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Interdisciplinary Design Environment
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Architecture

Architectronics: Towards a Responsive Environment

Profile image of Jerzy WojtowiczJerzy Wojtowicz

2011, International Journal of Architectural Computing

https://doi.org/10.1260/1478-0771.9.1.77
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Abstract

Contemporary architecture can be seen as a dynamic system that changes in response to its environment and even as a system that can modify itself. Interactive or responsive environments are not totally new to architecture; however, the possibilities in architecture have only begun to be examined.To look at the possibilities in this emerging field experimentation is required and the architect must develop an understanding of the language of sensors, actuators and control systems.This article examines an interdisciplinary design research studio with mechatronic engineers which allowed a wide range of experimentation. It shows that the scope of what can be done with responsive architecture is hard to imagine from where we now stand and that it is only through a broad range of experimentation that we can find the most beneficial uses of this powerful technology.The resulting projects-kinetic architecture on control systems-challenge our understanding of what our built environment could be.

Figures (14)
It was the mid-twentieth century when the integration of architecture with electronics was first convincingly attempted. Le Corbusier’s design of the Philips Pavilion for the Brussels Expo in 1958 provided not only a challenge to the Euclidian tradition owing to the innovative structure of its roof, but also explored new ways of integrating music with visual display and architecture. It resulted in Poéme Electronique, a multimedia experience that would currently be termed immersive; the concept combined electronically coordinated sound with a projection system and was timed for the movement of visitors. It involved the installation and coordination of 425 speakers placed throughout the structure. The multimedia design of the building gave the spectators a feeling of being in one performative and dynamic space [2].A giant model of the atom hung from the ceiling and the sound and imagery premiered to standing room only crowds. At the time keyboard-based synthesizers did not exist, but Edgard Varese’s composition remains today a seminal work in the history of electronic music. When the client approached Le Corbusier to design a Pavilion for the Expo fair, Le Corbusier said, “I will not make a pavilion for you but an Electronic Poem and a vessel containing the poem; light, color, image, rhythm and sound joined together in an organic synthesis.” Perhaps he did; but he was also forecasting the emergence of an age of electronic production, different fror architecture in the age of printing. It was the mid-twentieth century when the integration of architecture with not be beneficial applications of this technology in architecture. A mechatronic system affords the opportunity for a responsive form of design: one that interacts with environmental conditions, occupancy, input from other systems and even input from prior use.
It was the mid-twentieth century when the integration of architecture with electronics was first convincingly attempted. Le Corbusier’s design of the Philips Pavilion for the Brussels Expo in 1958 provided not only a challenge to the Euclidian tradition owing to the innovative structure of its roof, but also explored new ways of integrating music with visual display and architecture. It resulted in Poéme Electronique, a multimedia experience that would currently be termed immersive; the concept combined electronically coordinated sound with a projection system and was timed for the movement of visitors. It involved the installation and coordination of 425 speakers placed throughout the structure. The multimedia design of the building gave the spectators a feeling of being in one performative and dynamic space [2].A giant model of the atom hung from the ceiling and the sound and imagery premiered to standing room only crowds. At the time keyboard-based synthesizers did not exist, but Edgard Varese’s composition remains today a seminal work in the history of electronic music. When the client approached Le Corbusier to design a Pavilion for the Expo fair, Le Corbusier said, “I will not make a pavilion for you but an Electronic Poem and a vessel containing the poem; light, color, image, rhythm and sound joined together in an organic synthesis.” Perhaps he did; but he was also forecasting the emergence of an age of electronic production, different fror architecture in the age of printing. It was the mid-twentieth century when the integration of architecture with not be beneficial applications of this technology in architecture. A mechatronic system affords the opportunity for a responsive form of design: one that interacts with environmental conditions, occupancy, input from other systems and even input from prior use.
A decade later, the Archigram group illustrated the potential of technology in order to create a new reality, at that time expressed only through images and speculations. As an example (above) Michael Webb’s project offers a seductive vision of a future electronic machine-age dwelling, titled “Magic Carpet and Brunhilda’s Magic Ring of Fire” [3]. It speculated on ultimate interactivity and the possibility of a d ynamic fluid and air jet environment supporting a body in space. In 1967 Peter Cook defined architecture as an “intermittently intermeshed series o agenda present in the contemporary f happenings”. Today the sustainability architectural discourse brings a new dimension and importance to responsive, interactive and networked architecture and an understanding o architectronics is becoming a prerequisite to the environmentally sensitive design. After all, the contemporary space is able to reconfigure itself in response to human stimuli by addressing dynamically evolving individual, social, and environmental needs.
A decade later, the Archigram group illustrated the potential of technology in order to create a new reality, at that time expressed only through images and speculations. As an example (above) Michael Webb’s project offers a seductive vision of a future electronic machine-age dwelling, titled “Magic Carpet and Brunhilda’s Magic Ring of Fire” [3]. It speculated on ultimate interactivity and the possibility of a d ynamic fluid and air jet environment supporting a body in space. In 1967 Peter Cook defined architecture as an “intermittently intermeshed series o agenda present in the contemporary f happenings”. Today the sustainability architectural discourse brings a new dimension and importance to responsive, interactive and networked architecture and an understanding o architectronics is becoming a prerequisite to the environmentally sensitive design. After all, the contemporary space is able to reconfigure itself in response to human stimuli by addressing dynamically evolving individual, social, and environmental needs.
adapt to context variations. The design of GSW Headquarters in Berlin is particularly interesting. Two “intelligent” systems assist in providing comfort and energy efficiency in ventilation and shading/ daylighting. Both operate in response to changing climatic conditions with the capacity for user override. Today interactive, responsive architectural design is proliferating among young designers. The interactivity camp is also aggressively pursuing sustainable objectives through technological and innovative design. Perhaps the closing paragraph in WJ. Mitchell’s Foreward to the recent book Interactive Architecture might serve as a witty reminder of its limits: “So
adapt to context variations. The design of GSW Headquarters in Berlin is particularly interesting. Two “intelligent” systems assist in providing comfort and energy efficiency in ventilation and shading/ daylighting. Both operate in response to changing climatic conditions with the capacity for user override. Today interactive, responsive architectural design is proliferating among young designers. The interactivity camp is also aggressively pursuing sustainable objectives through technological and innovative design. Perhaps the closing paragraph in WJ. Mitchell’s Foreward to the recent book Interactive Architecture might serve as a witty reminder of its limits: “So
Architecture students were given several seminars on micro-controllers and sensors and actuators in order to quickly increase their understanding of the technologies they would be using. Also, they were introduced to the mechanical engineering software Solidworks and Inventor. In designing moving systems, architects must represent the movement and the change in spatial conditions. This requires software which can represent movement and beyond: in many cases the movement is relative to the next piece and is not unlimited. Mechanical engineering software represents the mechatronic movement well as constraints are built into the software. Constraints allow movement in certain degrees of freedom, for example allowing rotation in the z-axis but not the x-axis or allowing a rotation in one piece to a certain point and then a rotation of a connected piece relative to the first rotated piece. This is particularly difficult with the algorithmic software architects typically use. However mechanical engineering software is more difficult for architects to use and there is a learning curve associated with it. Ct ee application for an interdisciplinary studio, it worked well to facilitate the communication between disciplines and eased the cultural and schedule difficulties which inevitably occurred.
Architecture students were given several seminars on micro-controllers and sensors and actuators in order to quickly increase their understanding of the technologies they would be using. Also, they were introduced to the mechanical engineering software Solidworks and Inventor. In designing moving systems, architects must represent the movement and the change in spatial conditions. This requires software which can represent movement and beyond: in many cases the movement is relative to the next piece and is not unlimited. Mechanical engineering software represents the mechatronic movement well as constraints are built into the software. Constraints allow movement in certain degrees of freedom, for example allowing rotation in the z-axis but not the x-axis or allowing a rotation in one piece to a certain point and then a rotation of a connected piece relative to the first rotated piece. This is particularly difficult with the algorithmic software architects typically use. However mechanical engineering software is more difficult for architects to use and there is a learning curve associated with it. Ct ee application for an interdisciplinary studio, it worked well to facilitate the communication between disciplines and eased the cultural and schedule difficulties which inevitably occurred.
Although the project was situated as a skin retrofit, each building had a specific circumstance that was to be remedied and this related to building exposures and orientations as well as problems with the existing enclosure construction and even such specific issues as building massing and the academic program studied inside.As such, each skin had an individualized and highly customized solution — both customized to the activity within, be it offices, classrooms or labs, as well as customized to sun orientation and envelope problems. The use of mechatronics in many cases gave an advantage to the designers in their ability to be effective and respond to variations in environment and in variations in user requirements and desires, even varying across a very short distance. and respond with a solution which incorporated technical performance as well as design quality. Developing the responsive building envelope involvec design and modelling of a fragment of a building enclosure, sensored to perform. The situated building skin would formatively adjust itself to the dynamic criteria derived from human or environment interactions.
Although the project was situated as a skin retrofit, each building had a specific circumstance that was to be remedied and this related to building exposures and orientations as well as problems with the existing enclosure construction and even such specific issues as building massing and the academic program studied inside.As such, each skin had an individualized and highly customized solution — both customized to the activity within, be it offices, classrooms or labs, as well as customized to sun orientation and envelope problems. The use of mechatronics in many cases gave an advantage to the designers in their ability to be effective and respond to variations in environment and in variations in user requirements and desires, even varying across a very short distance. and respond with a solution which incorporated technical performance as well as design quality. Developing the responsive building envelope involvec design and modelling of a fragment of a building enclosure, sensored to perform. The situated building skin would formatively adjust itself to the dynamic criteria derived from human or environment interactions.
3.1. Parasol This project responds to a laboratory building which is oriented south-west and required that the blinds overheating and excessive su be fully closed most of the day due to nlight. The response to the challenge was to design an exterior sun-shading device that responds both to southern and western light as well as the d esire of the researchers for more or less light or views. The responsive facade that was designed had preset programming to track the sun movement and adjusted the shading appropriately for the sun angle; this necessitated c vertical one as the sun move hange from a horizontal shading device to a d around the project. This adjustment allows the sun to be shaded but the views to the exterior to be preserved as much as possible while the s hading is accomplished. The model produced for the project demonstrated the double umbrella mechanical system invented for the project and adjusted mechanically to differing light angles.
3.1. Parasol This project responds to a laboratory building which is oriented south-west and required that the blinds overheating and excessive su be fully closed most of the day due to nlight. The response to the challenge was to design an exterior sun-shading device that responds both to southern and western light as well as the d esire of the researchers for more or less light or views. The responsive facade that was designed had preset programming to track the sun movement and adjusted the shading appropriately for the sun angle; this necessitated c vertical one as the sun move hange from a horizontal shading device to a d around the project. This adjustment allows the sun to be shaded but the views to the exterior to be preserved as much as possible while the s hading is accomplished. The model produced for the project demonstrated the double umbrella mechanical system invented for the project and adjusted mechanically to differing light angles.
The building fagade considered in this example is primarily for south facing offices. Solar gain in the offices was problematic as well as the glare on the computer screens; however, the occupants enjoyed views to the exterior. The solution proposed is a facade made up of simple elements which swarm’ the facade or move around the facade and adjust according to the occupants desire for direct or indirect light and views. The design input to determine the facade’s form at any given time comes from a series of users as well as preprogrammed sun angles and this input is incorporated into an algorithm that defines the curve of the facade lines. Options for the users allow for views, full sun or indirect light only — these requirements for each office are then relayed to the microcontroller which adjusts the screen accordingly. The moving element is a hinged system on linear motors which can move laterally to ‘swarm’ around the building.
The building fagade considered in this example is primarily for south facing offices. Solar gain in the offices was problematic as well as the glare on the computer screens; however, the occupants enjoyed views to the exterior. The solution proposed is a facade made up of simple elements which swarm’ the facade or move around the facade and adjust according to the occupants desire for direct or indirect light and views. The design input to determine the facade’s form at any given time comes from a series of users as well as preprogrammed sun angles and this input is incorporated into an algorithm that defines the curve of the facade lines. Options for the users allow for views, full sun or indirect light only — these requirements for each office are then relayed to the microcontroller which adjusts the screen accordingly. The moving element is a hinged system on linear motors which can move laterally to ‘swarm’ around the building.
4.PS2 TRANSFORMERS This retrofit intended to give balconies to students as well as provide a sun shading device for the overly glazed facade. The balcony system had to mee strict requirements for safety, being a dorm building on the university campus.A full height fagade system was therefore selected. This fagade mechanically adjusts the relative placement of two thin films to produce a moiré effect — overlapping more when less light is required. As well, the whole system moved around the building tracking the sun such that the least perforated sections were placed in the areas where the sun was directly incident on the fagade. The model demonstrated the moiré shift when the light levels increased as well as the movement of the system around the building throughout the day. The second problem set (PS2) dealt broadly with the resolution of The second problem set (PS2) dealt broadly with the resolution of contested public space by an infrastructural intervention at any scale, be it building, bridge or seat. This problem set was broadly open to students’ initiative but it addressed some aspect of transformation, metamorphosis, disambiguation or shapeshifting. These themes are more common in mythology or science fiction than architecture but have a broad capability of engaging us and are therefore particularly suited to architecture. In a broad sense this process takes place when something undergoes a radical transformation. The electronically assisted metamorphosis of form, or transfiguration is no longer so mythical.
4.PS2 TRANSFORMERS This retrofit intended to give balconies to students as well as provide a sun shading device for the overly glazed facade. The balcony system had to mee strict requirements for safety, being a dorm building on the university campus.A full height fagade system was therefore selected. This fagade mechanically adjusts the relative placement of two thin films to produce a moiré effect — overlapping more when less light is required. As well, the whole system moved around the building tracking the sun such that the least perforated sections were placed in the areas where the sun was directly incident on the fagade. The model demonstrated the moiré shift when the light levels increased as well as the movement of the system around the building throughout the day. The second problem set (PS2) dealt broadly with the resolution of The second problem set (PS2) dealt broadly with the resolution of contested public space by an infrastructural intervention at any scale, be it building, bridge or seat. This problem set was broadly open to students’ initiative but it addressed some aspect of transformation, metamorphosis, disambiguation or shapeshifting. These themes are more common in mythology or science fiction than architecture but have a broad capability of engaging us and are therefore particularly suited to architecture. In a broad sense this process takes place when something undergoes a radical transformation. The electronically assisted metamorphosis of form, or transfiguration is no longer so mythical.
A system which responds to input in the form of a direct request by a user is conventionally employed at pedestrian crossings or at a traffic lights when a pedestrian wants to cross. In this case it was used in the design of a robotic landscape. The elements of the landscape move hydraulically responding to user touch.At other times of the day, when a busker performance is scheduled for example, the landscape can be reconfigured into a small amphitheatre or a layout suitable for a market. At other times the landscape could take on the form of a beach, giving much-needed access to the water.
A system which responds to input in the form of a direct request by a user is conventionally employed at pedestrian crossings or at a traffic lights when a pedestrian wants to cross. In this case it was used in the design of a robotic landscape. The elements of the landscape move hydraulically responding to user touch.At other times of the day, when a busker performance is scheduled for example, the landscape can be reconfigured into a small amphitheatre or a layout suitable for a market. At other times the landscape could take on the form of a beach, giving much-needed access to the water.
Each of the landscape elements had a touch sensor integrated into its top surface, through which the signal for the landscape block to move was received: up when touched briefly and down when held for two seconds. Multiple safety features were integrated into the design, and the system was typically limited in size to the scale of a step or seat, again to ensure safety. The motion was actuated by a hydraulic system which pumped seawater in or out of the units to modify their buoyancy, resulting in them raising or lowering. The hydraulic pumps could also be activated individually from a central control system. This project crosses many boundaries of disciplines and uses: it is a landscape and/or furniture, it is fully configurable by the occupants or it can be used as art which can be reconfigured based on almost anything. It can be functional on multiple levels and configured as
Each of the landscape elements had a touch sensor integrated into its top surface, through which the signal for the landscape block to move was received: up when touched briefly and down when held for two seconds. Multiple safety features were integrated into the design, and the system was typically limited in size to the scale of a step or seat, again to ensure safety. The motion was actuated by a hydraulic system which pumped seawater in or out of the units to modify their buoyancy, resulting in them raising or lowering. The hydraulic pumps could also be activated individually from a central control system. This project crosses many boundaries of disciplines and uses: it is a landscape and/or furniture, it is fully configurable by the occupants or it can be used as art which can be reconfigured based on almost anything. It can be functional on multiple levels and configured as
There is a LIDAR (light detector and ranging) sensing system which senses approaching boats and applies navigational rules in its algorithm to determine which vehicle has right of way. Then the controller determines if the vehicle should continue course, speed up or reverse direction. Further levels of safety to keep the ferry on course include a laser light guided pathway as well as GPS tracking of the units. These multiple layers of security are necessary for public safety, which is of major concern when dealing with public infrastructure projects, particularly when they are unmanned. This project deals with infrastructure by mediating contested public space as well as increasing the economy and efficiency of the current system through adding a responsive environment in which people contribute energy and have this registered in the movement of the unit.An infrastructure of this type shows the innovation possible with the application of an architectronic intervention — it produces a hybrid which responds to the dense condition of the site and essentially creates a new type of transportation infrastructure. This virtual bridge project produced an infrastructure — both a bridge and a ferry — which mediated between demands for personally powered transportation across a water course with a high navigation clearance requirement (sailboats need to cross under this bridge). This project addressed the contested urban space of a water crossing — where water traffic takes priority over a bridge — through a solution which resulted in the bridge deck being fragmented and floated back and forth on a control system. This could only be possible with sophisticated control system technologies — traditional mini ferries have been working on this route. The advantage this solution has is that it is driverless and uses the energy of the walking/cycling passengers to help power itself: as the passengers bike or walk on the gym-type treadmills, the power is transferred through an electrical/mechanical system to the power system of the unit. The control system is programmed to determine the speed at which the ferry moves based on the energy production of its occupants.
There is a LIDAR (light detector and ranging) sensing system which senses approaching boats and applies navigational rules in its algorithm to determine which vehicle has right of way. Then the controller determines if the vehicle should continue course, speed up or reverse direction. Further levels of safety to keep the ferry on course include a laser light guided pathway as well as GPS tracking of the units. These multiple layers of security are necessary for public safety, which is of major concern when dealing with public infrastructure projects, particularly when they are unmanned. This project deals with infrastructure by mediating contested public space as well as increasing the economy and efficiency of the current system through adding a responsive environment in which people contribute energy and have this registered in the movement of the unit.An infrastructure of this type shows the innovation possible with the application of an architectronic intervention — it produces a hybrid which responds to the dense condition of the site and essentially creates a new type of transportation infrastructure. This virtual bridge project produced an infrastructure — both a bridge and a ferry — which mediated between demands for personally powered transportation across a water course with a high navigation clearance requirement (sailboats need to cross under this bridge). This project addressed the contested urban space of a water crossing — where water traffic takes priority over a bridge — through a solution which resulted in the bridge deck being fragmented and floated back and forth on a control system. This could only be possible with sophisticated control system technologies — traditional mini ferries have been working on this route. The advantage this solution has is that it is driverless and uses the energy of the walking/cycling passengers to help power itself: as the passengers bike or walk on the gym-type treadmills, the power is transferred through an electrical/mechanical system to the power system of the unit. The control system is programmed to determine the speed at which the ferry moves based on the energy production of its occupants.
movement based on a current trajectory or responds only to the person’s current condition. As well, sun can be dealt with in a multitude of ways: people can be shaded or full sun can be allowed. In this project, the spatial occupation and environmental conditions inform the architecture but there is also an element of improving efficiency as the current configuration of the plaza uses umbrellas to provide shade, so when the weather is rainy, the plaza is abandoned.
movement based on a current trajectory or responds only to the person’s current condition. As well, sun can be dealt with in a multitude of ways: people can be shaded or full sun can be allowed. In this project, the spatial occupation and environmental conditions inform the architecture but there is also an element of improving efficiency as the current configuration of the plaza uses umbrellas to provide shade, so when the weather is rainy, the plaza is abandoned.
The control system which was developed has similarities to the popular iPhone app Shazam. The algorithm analyzes sound from a simple microphone receiver, and based on an analysis of the sound sample can ther actuate the acoustic control mechanisms. Movement of the theatre elements was based on current movable stadium roof technology. In this project, the multiple configurations of the performance space allow for efficiency in land use and an ability to respond to different programmatic indoor concert hall. Furthermore, the arrangement of the elements of the hall allowed the interior volume to be modified to alter reverberation time — thus the hall itself could be ‘tuned’. At a smaller scale, interior roof panels were designed to automatically adjust their absorptive qualities, thus further impacting the interior acoustics — primarily reverberation time — of the space. Thus there were two scales on which the acoustic tuning performed. were designed to automatically adjust their absorptive qualities, thus further
The control system which was developed has similarities to the popular iPhone app Shazam. The algorithm analyzes sound from a simple microphone receiver, and based on an analysis of the sound sample can ther actuate the acoustic control mechanisms. Movement of the theatre elements was based on current movable stadium roof technology. In this project, the multiple configurations of the performance space allow for efficiency in land use and an ability to respond to different programmatic indoor concert hall. Furthermore, the arrangement of the elements of the hall allowed the interior volume to be modified to alter reverberation time — thus the hall itself could be ‘tuned’. At a smaller scale, interior roof panels were designed to automatically adjust their absorptive qualities, thus further impacting the interior acoustics — primarily reverberation time — of the space. Thus there were two scales on which the acoustic tuning performed. were designed to automatically adjust their absorptive qualities, thus further

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References (9)

  1. The term 'Architectronics' was first used in Meyboom, A Wojtowicz, J and Johnson, G. (2010) ROBOstudio: towards architectronics, Proceedings of the 15 th International Conference on Computer Aided Architectural Design Research in Asia , Hong Kong 7-10 April, pp. 259-268.
  2. Treib, M., Space Calculated in Seconds, Princeton Architectural Press, USA, 1996.
  3. Johann Wolfgang von Goethe in Conversation with Eckerman, 1836.
  4. William Zuk, Kinetic architecture,Van Nostrand Reinhold, New York, 1970.
  5. Mitchell,W.J., Forward, Fox and Kemp, Interactive Architecture, Princeton Architectural Press, NY, 2009
  6. Mitchell,W.F. Smart Cities:Vision, MIT http://cities.media.mit.edu/index.html 14-10- 2010.
  7. ROBOstudio was an interdisciplinary design studio 2009/2010 held at University of British Columbia http://vds.arch.ubc.ca/vds_ROBOT.
  8. Wojtowicz, J.,Takenaka,T., "Virtual Studio, Distributed Teaching and Learning of Design in a Networked Environment", eCAAD Conference, Frankfurt 2007. P 346- 353.
  9. AnnaLisa Meyboom, Greg Johnson and Jerzy Wojtowicz AnnaLisa Meyboom, Greg Johnson and Jerzy Wojtowicz University of British Columbia School of Architecture & Landscape Architecture 402-6333 Memorial Road,Vancouver, BC, Canada V6T 1Z2 ameyboom@sala.ubc.ca, jwojtowicz@sala.ubc.ca

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