Toward responsive architectures

Tags: Buckminster Fuller, interactive systems, architecture, environment, Philip Beesley, Riverside Architectural Press, movement, development, technology, the environment, assembly kit, Reyner Banham, building design, supporting, design methods, Princeton Architectural Press, physical bodies, Beesley, Jim Ruxton Beesley, natural selection, dynamic systems, Jim Ruxton, David Rokeby, industrial processes, Sachiko Hirosue, traditional definition, Biological systems, molecular self-assembly, stem cell research, Philip, Print Beesley, Responsive Architectures, artificial systems, electronic control systems, Toronto, Mark Coniglio, Cambridge University Press, networked configurations, Architectural Press, existing building power, Ernst Mayer, Princeton University Press, physical touch, increased movement, Wentworth Thompson D., Harvard University Press, responsive architecture, geometric relationships, London, human body, Office for Metropolitan Architecture, research environment, Interactive installations, Building Information Modeling, structural systems, Computer-aided design
Content: Toward Responsive Architectures By Philip Beesley, Sachiko Hirosue and Jim Ruxton Beesley, Philip, Sachiko Hirosue, and Jim Ruxton. "Toward Responsive Architectures." Responsive Architectures: Subtle Technologies. Eds. Philip Beesley, Sachiko Hirosue, Jim Ruxton, M. Trankle and C. Turner. Toronto: Riverside Architectural Press, 2006. Print. 3-11.
3 Toward Responsive Architectures Philip Beesley, Sachiko Hirosue, and Jim Ruxton This book is about responsive architectures. The project is an exploration of the interconnectedness of what surrounds us. The focus of this collection is on a new generation of interactive systems within science, art and architecture that are based on constantly evolving relationships. Using a wide definition of architecture that includes both built and natural realms, we examine dynamic systems and environments of scales from molecules to cities. We want to pose the question `What does responsiveness mean? ' `Responsive' is used throughout this book to speak of how natural and artificial systems can interact and adapt. Speaking of evolution, we might think of how environments act via natural selection on diverse populations. While that traditional definition is included here, we also want to include conscious action. Responsiveness implies sensitivity. But stability and isolation - as we see it the opposite of sensitivity - are often seen as necessary for analysis of complex systems.1 In traditional scientific method, sensitivity and exposure to the surroundings can be thought of as disruptive `input' that interferes with traditional working methods. The impulse to create closed systems is not exclusive to science: we could say it runs wherever we hear opposing terms used to describe complex situations: subject/object, self/other, form/function, organic/inorganic, observer/observed, static/dynamic. In the papers of this book we observe art, technology and design dissolving many of these artificial distinctions. A host of new working methods allow these boundaries to be opened. We want to find strategies for thriving in complex interconnected ecosystems. Nature continues to inspire us: for many of the papers in this collection nature is the fundamental teacher. biological systems show molecular self-assembly and self-sustainability and serve as a model of the miniature mechanical parts that nanotechnology promises.2 Organisms at every scale contain networks consisting of multiple parts that operate far outside of thermodynamic equilibrium. Examples of these complex feedback mechanisms are found in modern electronic control systems. This `imbalance' creates a kind of charged state of readiness in which elegant mechanisms can resolve perturbations and damage. The projects within this book transform the environment, and many draw upon the highest technology and economies available in the world. Mid-way through the past century, the American engineer Buckminster Fuller said: " is just about to begin to participate consciously and somewhat more knowingly and responsibly in his own evolutionary transformation. I include evolution of the environment as a major part of the evolution of humanity." 3 But Fuller's confidence stands in contrast to a cultural anxiety that has accompanied waves of technological advances since the Industrial Revolution. We now routinely embed devices into our surroundings that are triggered by our
4 actions. `Intelligent' building systems now turn on lights, lock and unlock doors and adjust heat. Data containing Radio Frequency IDentification tags4 are increasingly standard devices attached to consumer items for point-of-purchase accounting and theft deterrence. Along with the proliferation of sensing devices comes the reality that we will be sensed everywhere we go. Who is watching?5 "[T]he environment touches man where it hurts..." said Reyner Banham, the visionary British designer.6 Banham was speaking metaphorically, but biology confirms it is true: the soft tissues and hormonal systems immediately affected by environmental stress are closely related to the neurophysiology of emotion and pain.7 What does it mean to create a responsive world today? We hesitate. Interconnectedness in Molecular Detail At the beginning of the 20th century, alongside the fateful discoveries that resulted in the nuclear weapons of World War Two, chemists and physicists became interested in biology.8 The new synthesis of disciplines led to the discovery of the double-helix structure of Deoxyribonucleic Acid: DNA. That insight9 enabled manipulation of biological structure and function at the scale of molecules.10 The maturing field of molecular biology has again involved repeated flirtations of biology with engineering and material sciences, encouraging a systems perspective of molecular knowledge of organisms.11 In parallel, building upon late-nineteenth century zoology, D'Arcy Wentworth Thompson's pioneering text On Growth and Form demonstrated that the physical forms of organisms can be understood as `diagrams of forces' that trace physical influences within the environment over long time periods.12 Adaptation to the environment through intimate linkages of natural forms and functions has now been described in mathematical detail.13 Another watershed moment was the Human Genome Project,14 the project of creating a complete genetic blueprint of the human organism. Large arrays of experiments were processed at the same time, requiring interdisciplinary teams with specialists from robotics, quantitative image analysis, chemistry, biology, and material science. This cooperative project required processing in massive numbers, including systematic observation of hundreds of changes in activity within a cell on a single chip.15 Looking at multiple processes encouraged moving beyond the concept that single genes are responsible for specific traits.16 The relationship between genotype and phenotype has been traditionally thought of as `cause and effect' where genes act as a blueprint for life. A genotype is a group of organisms that share a similar genetic makeup. A phenotype is the visible characteristics of an organism resulting from the interaction between its genetic makeup and the environment. However, it is increasingly clear that the relationship is by no means a one-way street. Organisms are influenced by their environments by selection acting on phenotypes, not on genes.17 Ideas of genetics in evolution have been expanded by new conceptions of interconnected networks that work in concert. A convergence of dynamic `network' thinking from information technology and computer science has contributed to this more subtle understanding. The boundary between environment and organism is indeed blurred.
5 In full circle from D'Arcy Wentworth Thompson's research, microscopic observations have shown that cell shapes are dictated by three dimensional skeletons that mirror large-scale architectural space-frames. Cellular shape has been directly linked to the processes of chemical signaling, gene regulation, and development, demonstrating that form and function are intimately linked at the molecular level.18 New approaches to three-dimensional cell culturing systems have been developed to serve stem cell research and Tissue Engineering. These culturing systems in turn reduce the need for animal experiments.19 New developments in materials compatible with physiology, and miniature fabrication methods similar to those used for manufacturing computer chips have contributed to this progress. The quantitative study of complex biological systems is a four-dimensional problem that includes the critical dimension of time. To effectively study the multiple dynamic processes that occur in cells and organisms, new approaches are needed. Analysis tools that support visualization and analysis in space and time are required and specimens need to be alive. Familiar medical technologies such as Magnetic Resonance Imaging and Positron Emission Tomography have been miniaturized to permit analysis of molecules and cells in living animals.20 Examples of new analysis equipment include high speed microscopy featuring shutter speed timed in nano-seconds,21 scanning confocal microscopy,22 single plane illumination microscopy,23 and `non-linear' two-photon microscopy that allows imaging deeper than a single cell layer.24 These techniques are supported by an expanding palette of `marker' molecules that can label a specimen without interfering with its original function. Marking materials include proteins derived from jellyfish, quantum dots,25 and super paramagnetic iron oxide.26 These materials permit the observation of single and grouped molecules.27 Optical tweezers28 and atomic force microscopy allow probing and manipulating at microscopic and atomic scales.29 This ability to probe means that mechanical properties can be measured alongside observations of spatial and chemical dynamics. The two-way street of evolutionary development often plays itself out through molecular exchanges that can be detected by using these tools. The kind of data collected in this research draws from a cluster of related disciplines, including computational algorithms and quantitative analyses from Applied Mathematics.30 Using terms of reference derived from structural engineering of buildings, Donald Ingber proposed that cells contain tensegrity structures. He suggested that they are organized as triangulated three-dimensional geodesic skeletons akin to Buckminster Fuller's revolutionary dome architecture from the past century.31 The new tools demonstrate that these skeletal elements indeed distribute and sustain their own weight. Molecular level biology is now poised to work with critical questions of shapes and structures at the scale of atoms, cells and organisms. By manipulating shape and structure of organisms, fundamental relationships with their communities and microenvironments are altered. It does not stop there. In the same manner, we are able to approach how organisms respond to `macroenvironmental' factors that span the scale of the galaxy, including geomagnetic and gravitational forces. Think about circadian `clocks' that guide our own responses to the cycle of night and day,32 or the navigational instincts that are transmitted through generations in Migrating Birds and insects.33 The confluence of disciplines has created an
6 extraordinarily effective research environment for analyzing and engineering Nature in multiple scales and dimensions. In turn, the natural world is starting to be revealed in molecular detail as a dynamic ecology of interconnectedness. Building Responsiveness A wave of new industrial processes is transforming building design and construction. The next generation of architecture will be able to sense, change and transform itself. The tools and materials discussed here make this kind of responsive architecture possible. Rigidity and resistance to the external environment are normal qualities in building. Traditional buildings use components of construction fabricated in a strict order. For example, a foundation and structural core in concrete might form the basis for steel columns supporting floor plates, and on these a grid of windows may be hung. The first stages of construction normally form an immovable and stable base that supports the entire assembly of building components. But new generations of buildings do not rely on completely stable foundations. Rather than relying on centralized support, they are designed to accommodate constantly shifting forces. These new systems tend to distribute their loads throughout interlinking structures that can withstand changes and deformations.34 New architectural projects discussed in this book explore structural systems based on tensile and `tensegrity' systems in which stretching and pulling forces can play throughout a structure. These hybrid structures are accompanied by design methods where complex relationships can be analyzed and refined, and by a fresh palette of building elements made possible by computer-controlled prototyping and manufacturing. New fibers used in architecture include composites of glass and carbon that are stronger, more agile, and more energetically efficient than traditional steel and glass assemblies. This kind of building involves new methods of construction using continuous chains of components and distributed structures.35 Building Information Modeling (BIM) is a process where three-dimensional forms, engineering systems and component specifications are integrated within massive arrays of information. Similar to the fundamental implications of the Human Genome project, BIMs now have formidable influence on architecture. Systematically coded and organized components can be custom-made off-site as a building assembly kit, assembled, and then managed through the life of the building. Computer-aided design is capturing the geometric relationships that form the foundation of architecture. Finite Element Analysis36 is a method that breaks down a continuous structure into many simple, linked elements. This allows formerly unthinkable forms to be assessed for mechanical, material, and energy requirements and to be realized as a built structure. Form-finding software supports analysis of freeform structures in order to find optimal thicknesses and arrangements of supporting elements. The practice of form-finding is often enhanced by the practice of biomimicry,37 design methods that follow principles from nature. Parametric modeling is a new approach that allows designers to control variables of the design through models that can coordinate and update themselves. These systems can automatically update the entire model or drawing
7 set based on changes as small as a joint or as large as the entire floor plan. New research concepts show how parametric systems can support exploring of complex multiple alternatives. software tools such as Bentley Systems' Generative Components offer flexible design of deeply nested relationships. They accomplish this by organizing `dependency' networks akin to the complex process diagrams used to express relationships in natural systems. Multiple variations can be created by manipulating digital code to create detailed individual sets of instructions for manufacturing. In much the same way that a mutating virus can generate biodiversity, individual variation can be achieved economically. The cost of making one thousand identical parts and one thousand individual parts with slight variations can be almost the same. The building design industry is in the very early stages of adoption of these tools. Computer assisted design-to-fabrication methods are transforming what we can make. Custom cutting, shaping, and depositing tools invite new forms. Versatile modular construction systems that allow integration of diverse parts are made possible by direct-manufactured systems. Digital fabrication allows a designer to work closely with industrial production in this process. Perhaps the biggest impacts of this technology are being felt in the massive economies of traditional steel, wood and concrete construction, where automation and prefabrication have transformed the industry. The wasteful practices of solid-timber framing are increasingly a thing of the past, replaced by stranded and laminated composites that can employ almost every part of timber harvested from managed forests. Direct-manufactured steel systems allow coded and organized components to be custom-made off-site as a building assembly kit. Similarly, custom formed concrete is now possible, no longer the exclusive province of lavish budgets. Numerically controlled fabrication machinery allows the production of prefabricated formwork for relatively economical freeform cast construction. This increasingly fine-tuned approach to building component design and the flexibility and movement achievable in new building systems changes the fundamental behaviour of buildings. Architecture can now be operated as an instrument. Composite building structures now incorporate sensors, displays, and a range of mechanical functions much like what outfits a car today. Many of our actions trigger automatic responses in our environment. Buildings contain a myriad of sensors that detect temperature, humidity, light, fire and many other parameters relevant to the operation of the facility and the safety and comfort of their occupants. Modern public toilets have a number of sensing devices for our convenience. There are motion detectors that turn on the lights as we enter, touch sensors that turn on the hand dryers and distance sensors that determine appropriate times to flush. The proliferation of sensing devices means that we can be sensed everywhere we go. Radio Frequency Identification technology will soon replace bar codes on consumer goods. Yet unlike bar codes, these radio broadcasts also follow and identify us at home. Who should have access to all this data? The questions quickly become personal: if I am detected doing something private, do I have the right not to let other people know? Who holds the controls? The consequences of this new wave of 'making' are not simple.
8 Personal Scale Responsive systems from the point of view of an artist conjure up a world rich in both possibilities and poignant issues. Sensing devices are becoming ubiquitous. Interactive systems using sensing devices are now available as part of an artist's palette. The manufacture of these sensing devices for high volume commercial use has provided access to artists who want to create interactive systems responding to movement, light, touch, heat, acceleration, and position. Because these devices are increasingly inexpensive, it becomes possible to use them in open-ended experiments. In turn, this can invite users to probe the public and commercial implications of these systems. The proliferation of consumer-level `gaming' computers has funded the engineering of highly efficient processors and large memory capacity, supporting manipulation of video and audio signals in real time. By interfacing sensors with computer programs artists are able to create complex real time responsive systems that include audio and video effects. An example of an interactive system for dance is Isadora developed by the American media artist Mark Coniglio, of Troika Ranch, a dance company that presents media-rich performances. This program offers a graphic interface that allows easy programming and manipulation of video and audio compositions. Using sensors or cameras, physical action can be used as a control variable. Coniglio designed this system to be used in a performance environment. The recent performance by Troika Ranch, 16 [R]evolutions revealed the versatility of the system, which effectively makes the interactive system a kind of `performer' acting in parallel with human dancers. Many of the interactive systems currently available are the result of an artist developing software for their own use and then making it available to others. Toronto artist David Rokeby's Very nervous system 40 software provides a way for artists to achieve inexpensive motion tracking using a video camera for mapping physical movement. The system is often used in dance performances where, for example, the upper body can be mapped to activate one set of sounds while the lower part of the body might activate other sounds. An entire space can be made responsive by programming sound and video to play in response to signals collected from different locations or zones.41 Eyes Web 42, a software package developed in the InfoMus Information Laboratory at the University of Genoa, offers the artist a sophisticated tool for analysis of physical gestures. Film production houses use motion tracking systems such as Polhemus 43 and Flock of Birds 44 that allow a point by point mapping from actor movements to a virtual character, yielding the realistic movements seen in popular cinema today. These devices work by measuring changes in an electromagnetic field as sensors move through space. Toronto based sound artist Darren Copeland is currently experimenting with the Polhemus system as an interface for a multi-channel sound diffusion system, showing the breadth of applications in which these sensor systems can be used. By moving sensors through space Copeland is able to control a multi-channel audio environment. This kind of software can provide direct relationships between stimuli and actions, and it can also `participate' by making decisions and taking random steps that add complexity to the composition. Functions can be added into the software to yield life-like effects that simulate natural movement. For example, by including
9 rules from natural physics in modeling software, movement that imitates the interactions of physical bodies moving within gravity can be simulated. This processing can add sensual qualities to animations within virtual performance space. These qualities can also be employed in feedback loops where automated `outputs' are fed back into the system as new `input', producing complex and subtle results. A particularly interesting development is in the exploration of rarely-tapped dimensions such as proprioception, the sense of the body's position with respect to itself in space. Wireless networking and low-cost home systems that adapt existing building power circuits allow development of interactive systems that can communicate over substantial distances. In the last decade artists have had access to small receiver-transmitter pairs that operate within an unlicensed Industrial Scientific and Medical wireless band. The recent introduction of Bluetooth 45 and Zigbee 46 technologies has given increased flexibility to wireless networking by allowing nodes to `talk' to each other in networked configurations, opening new possibility for remote operation. Networked compositions can involve subtle exchanges. The Toronto work "Heavy Breathing" allowed two participants in different locations to digitize their breath and send it back and forth by breathing into an apparatus while a fan recreated the transmitted breath. The recent Ku:iyashikei-net by Urico Fujii and Ann Poochareon allowed the transmission of tears over the internet. What makes these mediated experiences so attractive? Interactive installations offer expanded powers: a small movement can be programmed to produce a world of sounds. Interactive systems can allow a performer to take control of light, sound and video within their environment. No longer reliant on sound or lighting cues, performers can find spontaneity in their actions. However, the experience likely goes far beyond `power'. When someone enters an interactive installation, the immediate response to their presence can yield a powerful sense of personal connection. In turn, the natural world is starting to be revealed in molecular detail as a dynamic ecology of interconnectedness.47 Artists have reacted to the proliferation of virtual meeting places and the loss of physical touch by exploring new ways of transmitting intimacy over a network. In today's mediated society, `touch' has complex implications. What is it that drives us to create `responsive architectures'? Perhaps it is a sense of empowerment and involvement that drives interactive technologies forward. Is it because as a society we are becoming more cerebral that we crave increased movement around us? We rely less and less on our bodies. While children previously spent much of their time running and jumping, they now spend more time making icons and characters run and jump on a screen with a flick of their fingers. Creating more efficient structures and machines will further reduce the necessity of the human body. At the same time, this increasingly cerebral culture provides increased capacity for understanding how human bodies work. The study of nature reveals an interconnected set of mechanisms guided by structural and chemical `intelligence'. These systems are a potent model for how we can impart sensuality and kinesthetics in buildings and machines. The importance of these qualities seems to increase as our physical bodies fade.
10 Seen in this way, the receding function of an original human body forms a poignant equation of loss and gain. Lost: the corporeal sensation and connection between bodies. Gained: a redefined `body' whose expanded border embraces the surrounding environment. The pursuit might be toward the sublime. Perhaps the sense is akin to the end of a very long period of loneliness, or a sense of returning home after an extremely long journey. We hope for a profound participation in the world around us. References 1. Buckminster Fuller's definition of a system: `A system is a local phenomenon in the universe that is geometrically definable because it returns or closes upon itself in all directions. Systems may be symmetrical or asymmetrical. I found that systems are the first subdivision of universe for they subdivide the universe into all the universe that is inside and all the universe that is outside the system.' From Utopia or Oblivion: The prospects for humanity (Bantam, New York, 1969) p. 137. 2. For an overview of biological motors, see: Fletcher, DA and Theriot, JA. An Introduction to Cell Motility for the Physical Scientist. Physical Biology 2004 1(1-2):T1-10. Synthetic Biology is a field that is inspired by biology to make and improve parts: Nanotechnology also has its Buckminster Fuller mascot, the `Buckeyball', a 60 carbon molecule called fullerene and selected by Science magazine as the molecule of the year in 1991. 3. R. Buckminster Fuller, Utopia or Oblivion: The Prospects for Humanity (Bantam, New York, 1969) p. 145 4. RFIDs are small radio emitters that can be programmed to contain a large amount of data. 5. The Exchange 2006 project by Vancouver artist Nancy Nisbet works with RFID tags with critical perspective. 6. Reyner Banham, Architecture of the Well-Tempered Environment. Architectural Press, London(1969) p. 28 7. Banham, who encouraged the revolution of creating environmentally controlled and `responsive' buildings in the 1960s, sounds a reminder here of the ethical dread that Mary Shelley evoked in `Frankenstein' two centuries before. 8. Nobelist Erwin Schrцdinger's, "What is Life?" and "Mind and Matter", Cambridge University Press, Cambridge, UK. First published in 1944. The work inspired others to study biology including Max Delbrьck and Salvador Luria whose studies of phage genetics also led to Nobel Prizes. 9. Watson, J. D. and F. H. C. Crick (1953a), "A Structure for Deoxyribose Nucleic Acid", Nature 171: 737-738. 10. Ernst Mayer's "modern synthesis" of C Darwin's theory of evolution by natural selection, and G. Mendel's theory of heredity gave the framework for molecular evolution. Darwin, C. The Origin of Species by Means of Natural Selection, or, The Preservation of Favored Races in the Struggle for Life (1859). Mendel, G.Versuche ьber Pflanzen-Hybriden (1865). For a brief historical and philosophical discussion of molecular biology see For an extensive discussion see Mayer, E. The Growth of Biological Thought: Diversity, Evolution, and Inheritance. Harvard University Press, Cambridge, MA (1982). 11. Bioengineering, Biomedical engineering:, Systems Biology: 12. Wentworth Thompson D. On Growth and Form (1917). Thompson drew upon structural engineering and natural science to create the new discipline of biomathematics. 13. Vogel, S. Life in Moving Fluids. Princeton University Press; 2nd Rev edition (1996). Life's Devices: The Physical World of Animals and Plants. Princeton University Press, Princeton, NJ (1988). 14. Human Genome Project and its current organization: 15. A `chip' generally consists of multiple compartments segregating reactions or organisms on tailored microscope slides. 16. Folstein SE and Rosen-Sheidley, B. Genetics of Autism: Complex Aetiology for a heterogeneous disorder. Nature Reviews Genetics 2001. 2(12) 943-955. No single inheritance of genetic causes can be identified in autism, and environmental factors cannot be discounted. 17. The remarkable conservation of Developmental Pathways across species for millennia can be seen when ontogeny, the development of an individual from a fertilized ovum to maturity, is contrasted with phylogeny, the gradual development of an entire species. 18. Abbot, A. Biology's New Dimension. Nature 2003 424(6951), 870-872. Describes how cancer cells behave differently when grown in 2D (Petri dishes) or in 3D. 19. Griffith, LG and Swartz, MA. Capturing Complex 3D tissue Physiology In Vitro. Nature Reviews Molecular Cell Biology. 2006. 7(3)211-224.
11 20. Tyszka JM, Fraser SE, Jacobs RE. Magnetic Resonance Microscopy: recent advances and applications. Curr Opin Biotechnol. 2005 Feb; 16(1):93-9. Bremer C, Weissleder R. In Vivo Imaging of Gene Expression. Acad Radiol. 2001, Jan: 8(1):15-23. 21. Petty HR. Spatiotemporal Chemical Dynamics in Living Cells: From information trafficking to cell physiology. BioSystems 2006, 83(2-3) 217-224. 22. Megason SG, Fraser SE. Digitizing Life At The Level Of The Cell: High-performance laser-scanning microscopy and image analysis for in toto imaging of development. Mech. Dev. 2003 Nov; 120(11):1407-20. Graf R, Rietdorf J, Zimmermann T. Live Cell Spinning Disk Microscopy. Adv Biochem Eng Biotechnol. 2005, 95:57-75 23. Keller, PJ. Life Sciences Require The Third Dimension. Current Opinion in Cell Biology 2006, 18(1)117-124. 24. Helmchen, F and Denk, W. Deep Tissue Two-Photon Microscopy. Nature Methods 2005, 2(12) 932-940. 25. Biepmans, B.N.G. et al. The Fluorescent Toolbox for Assessing Protein Location and Function. Science 2006, 312(5771)217-224. 26. Modo M, Hoehn M, Bulte JW. Cellular MR Imaging. Mol. Imaging. 2005, Jul-Sep: 4(3):143-64. 27. Ragan T, Huang H, So P, Gratton E. 3D Particle Tracking on a Two-Photon Microscope. J Fluoresc. 2006, Epub ahead of print. 28. Grier DG. A Revolution in Optical Manipulation. Nature. 2003, Aug 14, 424 (6950):810-6. 29. Silva, LP. Imaging Proteins with Atomic Force Microscopy: An Overview. 2005, Current Protein and Peptide Science 6(4) 387-395. 30. This includes interpretation of high-throughput data, image analyses, modeling of existing networks to test mechanistic hypotheses, and statistical inference methods such as Bayesian logic. Some examples specific to systems biology are outlined in this review. Stephens SM, Rung J. Advances in Systems Biology: Measurement, modeling and representation. Curr. Opin. Drug Discov. Devel. 2006, Mar; 9(2): 240-50. 31. Ingber, DE. The Architecture of Life. 1998. Scientific American. 278: 48-57. Ingber, DE. Cellular Tensegrity: Defining new rules of biological design that govern the cytoskeleton. J Cell Sci. 1993, Mar. 104 (Pt 3): 613-27. 32. Bell-Pedersen, D. et al. Circadian Rhythms from Multiple Oscillators: Lessons from Diverse Organisms. Nature Reviews Genetics 2005, Jul 6(7): 544-56. 33. Reppert, SM. A Colorful Model of the Circadian Clock. Cell 2006, Jan 27, 124(2): 233-6 34. This discussion is expanded in Beesley and Hanna `Lighter: A Transformed Architecture' in Extreme Textiles: Designing for Performance, ed. Matilda McQuaid (Princeton Architectural Press, New York, 2005) p. 102-135. 35. For example, Norman Foster's Swiss Re Tower in London uses a structural skin made by placing members on a bias that dissolves the distinction between vertical and horizontal. The Seattle Public Library, designed by Rem Koolhaas's Office for Metropolitan Architecture, consists of stacked and sloped floor plates held in place by an angled `fishnet' structure. The face of Richard Rogers' Channel Four building in London is composed of plates of glass assembled entirely without mullions, instead supported by a network of cables. 36. Finite Element Analysis originates from works by R. Courant and A. Hrennikoff. The method impacted many engineering fields when J. Argyris and S. Kelsey, and M.J. Turner et al applied solutions that made the method compatible with use on computers. 37. A term coined by American critic Janine Benyus. See her Biomimicry (Morrow, New York, 1997). 38. For example MAX, Jitter and Isadora as well as the open source program Pure Data. 39. While MAX and Pure Data are capable of creating real time interactive systems their interfaces have not been optimized for live performance. These programs accept inputs such as sensor, audio and video signals. Objects are used to manipulate the incoming data in real time. The resulting `output' of audio, video or data signals in turn can stimulate actuators such as lights or motors. These programs also include synthesis of audio and video signals. 40. 41. It is not always necessary to use live performers as the stimulus in these responsive systems. For example, Willy Le Maitre and Eric Rosenzveig used VNS in an installation called `The Appearance Machine' in which the motion of refuse and found objects stimulated the system. 42. 43. 44. 45. 46. 47. Virtual communities include online dating sites,,, gaming communities. Digital communication might include chat, and IP telephony such as Skype.
References Citation for the above: Beesley, Philip, Sachiko Hirosue, and Jim Ruxton. "Toward Responsive Architectures." Responsive Architectures: Subtle Technologies. Eds. Philip Beesley, Sachiko Hirosue, Jim Ruxton, M. Trankle and C. Turner. Toronto: Riverside Architectural Press, 2006. Print. 3-11. For Further reading: Beesley, Philip, Matthew T.K. Chan, Rob Gorbet, and Dana Kuli. "Curiosity-Based learning algorithm for Distributed Interactive Sculptural Systems." 2015 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS) 28 Sept ­ 02 Oct 2015: 3435-3441. Print. Beesley, Philip, Matthew Chan, Rob Gorbet, Dana Kuli, and Mo Memarian. "Evolving Systems within Immersive Architectural Environments: New Research by the Living Architecture Systems Group" Next Generation Building 2.1 (2015): 31-56. Print. Beesley, Philip. "Dissipative Architectures: Workshop with CITA Studio, Royal Danish Academy of Fine Arts, School of Architecture." Royal Danish Academy of Fine Arts School of Architecture Nov (2015): 5-28. Print. Beesley, Philip, ed. Near-Living Architecture: Work in Progress from the Hylozoic Ground Collaboration 2011-2014. Toronto: Riverside Architectural Press, 2014. Print. Beesley, Philip, Omar Khan, and Michael Stacey, eds. ACADIA 2013 Adaptive Architecture: Proceedings of the 33rd Annual Conference of the Association for Computer Aided Design in Architecture. Toronto: Riverside Architectural Press, 2014. Print Beesley, Philip. "Input Output: Performative Materials." Performative Material in Architecture and Design. Eds. Rashida Ng and Sneha Patel. Bristol: Intellect, 2013. ix-xi. Beesley, Philip. "Prototyping for Extimacy: Emerging Design Methods." Prototyping Architecture: The Conference Papers. Ed. Michael Stacey. Toronto; London: Riverside Architectural Press and London Building Centre, 2013. Print. Beesley, Philip. Sibyl: Projects 2010-2012. Toronto: Riverside Architectural Press, 2012. Print. Beesley, Philip, Miriam Ho, Marta Kubacki, Eisa Lee, and Kristal O'Shea, eds. Future Public Environments: Work in Progress. Toronto: Riverside Architectural Press, 2012. Print. Beesley, Philip, ed. Living Cities: Vision and Method. Cambridge: Resource Positive Architecture and Waterloo Architecture, 2011. Print. Beesley, Philip. "Case study: Meshes as interactive surfaces." Digital Fabrication in Architecture. By Nick Dunn. London: Laurence King, 2010. 46-48.
Beesley, Philip. Hylozoic Ground: Liminal Responsive Architectures. Toronto: Riverside Architectural Press, 2010. Print. Beesley, Philip. "Geotextiles." Eds. Sarah Bonnemaison, and Ronit Eisenbach. Installations by architects: experiments in Building and Design. New York: Princeton Architectural Press, 2009. 90-97. Beesley, Philip, and Robert Gorbet. "Arduino at Work: the Hylozoic Soil control system." Mobile Nation: Creating Methodologies for Mobile Platforms. Eds. Philip Beesley, Martha Ladly and Ron Wakkary. Toronto: Riverside Architectural Press, 2008. 235-240. Print. Beesley, Philip. "Cybele, Implant Matrix." Digital architecture now: A global survey of emerging talent. Ed. Neil Spiller. London: Thames & Hudson, 2008. 36-49. Beesley, Philip, ed. Kinetic Architectures and Geotextiles Installations. Toronto: Riverside Architectural Press, 2007 & 2010. Print. Beesley, Philip, and Oliver Neumann, eds. FutureWood: Innovation in Building Design and Manufacturing. Toronto: Riverside Architectural Press, 2007. Print. Beesley, Philip, Shane Williamson, and Robert Woodbury. Parametric Modelling as a Design Representation in Architecture: A Process Account. Toronto: Canadian Design Engineering Network Conference, July 2006. Print. Beesley, Philip, and Thomas Seebohm. "Digital tectonic design." Promise and Reality: State of the art versus state of practice in computing for the design and PLANNING PROCESS, Proceedings of the 18th eCAADe Conference. Vol. 23. 2000. Jakovich, Joanne, and Dagmar Reinhardt. "Trivet Fields: The Materiality of Interaction in Architectural Space." Leonardo 42.4 (2009): 216-224. Schwartzman, Madeline. See yourself sensing: redefining human perception. London: Black Dog Publishing, 2011. 62.

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