Friday, October 02. 2015
The design research Inhabiting and Interfacing the Cloud(s) will be presented during the peer reviewed Renewable Futures Conference next week in Riga (Estonia), which will be the first edition of a serie that promiss to scout for radical approaches.
Christophe Guignard will introduce the participants to the stakes and the progresses of our ongoing experimental work. There will be profiled and inspiring speakers such as Lev Manovitch, John Thackara, Andreas Brockmann, etc.
Christophe Guignard will make a short “follow up” about the conference on this blog once he’ll be back from Riga.
Monday, September 28. 2015
Note: a book as a follow up of the exhibition for which fabric | ch designed the scenography last May at the Haus der elektronische Künste in Basel (project White Oblique, downloadable pdf on our website). I was implicated in a double way in the exhibition due to the fact that the content of the design research I'm jointly leading with Nicolas Nova for ECAL and HEAD, Inhabiting and Interfacing the Cloud(s), was also exhibited. I have the pleasure to publish a text in the book about the state and objectives of the ongoing research as well.
Note: we’re pleased to see that the publication related to the exhibition and symposium Poetics & Politics of Data, curated by Sabine Himmelsbach at the H3K in Basel, has been released later this summer. The publication, with the same title as the exhibition, was first distributed in the context of the conference Data Traces. Big Data in the Context of Culture and Society that also took place at H3K on the 3rd andf 4th of July.
The book contains texts by Nicolas Nova (Me, My cloud and I) and myself (Inhabiting and Interfacing the Cloud(s). An ongoing Design Research), but also and mainly contributions by speakers of the conference (which include the american theorician Lev Manovitch, curator Sabine Himmelsbach and Prof. researcher from HGK Basel Claudia Mareis) and exhibiting artists (Moniker, Aram Bartholl, Rafael Lozano-Hemmer, Jennifer Lyn Morone, etc.)
The publication serves both as the catalogue of the exhibition and the conference proceedings. Due to its close relation to our subject of research (the book speaks about data, we’re interested in the infrastructure –both physical and digital– that host them), we’re integrating the book to our list of relevant book. The article A short history of Clouds, by Orit Halpern is obviously of direct signifiance to our work.
It can be ordered directly from H3K website:
Wednesday, August 26. 2015
Hippie Modernism exhibition at the Walker Art Center to celebrate design's trippy side | #radical #experiments #counterculture
Note: In parallel with the exhibition about the work of E.A.T at the Museum der Moderne in Salzburg, another exhibition: Hippie Modernism: The Struggle for Utopia that will certainly be worth a detour at the Walker Art Center in Minneapolis later this autumn.
The architecture and design of the counterculture era has been overlooked, according to the curator of an upcoming exhibition dedicated to "Hippie Modernism".
Yellow submarine by Corita Kent, 1967. Photograph by Joshua White
The radical output of the 1960s and 1970s has had a profound influence on contemporary life but has been "largely ignored in official histories of art, architecture and design," said Andrew Blauvelt, curator of the exhibition that opens at the Walker Art Center in Minneapolis this autumn.
"It's difficult to identify another period of history that has exerted more influence on contemporary culture and politics," he said.
Superchair by Ken Isaacs, 1967
Women in Design: The Next Decade by Sheila Levrant de Bretteville, 1975. Courtesy of Sheila Levrant de Bretteville
While not representative of a formal movement, the works in Hippie Modernism challenged the establishment and high Modernism, which had become fully assimilated as a corporate style, both in Europe and North America by the 1960s.
The exhibition, entitled Hippie Modernism: The Struggle for Utopia will centre on three themes taken from taken from American psychologist and psychedelic drug advocate Timothy Leary's era-defining mantra: Turn on, tune in, drop out.
Organised with the participation of the Berkeley Art Museum/Pacific Film Archive, it will cover a diverse range of cultural objects including films, music posters, furniture, installations, conceptual architectural projects and environments.
Hendrixwar/Cosmococa Programa-in-Progress, 1973. Courtesy of the Walker Art Center collection, Minneapolis
Jimi Hendrix, Ira Cohen, 1968. Photograph from the Mylar Chamber, courtesy of the Ira Cohen Archive
The Turn On section of the show will focus on altered perception and expanded individual awareness. It will include conceptual works by British avant-garde architectural group Archigram, American architecture collective Ant Farm, and a predecessor to the music video by American artist Bruce Conner – known for pioneering works in assemblage and video art.
Tune In will look at media as a device for raising collective consciousness and social awareness around issues of the time, many of which resonate today, like the powerful graphics of the US-based black nationalist party Black Panther Movement.
Untitled [the Cockettes] by Clay Geerdes, 1972. Courtesy of the estate of Clay Geerdes
Drop Out includes alternative structures that allowed or proposed ways for individuals and groups to challenge norms or remove themselves from conventional society, with works like the Drop City collective's recreation dome – a hippie version of a Buckminster Fuller dome – and Newton and Helen Mayer Harrison's Portable Orchard, a commentary on the loss of agricultural lands to the spread of suburban sprawl.
Environment Transformer/Flyhead Helmet by Haus-Rucker-Co, 1968. Photograph courtesy of Haus-Rucker-Co and Gerald Zugmann
The issues raised by the projects in Hippie Modernism – racial justice, women's and LGBT rights, environmentalism, and localism among many other – continue to shape culture and politics today.
Blauvelt sees the period's ongoing impact in current practices of public-interest design and social-impact design, where the authorship of the building or object is less important than the need that it serves.
Payne's Gray by Judith Williams, circa 1966. Photograph courtesy of the Morris and Helen Belkin Art Gallery, The University of British Columbia
Superonda Sofa by Archizoom Associati, 1966. Photograph courtesy of Dario Bartolini, Archizoom Associati
Many of the exhibited artists, designers, and architects created immersive environments that challenged notions of domesticity, inside/outside, and traditional limitations on the body, like the Italian avant-garde design group Superstudio's Superonda: conceptual furniture which together creates an architectural landscape that suggests new ways of living and socialising.
Hello Dali by Isaac Abrams, 1965
Blauvelt sees the period's utopian project ending with the OPEC oil crisis of the mid 1970s, which helped initiate the more conservative consumer culture of the late 1970s and 1980s.
Organised in collaboration with the Berkeley Art Museum and the Pacific Film Archive, Hippie Modernism will run from 24 October 2015 to 28 February 2016 at the Walker Art Center.
Thursday, August 06. 2015
Note: we remain in history for a little more time... It's now Ken Isaacs' turn to be praised for his work around micro inhabitable spaces and living structures! I post this with the iodea in mind that his work could serve as reference for a future workshop next November at ECAL, probably with rAndom International as guests and when we'll continue to work around "cloud computing" and its infrastructure (datacenter), looking for counter-proposals or rather "counter-designs".
Via Object Guerilla
This week at work I picked up an old book, How to Build Your Own Living Structures, by Ken Isaacs, to read at lunch. I didn't finish it, so I brought it home. A little internet-ing revealed this book was out-of-print, rare, and selling for a good bit at various outlets. However, I think the copyright has lapsed, because it is available online as a PDF.
Isaacs was born in 1927 in Peoria, Illinois, and served in the military as a young man. After Korea, he studied architecture, and then began to craft a career as a designer, architect, and educator. In the late fifties, he became Head of Design at the Cranbrook Academy of Arts, birthplace of much notable mid-century modernism, including Eliel and Eero Saarinen Charles and Ray Eames, and Harry Weese. He also spent some time teaching at the Illinois Institute of Technology, founded by Mies van der Rohe as a sort of Bauhaus West.
Cover, via Pop-Up City.
Matrix-based "super chair." Nowadays, most of that stuff can be replaced with an iPad... The next iterative leap in the Matrix was to do away with the framing altogether. Isaacs developed rigid stress-skin structures, using plywood and "L" brackets to make cubes. The cubes were built in modules: 16", 24", and eventually, 48". Smaller units were used for storage; mid-size ones could serve as desks and chairs; and the large units became the first Micro-Houses.
The Micro-House, circa late 60s, via Pop-Up City. Isaacs had the same idea, but he designed a modular, flat-pack, lightweight, re-configurable system. Combining the original beam-based Matrix and the stud-less panel structures, he built 8-foot modules out of 1" steel pipe and inserted plywood volumes into the matrix. Taking the classic modernist approach -- divorcing structure and skin -- he came up with a cheap, versatile house. The First Microhouse, built with a Graham Foundation grant in Groveland, Illinois, (near Carbondale, home of fellow light structure pioneer Buckminster Fuller), looks dated in the photos, but also startlingly fresh. I love the raw, stark geometry of it, everything stripped down to the margins.
Another variation on the Microhouse -- it is infinitely reconfigurable. His 8' Microhouse is very of its era, but has nonetheless managed to inspire at least one modern imitator, in Glasgow. It creates an 8' volume based on a matrix of eight 4' volumes bolted together. The canted sides, tetrahedral feet, and hatch doors give it a real Apollo feel, minus the silvery skin.
The plywood stress-skin Microhouse. Throughout, wrapped in some seventies slang and general architectural hooliganism, Isaacs stresses pre-fabrication, modularity, simplicity, and off-the-shelf parts. None of the projects are particularly difficult to make with simple tools(a little time-consuming, perhaps). The book itself is a bit shambling, combining personal narrative, philosophical inquiry, and DIY instructions. In many ways, it seems like a blog, written with no caps and little editing. Some of the book sale listings I found online show the original as spiral-bound, in keeping with its guerilla nature.
They were eventually able to replace the department-store albatross with this number.
Friday, January 16. 2015
Note: we didn't found enough time last December to document an interview of fabric | ch that was publish in the French design magazine Étapes. So let's do it in early 2015... The magazine itself has been recently revamped under the direction of a new editorial board. It is now a quite exciting magazine, interested in transverval approaches to design questions, including interaction design, architecture, etc. even so its main and historical focus remains graphic design.
The interview that took place between Christophe Guignard (fabric | ch) and Isabelle Moisy (editor in chief, Étapes) concerns the specific approach to architectural design that fabric | ch has adopted through times. This approach has taken into account since our foundation (1997) the networked and digital natures of contemporary space and territories (landscapes) combined with the physical one. This last point was particularly evident in the fact that since the start, our group was composed of architects and computer scientists. Our work has of course evolved since 1997, but this "coded/data dimension" of space has obviously gained importance in our work and in general since then, it has also proved itslelf to become a major element in the conceptualization of spaces in our still early century.
By fabric | ch
From the "Édito":
"(...). En l'absence d'horizon précis, les supports de communication se superposent, et les designers débordent sans complexe des pratiques restrictives auxquelles ils ont été formés. Les qualificatifs se multiplient. Designer pluriel, transdiciplinaire. (...)". Isabelle Moisy
Friday, November 21. 2014
Note: a message from Matthew on Tuesday about his ongoing I&IC workshop. More resources to come there by the end of the week, as students are looking into many different directions!
Note: the workshop continues and should finish today. We'll document and publish results next week. As the workshop is all about small size and situated computing, Lucien Langton (assistant on the project) made a short tutorial about the way to set up your Pi. I'll also publish the Github repository that Matthew Plummer-Fernandez has set up.
The Bots are running! The second workshop of I&IC’s research study started yesterday with Matthew’s presentation to the students. A video of the presentation might be included in the post later on, but for now here’s the [pdf]: Botcaves
First prototypes setup by the students include bots playing Minecraft, bots cracking wifi’s, bots triggered by onboard IR Cameras. So far, some groups worked directly with Python scripts deployed via SSH into the Pi’s, others established a client-server connection between their Mac and their Pi by installing Processing on their Raspberry and finally some decided to start by hacking hardware to connect to their bots later.
The research process will be continuously documented during the week.
Connecting to Pi via Proce55ing
Wednesday, November 19. 2014
| rblg note: following my previous post about the design research project we are leading with Nicolas Nova, a workshop is going on this week at the ECAL with our guest contributor Matthew Plummer-Frenandez (aka #Algopop). I'll reblog here during the coming days what's happening on our parallel blog (iiclouds.org)
Note: I publish here the brief that Matthew Plummer-Fernandez (a.k.a. Algopop) sent me before the workshop he’ll lead next week (17-21.11) with Media & Interaction Design students from 2nd and 3rd year Ba at the ECAL.
This workshop will take place in the frame of the I&IC research project, for which we had the occasion to exchange together prior to the workshop. It will investigate the idea of very low power computing, situated processing, data sensing/storage and automatized data treatment (“bots”) that could be highly distributed into everyday life objects or situations. While doing so, the project will undoubtedly address the idea of “networked objects”, which due to the low capacities of their computing parts will become major consumers of cloud based services (computing power, storage). Yet, following the hypothesis of the research, what kind of non-standard networked objects/situations based on what king of decentralized, personal cloud architecture?
The subject of this workshop explains some recent posts that could serve as resources or tools for this workshop, as the students will work around personal “bots” that will gather, process, host and expose data.
Stay tuned for more!
Botcaves (by Matthew Plummer-Fernandez)
Algorithmic and autonomous software agents known as bots are increasingly participating in everyday life. Bots can potentially gather data from both physical and digital activity, store and share data in the ‘cloud’, and develop ways to communicate and learn from their databases. In essence bots can animate data, making it useful, interactive, visual or legible. Bots although software-based require hardware from which to run from, and it is this underexplored crossover between the physical and digital presence of bots that this workshop investigates.
You will be asked to design a physical ‘housing’ or ‘interface’, either bespoke or hacked from existing objects, for your personal bots to run from. These botcaves would be present in the home, workspace or other, permitting novel interactions between the digital and physical environments that these bots inhabit.
Raspberry Pis, template bot code, APIs, cloud storage, existing services (Twitter, IFTTT, etc) and physical elements (sensors, lights, cameras, etc) may be used in the workshop.
British/ Colombian Artist and Designer Matthew Plummer-Fernandez makes work that critically and playfully examines sociocultural entanglements with technologies. His current interests span algorithms, bots, automation, copyright, 3D files and file-sharing. He was awarded a Prix Ars Electronica Award of Distinction for the project Disarming Corruptor; an app for disguising 3D Print files as glitched artefacts. He is also known for his computational approach to aesthetics translated into physical sculpture.
For research purposes he runs Algopop, a popular tumblr that documents the emergence of algorithms in everyday life as well as the artists that respond to this context in their work. This has become the starting point to a practice-based PhD funded by the AHRC at Goldsmiths, University of London, where he is also a research associate at the Interaction Research Studio and a visiting tutor. He holds a BEng in Computer Aided Mechanical Engineering from Kings College London and an MA in Design Products from the Royal College of Art.
Wednesday, October 15. 2014
Note: after the zoning for drones within cities, will we develop them with specific "city marks" dedicated for driverless cars? It reminds me a bit of this design research project done a few years ago, The New Robot Domesticity, which purpose was to design objects so that robots could also recognized/use them. Further away, it also remind me of a workshop we organized at the ECAL back in 2005 with researcher Frederic Kaplan (now head of Digital Humanities at EPFL) which purpose was to design artefacts for the Sony Aibo (a doc. video here). This later prtoject was realized in the frame of the research project Variable Environment.
Tricky intersections and rogue mechanical pedestrians will provide a testing area for automated and connected cars.
By Will Knight
The site of Ann Arbor’s driverless town, currently under construction.
A mocked-up set of busy streets in Ann Arbor, Michigan, will provide the sternest test yet for self-driving cars. Complex intersections, confusing lane markings, and busy construction crews will be used to gauge the aptitude of the latest automotive sensors and driving algorithms; mechanical pedestrians will even leap into the road from between parked cars so researchers can see if they trip up onboard safety systems.
The urban setting will be used to create situations that automated driving systems have struggled with, such as subtle driver-pedestrian interactions, unusual road surfaces, tunnels, and tree canopies, which can confuse sensors and obscure GPS signals.
“If you go out on the public streets you come up against rare events that are very challenging for sensors,” says Peter Sweatman, director of the University of Michigan’s Mobility Transformation Center, which is overseeing the project. “Having identified challenging scenarios, we need to re-create them in a highly repeatable way. We don’t want to be just driving around the public roads.”
Google and others have been driving automated cars around public roads for several years, albeit with a human ready to take the wheel if necessary. Most automated vehicles use accurate digital maps and satellite positioning, together with a suite of different sensors, to navigate safely.
Highway driving, which is less complex than city driving, has proved easy enough for self-driving cars, but busy downtown streets—where cars and pedestrians jockey for space and behave in confusing and surprising ways—are more problematic.
“I think it’s a great idea,” says John Leonard, a professor at MIT who led the development of a self-driving vehicle for a challenge run by DARPA in 2007. “It is important for us to try to collect statistically meaningful data about the performance of self-driving cars. Repeated operations—even in a small-scale environment—can yield valuable data sets for testing and evaluating new algorithms.”
The simulation is being built on the edge of the University of Michigan’s campus with funding from the Michigan Department of Transportation and 13 companies involved with developing automated driving technology. It is scheduled to open next spring. It will consist of four miles of roads with 13 different intersections.
Even Google, which has an ambitious vision of vehicle automation, acknowledges that urban driving is a significant challenge. Speaking at an event in California this July, Chris Urmson, who leads the company’s self-driving car project, said several common urban situations remain thorny (see “Urban Jungle a Tough Challenge for Google’s Autonomous Car”). Speaking with MIT Technology Review last month, Urmson gave further details about as-yet-unsolved scenarios (see “Hidden Obstacles for Google’s Self-Driving Cars”).
Such challenges notwithstanding, the first automated cars will go into production shortly. General Motors announced last month that a 2017 Cadillac will be the first car to offer entirely automated driving on highways. It’s not yet clear how the system will work—for example, how it will ensure that the driver isn’t too distracted to take the wheel in an emergency, or under what road conditions it might refuse to take the wheel—but in some situations, the car’s Super Cruise system will take care of steering, braking, and accelerating. Another technology to be tested in the simulated town is vehicle-to-vehicle communications. The University of Michigan recently concluded a government-funded study in Ann Arbor involving thousands of vehicles equipped with transmitters that broadcast position, direction of travel, speed, and other information to other vehicles and to city infrastructure. The trial showed that vehicle-to-vehicle and vehicle-to-infrastructure communications could prevent many common accidents by providing advanced warning of a possible collision. “One of the interesting things, from our point of view, is what extra value you get by combining” automation and car-to-car communications, Sweatman says. “What happens when you put the two together—how much faster can you deploy it?”
Such challenges notwithstanding, the first automated cars will go into production shortly. General Motors announced last month that a 2017 Cadillac will be the first car to offer entirely automated driving on highways. It’s not yet clear how the system will work—for example, how it will ensure that the driver isn’t too distracted to take the wheel in an emergency, or under what road conditions it might refuse to take the wheel—but in some situations, the car’s Super Cruise system will take care of steering, braking, and accelerating.
Another technology to be tested in the simulated town is vehicle-to-vehicle communications. The University of Michigan recently concluded a government-funded study in Ann Arbor involving thousands of vehicles equipped with transmitters that broadcast position, direction of travel, speed, and other information to other vehicles and to city infrastructure. The trial showed that vehicle-to-vehicle and vehicle-to-infrastructure communications could prevent many common accidents by providing advanced warning of a possible collision.
“One of the interesting things, from our point of view, is what extra value you get by combining” automation and car-to-car communications, Sweatman says. “What happens when you put the two together—how much faster can you deploy it?”
Tuesday, September 30. 2014
Everything I Know: 42 Hours of Buckminster Fuller’s Visionary Lectures Free Online (1975) | #documentation
Via Open Culture
Think of the name Buckminster Fuller, and you may think of a few oddities of mid-twentieth-century design for living: the Dymaxion House, the Dymaxion Car, the geodesic dome. But these artifacts represent only a small fragment of Fuller’s life and work as a self-styled “comprehensive anticipatory design scientist.” In his decades-long project of developing and furthering his worldview — an elaborate humanitarian framework involving resource conservation, applied geometry, and neologisms like “tensegrity,” “ephemeralization,” and “omni-interaccommodative” — the man wrote over 30 books, registered 28 United States patents, and kept a diary documenting his every fifteen minutes. These achievements and others have made Fuller the subject of at least four documentaries and numerous books, articles, and papers, but now you can hear all about his thoughts, acts, experiences, and times straight from the source in the 42-hour lecture series Everything I Know, available to download at the Internet Archive. Though you’d perhaps expect it of someone whose journals stretch to 270 feet of solid paper, he could really talk.
In January 1975, Fuller sat down to deliver the twelve lectures that make up Everything I Know, all captured on video and enhanced with the most exciting bluescreen technology of the day. Props and background graphics illustrate the many concepts he visits and revisits, which include, according to the Buckminster Fuller Institute, “all of Fuller’s major inventions and discoveries,” “his own personal history in the context of the history of science and industrialization,” and no narrower a range of subjects than “architecture, design, philosophy, education, mathematics, geometry, cartography, economics, history, structure, industry, housing and engineering.” In his time as a passenger on what he called Spaceship Earth, Fuller realized that human progress need not separate the “natural” from the “unnatural”: “When people say something is natural,” he explains in the first lecture (embedded above as a YouTube video above), “‘natural’ is the way they found it when they checked into the picture.” In these 42 hours, you’ll learn all about how he arrived at this observation — and all the interesting work that resulted from it.
fabric | rblg
This blog is the survey website of fabric | ch - studio for architecture, interaction and research.
We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings.
Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations.
This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
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