunity to observe unforseen patterns in behavior of the elements as well as the behavior of those individuals participating. This study in particular focuses on the movement and patterning of the surface which is why we don't see representation of the supporting structure and electronics. This is partly for clarity's sake and partly to reflect the virtual nature of the form (and the open possibilities that this engenders).

The following video is the result of brief experimentation with the script (Reflexive Tile) provided by Oze Aichi at The Tech Museum via The Arch by Keystone Bouchard. In this trial I reduced the scale of the tile and set a static, reflective texture to match the surrounding steel. This combination produced some interesting and unpredictable patterns as the avater engages the surface. While the original design calls for mirrors, I turned up the reflectivity of each prim to compensate. Here is a video demonstration of the resulting surface movement.

VIDEO (Hi-res version also found at YouTube link here).

The SMA Responsive Surface
Research project in collaboration with Dido Tsigaridi at the Harvard Graduate School of Design.

The surface deforms and reflects based upon human presence and movement along its surface. Each device senses and moves individually based upon a simple proximity sensor feedback loop.

The mirror remains stable and reflects the surrounding environment until approached by a pedestrian. The mirror then rotates its angle toward the pedestrian dependent upon their proximity to it. At its closest proximity, the mirror then resets to its stationary position until the user begins to move away. The result is a pedestrian which can see their own image undistorted while onlookers see a refracted and shifting image of the pedestrian. The surface becomes a statement about how we see ourselves in relation to how others perceive us in an observational context.

Initial testing and experimentation for the kinetic mirror produced a 360 degree rotating and adjustable platform operating on a standard 9 volt battery. The use of SMA greatly reduces the need for moving mechanical actuators or servos decreasing energy use and minimizing potential for wear or damage. You can find the video of the functioning platform here, and a link to the project page on my website here.

Archidemo - Potential of the 2D Image within Virtual Space

2008-02-05T17:57:00.000-08:00

I took a moment to visit an interesting variety of builds representing the work of Hidenori Watanave and the Archidemo group located on the NikkeiBP+NikkeiBP way sim. I discovered the group and sim location through a post on Networked Performance. The island's work is clearly experimental but it is interesting to see what people have come up with to date. While some works were a bit confusing, I think this was more the result of project overlap and crowding than the clarity of the builds themselves. I was able to recognize some responsive elements such as proximity and tracking scripts, and most were utilized in a fairly straighforward manner. Still, it's worth the visit as this group seem to take a different approach than most of the other sims I have had the opportunity to visit. Here is a brief (rough) clip I made on one of the more compelling projects.

The build consists of panoramic 2D still images which collide and ricochet within a surrounding panoramic image (also a 2D still). As the avatar navigates within the surrounding space they have the ability to touch a central portion of the floor within one of the individual floating spaces. Touching the floor situates the avatar within that particular room which provides the opportunity to examine the entirety of the RL panoramic image. This seems to invoke the concept of 'compound space' as the visitor has the ability to essentialy 'jump' between physical (although static) locations through the medium of virtual space.

As the virtual has enabled communication between physical spaces for quite some time, this build becomes an interesting metaphor for the spatial/informational relationships between (physical <--> physical) and (physical <--> virtual) spaces. While this project is more a study of the possibilities of the 2D image within virtual space, a natural next step for this build might be to incorporate live video feeds into the RL spatial pockets (for example 360 degree panoramic room cameras that are directly manipulated by the avater inhabiting that particular spatial pocket). This might result in a powerful new way to experience physical spaces through Second Life and other related virtual media.

Gamespace

2008-01-30T20:25:00.000-08:00

We seem to have recently developed quite a vocabulary with regard to 4D virtual architectures (interactive, active, reflexive, reactive, responsive, reflective, 4D, flexspace, etc.) While there may be a variety of reasons for creating these works, they usually tend to fulfill some level of practical purpose: collaboration, entertainment, challenging perceptual norms, a focus for socialization, or a tool for simulating and testing real world interactions. While these virtual builds contain particular reactive qualities such as response to movement, presence, voice or other behaviors, I feel that they also allow for a more robust form of interaction rarely taken advantage of in SL builds (with certain recent exceptions).

There have been a handful of spectacular builds I have had the absolute pleasure to visit lately. After experiencing Parsec, the reactive sculpture garden, and other recent interactive works posted on The Arch, New World Notes, and Dusan Writer's Metaverse, I think we are starting to see the emergence of a particular quality of architectural space so easily engendered by the nature of the virtual construct in which we work. This quality might be known as Gamespace.

While most responsive builds I visit tend to induce the initial 'wow' factor, the post wow hangover usually leaves me with little more than a few new friend contacts and some interesting topics to discuss (all in all, not a bad result). As the usual scenario plays out: I walk through the build, toy around with the responsive elements a few times, and then find myself thinking - that was fun, now what? While the initial visit may be spectacular, there is rarely any reason to return unless there is a new addition to the build or I am introducing it to another avatar. This has been the case for much of my own limited collection of responsive builds which prompted me to write this piece.

The answer? I think the most successful interactive architectural builds (physical or virtual) allow the users to engage the system and each other in some form of game. Virtual interactive space is perfectly suited to adopt game-like features that can easily be programmed into the overall interactive experience. The point of a game is to play within a set of rules to accomplish a goal of some sort. Sometimes this goal is winning; sometimes the goal is to get the most points for a given task; sometimes it is simply to compete, socialize, or even to create music, art or architectural form. The combination of rules and goals creates the game dynamic, and this provides a purpose to the activity that drives it.

Gamespaces generally allow for open, playable environments which contain both defined games (defined rule sets with required actions and definitive goals within the game) and the ability to free-form games which develop through the course of play and experimentation (emergent games). Emergent games are not specifically engineered into the original purpose of the game, but the unique way the environment is constructed allows the players to devise their own corresponding rule sets which then develop through interaction with the system and each other. The nature of the gamespace requires a delicate balance between these defined rule sets and the freedom which can lead to emergent gaming behavior. As interactive architects I believe it is our duty to explore and establish this relationship as it relates to architectures and those who inhabit them.

Let's take Parsec as a recent example. Parsec contains an interesting feature that unlocks a spectacular visualization when the right combination of voices or vocal gestures is enacted. There are no explicit rules to define interaction with the system (besides the brief introductory sequence); one simply shows up and begins speaking. Through the course of interacting with the system and the individuals present, the game is determined by the players - as they play it. The individuals talk and are able to control the spheres which jump and respond to the inflection in their voices. They become entranced by the surrounding visuals and their vocal response to them. They respond to the spectacular ‘supernova’ with delight when the combination of their voices unlocks that particular visualization. Individuals that contribute to the game environment become the players and, in the case of Parsec, the game (and goal) becomes both socialization and the creation of music.

Through this dynamic the players are encouraged to explore the effect their voices have on the system (and each other) and are rewarded through those activities. In other words, there is a driver (a goal) behind the vocalization in addition to the generated conversation between participants. The system rewards the speaking voice with a playful visual response. The system rewards conversation by releasing spectacular visuals when the individuals interact vocally. This carefully balanced combination of rule sets, goals, and open playability creates spontaneity to the game as well as a conscious, defined structure that drives the players toward a particular purpose. This is crucial to gamespace because the resultant experience is unique every time the game is played.

Another good example is the Architectural Jazz build by avatar Keystone Brouchoud that I discuss in an earlier post. The rule set of the game here is simple - movement toward particular prims which then results in musical notes when each prim is approached. The goal – the creation of music. While this format reflects an uncomplicated (and brilliant) interaction, it may be considered a form of game nonetheless. Maybe a bit more of an instrument or tool, but that is for an upcoming post.

If we examine this music analogy for a moment, we have a composition on one hand and jazz on the other. A musical composition has a set of rules when, carefully followed, produces a scripted and balanced structure of sound. Jazz, on the other hand, relies upon improvisation, intuition, a good sense of timing, and sociability. Both methods produce music, but one allows for a free-form and whimsical style much more condusive to sociability, unpredictability, and just plain fun. Keystone has successfully adopted this feature and in doing so has created a consistently unique and inviting interactive virtual experience. I think this is a quality more interactive builds would do well to adopt.

While this free form (open) interactive quality is crucial to the game, even jazz has rules. While I think this build might benefit from a bit more of a defined or choreographed rule set, the potential for emergent gaming is clearly present here. Say, for example, that the players were able to 'carve' visual paths through the build which represented that particular sequence of notes. Other players could then run through the same paths making detours to create variations on each other's 'musical paths'. This might provide some structure to the experience to balance the already present open playability.

While rules can provide a framework for interaction they must not be allowed to fully encompass a build. I believe the more rigid the ruleset, the less opportunity for spontaneous emergent gameplay that may become realized through interaction with the build. The player should be given the choice as to whether they desire to engage the system. The game need not necessarily be the dominant feature of the interaction, but must be exhibited through a subtle and real quality of the architectural space.

As virtual interactive architectures move adopt this quality, we may begin to realize spaces and structures that form through the game: a space where the interaction among avatars actually creates form. As architects we have recently become obsessed with patterns and forms generated through software algorithms adopted from the natural environment or developed through human observation and analysis (known as generative forms). What if these generative properties become tied to behavior or actions? Maybe movement, conversation, or the power of voice alone is enough to generate form. What if form becomes the by-product of socialization?

I believe it is inevitable that responsive spaces will begin to adopt the quality of gamespace. We can only spend so much time with virtual architectures exploring the movement of prims that change color, distance, or fragment with human/avatar input. While these explorations help us to begin to define certain interactions and interactive elements, I think the true purpose of such explorations is to develop a platform for the game by defining the parameters and introducing the players to it.

After all, SL and other virtual spaces were born from gaming engines. This was their original function. Maybe it's time to take the next step and begin utilizing active, reflexive, interactive, reactive, responsive, reflective, 4D, flexspaces toward their full realized potential: gamespace.

Up next... virtual interactive architectures as a tool for creation.

Virtual Dome - Form Follows Presence

2008-01-03T21:06:00.000-08:00

This build represents first release of S.O.N.A.R 1.2 as it stands in its current form.

Here is the location of the video.

As avatars move about the center of the landing pod, a fluid swarm will begin to form a dome above the pod perimeter. The 'seeds' emerge from the arms of the pod to rest at random proximal locations about an avatar. After this migration stage, they begin to grow into static physical elements known as 'fruit'. Due to this randomized localization, the form of the dome remains constantly in flux. It is also programmed to follow the movement of the avatar so the location of the dome is variable but predictable. The result is a responsive, variable (fluid) dome generated through the presence and movement of multiple avatars.

I'm still working additional elements into the project but in the meantime, have a go at this SLURL location (Architecture Island). The eventual goal is a fully interactive system allowing avatars to have some direct and indirect control over the function of the individual elements. This is still a prototype so if you experience any bugs please IM Far Link in Second Life.

Second Life as a Development Tool for Interactive Builds

2008-01-02T06:24:00.000-08:00

Hello all,

This is a post from the sonar website, but I think it is a bit more applicable to this blog. I'm trying to identify practical developmental characteristics of Second Life: particularly its role as a development tool to simulate interactive architectures and/or responsive environments. The following are some thoughts about how SL provides advantages over other 3D modelling tools for this purpose. The ideas are not fully developed so I'm looking for some additions to the list. Feel free to comment or criticize..

Recent advances in virtual gaming engines (specifically Second Life) make it an ideal platform for the study of interactive architectures and responsive environments. The unique characteristics of virtual space allows for 4D spatial processing of kinetic architectures as they respond to human (avatar) behaviors and, in turn, effect those behaviors in an ongoing feedback cycle. This facilitates observation, testing, and analysis of the interaction between humans and scripted objects (programmable elements) and the resultant behaviors and dynamics that emerge from those interactions.

In Tobi Schneidler's interactive architectural and media works, he identifies a critical precondition of the development of any responsive or interactive space: the need for a 1:1 prototype scale for usability testing. He goes on to stress the importance of such testing as there are behavioral patterns and outcomes that the designer cannot predict or account for until they are observed within the full context of the interaction. Current 3D modeling and animation tools allow for more flexibility in formal expression and kinetics, but the search continues for the proper digital tools to test and develop various types of interactive architectural environments. I believe that Second Life provides an ideal platform for this type of research/design development.

I am identifying 3 key qualities of Second Life virtual space and its ability to test and develop responsive/interactive environments. These ideas are explained briefly here but are part of a larger essay that will be released in the coming weeks. These include..
-Human factors engineering
-Physics and time
-Encoding objects and environments

Human Factors Engineering

Unpredictability
A pre-inhabited environment provides the opportunity for chance social encounters and interactions. This more accurately reflects the way we 'happen upon' and engage space (and each other) while exploring the physical world. For this reason, the environment of Second Life places more demands upon the designer's ability to visually market a designed space to chance passerby. This holds true to the 'view from the street' effect which visually entices users to visit and engage a site as opposed to simply downloading an animation or being passed through a series of internet links to a website video. It requires a bit more commitment on the part of the user. The designer is now required to consider how a site or architectural installation will attract users through its physical appearance, siting, and behaviors. If the site/installation does not look appealing or engaging, avatars may simply walk by and make the choice not to engage it.

Social Interrelation and Cooperation
We bring our physical mannerisms and behavioral tendencies into Second Life and act these out through the representative avatar. For this reason, characteristics of Second Life tend to reproduce some aspects of social interaction within physical reality. This is true for qualities ranging from altruism and selfishness to embarrassment and self-esteem. Etiquette also plays a role: for example it is usually considered courteous to face an avatar when speaking with them and to maintain equal elevation when holding a conversation with another avatar or group of avatars (two avatars speaking will generally approach each other, hover to the same height, and face each other to speak). Second Life also allows for sociospatial physics: for example, an avatar must be within 'listening distance' of another avatar for a conversation to take place. These human behaviors and the nature of space which allows them to play out is crucial to take into account when attempting to model responsive environments which must react accurately and reliably to both predictable and unpredictable human behaviors.

Avatar-Human Proxy
Current 3D modeling and animation tools mostly place the user in the role of observer. In these cases the user is generally represented by a virtual camera that the user controls to adjust their position and orientation with respect to a given modeled structure or environment. Second Life, on the other hand, allows the user to adopt the role of participant which enables the user to interact with designed space. The user relates to and associates themselves with the avatar (their digital representation) and this generally results in the user acting through the avatar as opposed to perceiving the control of a separate entity. They begin to associate the avatar's actions with their own and thus there is an identity associated with every action. The user may also begin to feel that their actions have consequence or causality associated with them and this gives significance to those actions (be they virtual, physical, or both).

Recording Experience
Through the use of mouselook and machinima, we can actually record the experience of users in any given space. Second Life gives us the possibility of establishing cameras in any position or in multiple positions simultaneously. This gives designers the capability to record for analysis the interaction taking place from multiple perspectives including those from the 'eyes' of the users themselves. We also have the ability to visually track movement and positions in a given space or structure. When this data is compiled, we can begin to recognize trends and discover patterns of use unseen by the naked eye. This component will be utilized heavily in the coming experiments and more on this to come..

Physics and Time

Kinetics, Physics Modeling and Usability
Second Life allows for physics modeling such as mass, momentum, gravity, and a host of other characteristics. While physical construction is a necessity for any kinetic/dynamic object or structure, (due to scalar complications like friction, tensile strength, etc.) Second Life provides the opportunity to study the interaction taking place between individuals and environments which help to develop that particular aspect of a responsive/interactive space. This can then serve as the basis for further development of the physical build as it progresses through its stages of development.

'Real Time' and Co-Inhabitation
Second Life allows multiple users to interact with environments and each other in an interrupted singular temporal stream. There is no reversal or playback within the program itself (with the exception of exported video which is dissociated from the main program) therefore traits like embarrassment, mistakes, and other realistic human qualities become engineered into the overall interactive experience. As Second Life has developed over time, we also have the possibility of diurnal cycles (day and night) which provide opportunity for time based interactive works that utilize lighting for daytime or nighttime participation. This forces the designer to address such cycles and provides an additional element of realism which must be accounted for in any simulated interactive build.

Encoding Objects and Environments

Complete freedom to encode objects and environments
This opens the potential for surface, structural or environmental characteristics to contain an element of responsiveness. While many of these characteristics may not apply to a subsequent physical build, the point is the ease with which the designer can encode an environment. This allows the designer to explore different avenues of a particular idea not necessarily possible through physical exploration. This may present additional ideas and opportunities that will eventually inform another part of the project unforeseen in the original design.

Exchange of Information
The nature of Second Life's virtual environment allows information to be transmitted to and from this space in a bi-directional manner. While virtual space provides an excellent platform for the study of interactive works, it also allows the subsequent built physical work to communicate with its virtual simulation. This feature has been utilized in many projects best demonstrated in the Muscle Project by Oosterhuis et al. A virtual simulation of the structure was initially built in Virtools for testing purposes. The eventual built form retained this virtual double allowing users to have an effect on the final build by manipulating both the virtual form as well as the physical build directly. This idea of the 'dual reality interface,' allows the interactive work to be effected from multiple locations as well as through multiple forms of media.

Quantifying Interaction and Inhabitation
Second Life provides unprecedented ability to record and quantify interactions. Cameras and script tracking provide for in-world real time data acquisition and analysis. All actions in Second Life are ultimately quantifiable: every discussion and action has the ability to be recorded and documented for review and study. Designers are able to track avatar movement through space, visual attention through mouselook recordings, textual conversations, or attendance for any given designed space. While this has sometime resulted in unwarranted and unethical surveillance in virtual environments, its responsible use can assist in testing variables such as a site's popularity, its use, and specific interactions between avatars and kinetic elements.

Life 1.5?

2007-11-15T17:38:00.000-08:00

Check this out. A great article on SL/RL bidirectional causality. It describes how SL is effecting RL events and practices. Look at the bit about the plumbing wiki. Very cool.

http://www.designnews.com/article/CA6490691.html#_self

I also talk about some of this on the Sonar website. It seems that SL is morphing into something beyond the virtual into a singular physical/virtual surface. Life 1.5? The idea of hybrid space is not new, but it hasn't had its go with Second Life yet. I think it's only a matter of short time before we begin seeing programs which allow events in Sl to directly effect events in RL. Hit a button in SL and a window opens on a building in RL.. Turn off the lights in your SL house and the RL lights go out. TransArchitecture is here and its just the beginning.

SONAR Trial Video

2007-11-15T05:00:00.000-08:00

A first sample video of S.O.N.A.R at work..

Project S.O.N.A.R Website Released

2007-11-04T20:30:00.000-08:00

Greetings All,
I have released the first iteration of the Project S.O.N.A.R website for further information and group sign up. While I am still working out a few kinks, we all have to start somewhere. The website is located at the following link..

www.projectsonar.com

So have a read, sign up for the group, and I'll be releasing the actual Sonar form as soon as it's developed enough for proper use (should be sometime later this month). If you have any difficulty signing up for the group, just email me at my address and I'll note you down for the first participation once we settle on a date.

mditulli@gmail.com

Also, I have been viewing and cataloging many other interactive projects in Second Life that have made their debut lately. These will appear on the blog shortly once I organized my photos and video recordings. Stay tuned and thanks for reading.

Project S.O.N.A.R

2007-10-24T12:22:00.000-07:00

Project S.O.N.A.R
Self-Organizing Nebulous Architectural Response

It looks like the swarm prototype mentioned in my earlier blog post "Emergent Forms - self organizing structures" is nearly complete. I will spend the next two weeks touching up version 1.2 and we can begin to conduct time trials soon thereafter. I have created a new website dedicated soley to the project and its evolution over the coming months. This site will provide detailed information about the experiment along with a group signup to recruit people for participation in the initial demonstration. Thanks for checking in and more info to come soon!

Virtual Studio Tour - Reactive/Reflexive Elements

2007-10-20T12:06:00.000-07:00

Virtual Studio Tour (test machinima)

Video can be seen at the following link..

http://www.youtube.com/watch?v=qxqa_v-cEB0

This is my first machinima so I apologize for the low res quality. This video demonstrates two kinetic/reactive elements incorporated into the latest version of my online studio. These scripts were pulled from the grouping published by keystone Bouchard for his Reflexive Architecture Gallery.

http://slarchitecture.ning.com/profiles/blog/show?id=1066283%3ABlogPost%3A3

I am in the process of including additional kinetic elements that will respond to both avatar behavior and presence. These kinetic elements have an aesthetic value and must work with the form as to retain their logic within the overall architectural system. This particular virtual studio examines the use of kinetic elements as an extension to the base (fixed) architectural structure. The translucent texture and character of the block suggest a primitive curtain wall or glazed entryway of some type. Its kinetic properties further push this distinction.

In this case the wall pulls apart to form 'flex columns' which frame the entryway to the studio. When the avatars stands in the middle of this liquid curtain wall, the frame splits upward echoing a classic Gothic arch. This is due to the spacing of the kinetic elements as well as the sphere of influence (located around the avatar) which activates the scripts within the translucent blocks. These same columns produce inverted Gothic arches as the avatar inhabits the platform above the entryway (utilizing the same properties of placement and sphere of influence.

I will post more machinima as the design progresses.

Object to Field

2007-10-10T20:54:00.000-07:00

Over the past few months I have suggested in various discussion groups the need for a more qualitative and quantitative investigation of reactive/reflexive scripts within SL. Avatar Keystone Bouchard (John Brouchoud) has accomplished this and has managed to package it beautifully in his Gallery of Reflexive Architecture.

The gallery explores the flexibility and variability of one or two simple scripts integrated into various forms and formations. This is most accurately a study on the ability for a single script to show vastly different expression through only minor variations in its behavior and in the form encompassed by it. The gallery goes on to identify multiple conditions of the proximity script including..

Carvable Architecture - each time an avatar approaches, these units move out slightly. Over time, the movement of avatars essentially 'carves' the architecture and high traffic areas become larger over time.

Prim Decay - prims decay as avatars pass by, leaving a visual trace of avatar paths during the course of 3 hours

Architecture On Demand – As titled

Architectural Jazz – Covered in earlier post

Traffic Graph - prims move down slightly every time an avatar approaches, creating a visual representation of traffic density

Elevated Plane – As titled

Sudden Space – More on this later

Door Wall – More on this later

This is a great example of visual complexity generated through the accumulation of basic responsive elements. The scripts themselves are fairly simple and, in most cases, are repeated among each of the individual elements. For example, the Architecture On Demand build utilizes a single block programmed to grow and diminish in scale as an avatar approaches. As a single unit, this block remains an object and is not very successful as an architectural element - but place many together in close proximity and the collection becomes a field condition. The individual blocks act in unison to create a field effect which gives the impression of a single membrane reacting as a singular surface. The resultant undulating surface is both elegant and visually complex and contains many more architectural applications as wall surface, floor surface, or spatial element.

This particular example further underscores the ability for virtual space to act as a test bed for RL interactive/responsive works. I spent some time developing a project along similar lines looking at deployable floor elements that would rise to furniture and table heights in response to user behavior and movement.

http://www.evokestudio8.com/Dendrite.html

This project was never developed due to time and monetary constraints, but in virtual space we are able to study the visual and behavioral effects of such works. The falling price of processors, video processing technologies, and tracking devices such as RFID will enable us to integrate intelligent environments into standard architectures on a broad scale in the foreseeable future. In the meantime, we must find the most efficient, flexible, and robust means to test and develop the relationship between individual/group behaviors and environments. Currently virtual worlds such as Second Life are the perfect platform to experiment and develop such scenario-based thought processes.

Example: Reflexive/Reactive Build

2007-10-09T16:34:00.000-07:00

This build on Architecture Island (by avatar Theory Shaw) has utilized both scale and color shifting reactions to reflect avatar presence and proximity. This is more than simply a virtual structural reflex as he has managed to identify a functional purpose for this script as well.

The colored leaf panels become dynamic elements as they signal their function through both color and scalar differentiation. The leaf panels utilize two scripts which allow them to change in both scale and color based upon avatar proximity. As an avatar approaches a panel, the panel expands slightly and subtly shifts its color. These panels hang suspended in space more as screening devices than wall elements; another visual signal of their departure from traditional static architectures.

The dynamic nature of this structure becomes an active reflection of inhabited virtual space. These leaf panels also relate to the aesthetic concept of concealing and revealing. They are opaque to the degree that they offer 'privacy' to avatars in conversation but their reflexive/reactive nature also reveals both the presence and location of avatars within the structure.

While not necessarily falling into the category of interactivity, Theory has successfully integrated this reflexive/reactive element into an overall architectural device, that becomes functional as well as aesthetic.

Emergent Forms - self organizing structures

2007-07-23T20:30:00.000-07:00

Kas Oosterhuis introduces the idea of 'Swarm Architecture' in the publication GameSetandMatch II (a series of proposals, experiments, and publications on Computer Games, Advanced Geometries, and Digital Technologies). He describes Swarm Architecture as..

"..based on my postulation that every member of an architectural construct is, in essence, based on a computed behavior of discrete quanta. These quanta can represent anything from the smalles building component to the largest building blocks of a metropolis, anything from one single perosn to multinational institutions, as long as they behave in real time, and as long as their behavior can be computed real time."

Kas goes on to describe qualities of 'uncertainty' and 'unpredictability' as the swarm operates through a bottom-up process of independently operating units. With this in mind I began to think about how this concept might take advantage of the unique properties of the virtual.

Architects such as Tobi Schneidler and institutions such as the TU Delft have done some experimentation with swarm behaviors. Usually these projects consist of a physical space 'entangled' with a virtual space inhabited by virtual agents of some type. Entanglement is a word used by the IVM group (InfiniteVisionMedia) to describe virtual/physical spaces connected through custom software and MIDI components. As individuals move throughout the physical spaces, they are interacting with invisible 'agents' which are programmed with simple and predictable behaviors. Sensor devices locate the movements within the physical space and the virtual agents react in real time to these behaviors. This is accomplished through real-time communication between the two spaces (virtual and physical) Generally, the movements of the virtual agents are translated back into kinetic movement within the space (through objects or actuated devices) which allows the physical inhabitants and the virtual agents to communicate in a continuous feedback loop.

While this can result in extremely complex and unpredictable behavior patterns, the individual virtual agents actually run off simple programs. I will publish some examples of this in a future blog. These complex and unpredictable patterns are known as emergent behaviors.

Based upon this info, I started thinking about how we could take advantage of the unique environmental characteristics of SL to create a self-organizing emergent structure. This structure might consist of numerous units that emerge from the landscape or objects within the landscape. These objects may be released when the avatar approaches an object or a specific place within the environment.

(click on pictures to enlarge)

As these objects/agents/bots emerge, they approach and orbit the avatar(s). That is to say each object is scripted to approach and rotate around an avatar in an orbit of a certian diameter. Over time and within a certain distance of an avatar, these objects begin to grow an outer layer much like a seed begins to grow fruit.

The objects are scripted so when a collision occurs, the translucent outer layers 'stick' together and become frozen in space. This can occur with objects of different 'stages' of growth resulting in an asymmetrical evolving form.

As these objects continually collide and 'gel' they begin to form a crystalized architecture around the inhabitants of the environment. The objects might also contain a script which allows them to unstick after a given amount of time. This would allow the form to continually move and reshape itself as the inhabitants move and inhabit different areas within the landscape. The swarm may also adopt properties that attract an avater resulting in a more 'pro-active' architecture that does not simply respond and evolve to user behavior, but actually encourages group behaviors or movements.

So the result is we get a continually moving and evolving liquid/crystalized architectural body who's form is derived from avatar movement and inhabitation. If we wanted to include a social aspect, we might say that the objects only deploy or rotate when a certain number of avatars are within a given proximity of each other. The point is that when we work with bottom-up behaviors, we can create a whole new set of properties by just tweaking a small amount of code within an object.

The Game

2007-07-16T23:13:00.000-07:00

Ultimately, Games are devices for communication. When we engage in a game with another player we are, in effect, having a conversation. The language varies, but through this language we may express such traits as reciprocity, dominance, cooperation, competitiveness, coercion, commitment, focus, intellectual engagement, and occasionally physical exercise. The brilliant thing about games is that communication can take place at a very basic level only having learned the language of the game in a very short amount of time. A game may be based on a very simple set of rules such as hitting a ball with a stick until it gets into a specific hole. Like etiquette, game rules construct a defining framework through which people find the proper means to interact. While the rules for the game might be simple, people use this as groundwork for communication which ultimately develops into a highly complex interaction between the players. Thus, the game becomes a construct or framework which allows for communication to take place at a very basic level between people.

The game also serves to level the playing field for the players to communicate with each other. We all come from different backgrounds and experiences, and the game is a device which allows us to transcend our individual perspectives and work toward or against a common goal.
The winner of the game is the person who walks away with something more than they entered the game with. That may be knowledge, experience, or simply a new way to think about their interactions with people. The idea is to affect peoples everyday perceptions of their normal interactions that they may begin to both question those normal conventions, and begin to explore new avenues of communication.

Games become a very important component of interactive architectural works. Recent publications such as 4D Space, Responsive Environments, ia#1, and GameSetandMatch II have set out to define these unique interactions between people and interactive objects and virtual spaces. Games both inspire play and allow the user to engage architecture at a different level than simple occupation. The occupant becomes the participant as they engage and converse with the interactive game space.

Interface - The Future 1 Island

2007-07-12T10:11:00.001-07:00

One question that always seems to arise with any interactive work is the form of its interface. Anytime we develop an environment that can analyze and respond to human/avatar behavior, there is an interface that allows the system to 'sense' or read this behavior. In some cases, the interface is distributed throughout the interactive environment, and in some cases, it is centralized into a single device.

I found this unit at 'The Future 1' island in Second Life. it seems to track and locate avatars when they are located within the islands boundaries. The avatar is displayed as a dot in a scaled down model display of the island. While this device does not display any kinetic interactivity per se, its ability

Out of the 4 categories (passive, active, reactive, interactive) I'm classifying this project as an Active work because it simply monitors and displays the location of its inhabitants as opposed to actively engaging the user (a reactive project). Say, for example, the user was able to manipulate parts of the island by directly manipulating the scaled-down model in front of them. They might be able to locate avatars in the model and shift landscapes to create an experience for other users on the island. They might be able to touch the dot representation of the avatar which would automatically set up an IM channel and allow the two to communicate. While not necessarily built for this purpose, I'm presenting these examples to suggest how this system might adopt and interactive element to its use.

It is interesting to note that the tracking device is a representation within a representation. While this holds significance for its parasitic virtual relationship to its host (the island) I prefer to consider its signifigance as an interface. By creating a scaled down 'Active' model of the island, the avatar is able to engage the island in a different manner. More to come on this...

Form Follows Movement - Crooked House

2007-07-11T22:37:00.000-07:00

Seifert Surface 'The Crooked House'

This project is over a year old but I feel the need to mention it due to its truly innovative kinetic characteristics. The concept of this house was based upon a mathmatical formula reminiscint of a mobius strip.

The dominant feature of the Mobius Strip is it's singular surface. As the story goes, if you walk an ant along the surface, it would cover the entire surface in its journey. There is no inside or outside to the strip, it is considered one surface formed by cutting a loop and twisting it once before reattaching. This is possible only because the 2D surface has been pulled into a 3D space which allows the surface to deform into the 3rd dimension.

Back to the house.. The Crooked House is divided into a series of rooms; each with 6 entry points. As the visiting avatar activates the house and moves from one room to another, the house reconfigures itself real-time to the path of the avatar. In other words, as you open a door to another room, the house rotates another room to the other side of the door the avatar will pass through. The result is that as the avatar walks in a straight line in one direction, they actually keep walking through the same rooms of the house again and again. This invokes the idea of the Mobius Strip because the avatar can walk in one direction and cover the same ground over and over. Like the 3rd dimension enables the 2D ring to become the mobius strip, so the 4th dimension allows the 3D house to take on these conceptual kinetic properties.

As it currently functions, I think the house only responds to a single avatar's movement. Because the house must move one room at a time, there is no function that allows multiple avatars to be able to manipulate the environment. In some sense the project exhibits characteristics of Emergence, but this is hampered by the inability for more than one avatar to engage the system at one time. For example, if we were able to track the shifting form of the building over time, we might be able to find patterns that develop as multiple users engage with and constantly reform the environment. This may also be the case for a single avatar (as form follows movement) but this would be greatly heightened by the house's engagement with multiple avatars.

I would classify this project as a 'Reactive' design becuase of its lack of proactive engagement with the avatar. The house responds to movement, but does not necessarily encourage or discourage behavior of a certain kind. This does not at all detract from the project and I think the addition of this feature might overcomplicate it. The final 4D form is both a combination of the mathematical concept driving the building's kinetic response as well as the intentions of the user. The resultant shifting form of the building is a comination of the purity of mathmatical formula combined with the messy territory of human choice and free will. Truly an exeptional idea and execution of that idea.

There is a great write-up and videos of this project at the following link..

http://nwn.blogs.com/nwn/2006/06/_and_he_rezzed_.html

As you can see here, the orientation of the room also shifts with the placement of that room. The result produces some interesting new perspectives on traditional spatial relationships.

Emergence - Architectural Jazz

2007-07-07T19:16:00.001-07:00

Architectural Jazz

crtlshift07 competition entry by Jon Brouchoud (Keystone Bouchard)

One of the first projects I would like to point out is Jon's recent entry on Lebenswelt Island in Second Life. The floating piano keys emit notes as the avatar approaches each individual key. The resultant effect is an architecture which becomes a public instrument played through the movement and behaviors of its inhabitants.

This is an excellent demonstration of the idea of interactive emergence. Emergence within an interactive architectural context is loosely defined as unpredictable properties which emerge through the discreet interaction of individuals within a responsive environment. A characteristic of emergent properties is the inability to predict the outcome or patterns that emerge from those interactions. Individuals act as the autonoma operating under their own individual behaviors. Stephan Wolfram describes this in his work with digital cellular autonoma.

http://www.wolframscience.com/nksonline/page-947c-text?firstview=1

With regard to the virtual piano, the resultant musical piece created by the group cannot be predicted although general rule sets may be observed. For example, we might see that a smaller percentage of people are willing to fly to the top of the piece which might limit a set of notes that might be played. Emergent patterns may best be thought of as visualized or manifested probabilities of the behavior of the participants.

Jon has also engaged another important aspect of interactive works which comes in the form of The Game. A recent GameSetandMatch II conference (hosted by Kas Oosterhuis) recently accepted and published tens of interactive architectural projects that focused on architecture as a 'game' where occupants become participants in the architecture forming a behavioral dynamic between the two. This is generally enabled by digital technologies and through ubiquitous computing practices, but Second Life provides the benefit of being able to script directly into objects. By allowing the participants to freely explore the piano, they can begin to form their own rules for the game based upon their growing experience with the environment. For example, one avatar might concentrate on a favorite note as their personal contribution to the overall orchestration. As the game advances and the players' skill level increases, the game becomes more complex enabled by the growing experience of the participants.