D4 Concept Design

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INA WAGNER, PELLE EHN, RDIGER LAINER, PER LINDE, JANNA LINDSJ, ANNIKA NYSTROM, ANDREAS RUMPFHUBER, DIETER SPATH
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Concept Design
Translating ethnographic fieldwork and material from art/architecture into concepts and future scenarios Version 1.0
Abstract
This part of of the project report looks into inspirational learning, the nature of inspirations as well as the role of inspirational material for design work and analyses examples from art and architecture as sources of inspiration. Fieldwork and art/architectural examples are used to describe the inspirational learning space in terms of qualities the particular atmospheric, material, and spatial qualities that the ATELIER project seeks to support. The catalogue of qualities defines some of the parameters of the architectural space. . It also describes the first mock-up space which has been set up at the Academy of Fine Arts in Vienna and some early inspirational experiments in the space. The last section presents a set of future scenarios envisioning how specific combinations of architecture and technologies may be used in support of learning
Contents
INTRODUCTION PURPOSE OF THE DOCUMENT LEARNING FROM INSPIRATION IN ART/ARCHITECTURE INSPIRATIONAL LEARNING THE NATURE OF INSPIRATIONS THE ROLE OF INSPIRATIONAL OBJECTS EXAMPLES FROM ART AND ARCHITECTURE Diller and Scofidio - conceptual architecture: architecture preoccupied with technology Diller and Scofidio for Eyebeam: the creation of a space for new media arts
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PRADA NY, Koolhaas/KRAM design and others: architecture preoccupied with technology and interaction Workspheres, Moma NY: personalizing a work environment Mvrdv: the personalized work space within an open architecture donald judd + archo 02: experimental installations el lissitsky, maholy nagy, ica boston and others: keeping the poetics of the sketch model Electronic Lounge, Festival Zentrum & Netzkunst Ausstellung, Architects: beige Haus Sobek, 2002, Architect: Werner Sobek backspace.org, Media Lab and Riverside Lounge 1994 Moderate:witness, Video series and spatial installation Relational architecture, Rafael Lozano-Hemmer Walks, Janet Cardiff Kramlich Residence, Architects: Herzog /de Meuron Institut du Monde Arabe, Paris, Architect: Jean Nouvel Palais de Tokyo, Paris, Architects: Anne Lacton and Jean Philippe Vassal Pablo Nerudas houses Eurocity, Architect: Rdiger Lainer YOUgend, Exhibition Project, Rdiger Lainer INSPIRATIONAL LEARNING SPACES QUALITIES AND PRACTICES THE TRANSIENT AND EPHEMERAL M ATERIALITY AND THE DIVERSITY OF MATERIALS M IXING REALITIES AND FORGING CONNECTIONS CREATIVE DENSITY CONFIGURABILITY - ADAPTABILITY TO A DIVERSITY OF USES AND IDENTITIES EXPERIENCE OF DIMENSIONALITY AND SCALING RE-PROGRAMMING AND THE DIFFERENT VIEW NARRATIVITY TEMPO - RHYTHM THE ARCHITECTURAL SPACE THE SPATIAL QUALITIES A RCHITECTURAL EXAMPLES OF LEARNING SPACES THE SPACE FRAME A FIRST INSPIRATIONAL EXPERIMENT FUTURE SCENARIOS CONFIGURING The configurable space The stage The collaborative space Checking-in at the editing entrance Activity awareness application CONNECTING AND AUGMENTING The sea of design material Creating a documentary of a project Attaching digital media to physical models RE-PROGRAMMING The dream space
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The display space Exploratory games CRUISING The Jacket: supporting visitors in creating a media path REFERENCES
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Introduction
The objective of this work package is to co-ordinate conceptual development and redesign of the different dimensions of an inspirational learning space built environment, multimedia materials, technologies, and people and to explore future use scenarios. Concept design intends the transition from describing and analysing current practices to developing a vision of an inspirational learning environment. This is done in four steps: The first part looks into inspirational learning, the nature of inspirations as well as the role of inspirational material for design work and analyses examples from art and architecture as sources of inspiration. Fieldwork and art/architectural examples are used to describe the inspirational learning space in terms of qualities the particular atmospheric, material, and spatial qualities that the ATELIER project seeks to support. The catalogue of qualities defines some of the parameters of the architectural space. The third section gives examples of architectures for learning and specifies the first mock-up space which has been set up at the Academy of Fine Arts in Vienna. It also describes some early inspirational experiments in the space. The last section presents a set of future scenarios envisioning how specific combinations of architecture and technologies may be used in support of learning.
Purpose of the document

The purpose of this document is to provide a common conceptual basis for the ATELIER project which helps integrate the effort of those engaged in pro -searching practice, design the architectural space, and develop the technologies. It in particular provides conceptual guidelines and concrete examples for setting up experiments in the inspirational learning space and helps technology designers to think in terms of inspirational resources and learning.
Learning from inspiration in art/architecture

Inspirational learning
Our ethnographic fieldwork contains many examples of inspirational learning. It helps concretise the general ideas about design work and learning with which the ATELIER project started. Learning, we saw proceeds by circulating references students working with design representations in different media, gradually transforming them into a design in a process which is non-linear, informal, and highly cooperative. The diversity of material and media is an important facilitator of learning. Students work with and produce text, diagrams, comics, video, sketches, sketch models, screenshots, virtual models, and prototypes material of different degrees of abstraction, different scale and materiality. Important is the possibility to connect and augment these materials, to access them easily, and to maintain some of them present in the work environment.
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Learning is stimulated by the presence of inspirational resources images, music, metaphors, atmospheres, film, samples of materials, everyday objects, which provide an element of surprise and discovery and help see things differently (the chance finding of unexpected material in a place, a strange combination of association objects, etc.). Often it is the transient and ephemeral character of these resources that triggers students imagination. Learning requires the possibility to transform and re-program - to explore solutions and contexts, to shift perspectives, to carry out experiments, to present and perform, to have time and space for free play and day-dreaming. Learning is highly interactive. Students constantly switch between individual and collaborative work. They share knowledge and design material, use collective displays, take turns in working on a specific task to then arrange a spontaneous meeting. While switching mode and tasks, they circulate the space, expanding and concentrating it according to their needs. People, co-present and distant, are a crucial part of an inspirational learning environment, as representatives of diverse cultural contexts and skills, of (controversial) viewpoints and emotions. Students receive regular feedback from peers, their teachers, and external reviewers, spontaneously, or as part of more formal arrangements. They listen to guest lectures and they meet people when they are cruising the outside world, exploring the city, a particular context or site. There is the need to bring the impressions and the material they collected back to the studio, to make it visible and share it with others. Story-telling both, as part of learners discursive practice and as supporting project memory and history, reinforces the learning process and the availability of insights across time and space. These practices, which have been described in more detail in WP1 Pro-Searching Practice, will be picked up as themes for describing the qualities of an inspirational learning space and future scenarios
The nature of inspirations

Designers need to mobilize a wide range of resources for their work from metaphors and images to materials, technologies, and people. Inspirational and experiential resources play an important role in this process. Architects, for example are working with inspirations from many different aesthetic and scientific discourses from the fine arts and the theatre to biology and mathematics. While some architects use pictorial material for generating and expressing their ideas, others prefer poetry and metaphorical text, again others build their designs on (historical) research, the assembling of facts or datascapes. Inspiration is to do with particular qualities of objects, people, ambience, a place. Inspirational resources are ubiquitous. My approach is, when you have formulated a question in your head, you just have to go on the street and quite often the answer passes you on the next T -shirt, you just have to read attentively, it is written on a T shirt, there you have all the answers you need, a kind of urban I Jing one plays And from this perspective I think inspiration can come from anywhere (Gregor Eichinger).
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Inspiration always emerges within a context. Objects or a place, for example, are not inspirational as such but may be so in connection with a project, idea, particular task: What provides inspiration is not the object as such, the source, but what I can do with it, how I can manipulate it. If you work with a painting by Ernst Caramelle, it has nothing to do with urbanism, only if you start doing things ... Any object for example a simple cup may become inspirational, but only if you load it up with associations, additional meaning, put information into it. (Rdiger Lainer) There may be more direct links or more process-oriented links between an object, people or an ambience and the designers associations. They become a reference for the thinking, the concept they trigger or help take shape. Inspiration may arise in combination with movement (the train ride) or from something remembered and imagined. They arise from the transient and ephemeral way in which association objects, people, an ambience are encountered, their peripheral presence in the back of one's mind, and with activities that are connected to movement (Bscher et al 1999): I feel inspired by what is transient, ephemeral, I dont need objects to hold onto. Sometimes there are things at which I can look for years but these are not so charged for me. What interests me are things that are transient, non recoverable which are present for a short moment , the memory of them.(Gregor Eichinger)
The role of inspirational objects

For some designers specific inspirational objects pieces of art, images, music, video, etc. are an important resource. These objects are not to be taken literally, they are objets trouvs that inspire your thinking, help express and communicate ideas, and capture particular qualities of a design. While some inspirational objects remain quite personal and transient, others may become shared by a designer community and almost paradigmatical. Peter Greenaways collection of 100 objects that represent the world draws upon peoples collective knowledge of objects. This small collection of objects was assembled by asking architects as well as architectural students for pieces of art that are of specific relevance for them.
Rdiger Lainer
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Ernst Caramelle this imprint from the sun, it is a slow imprint, if you change something on one layer, the whole plane is changed. Hockney this is a quite direct association image, it shows how you can place different webs on the same level, a perfect 2D view of a 3D landscape hochgeklappt.
Ryman the white paintings, some small changes create the impression of big holes, there is a superimposition of reduction and intensity, how to transfer these reduced elements with their integrated tension into space, by layering, by displaying light and shadow onto a simple space, how to intensify it - the whites start to vibrate - twelve different whites for an office building.
Max Bill this Mbiusschleife in stone, 20m high, is one of a series of twenty, it shows a high tension between mobility and stability, how to accelerate tension in architecture. Lois Weinberger open the asphalt and let things grow - like the idea of filling plastic/paper bags with concrete, build a wall and let the paper whither away, leaving imprints on the concrete.
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Dieter Spath
Gelatin: Nella Nutella No architectural theory nor building of Venice has succeeded in finding a new starting point for rethinking Venice until Gelatin came to Venice. By doing what is simple and close falling, going, jumping, being pushed into the canals inspires that much in the search for new uses of the city to be able to invent new joyful starting points for programming and realising architecture.
Manuel Singer
Piet Mondrian, Broadway(1941-42) Most important is the motivation I get when I am looking at it. Maybe it is because of its mysterious, gripping, sensual, clever, ironic, and beautiful manner. But anyway, it works
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Annika Nyst rom
Donald Judd, 15 variations on a box To me it tells something interesting and inspiring about playing with the simplicity of a form to generate harmony or disorder, beauty or ugliness
Florian Beigel
Giorgio Morandi, Natura Morta Inspired by the concentration of working on one topic for the whole life always in one space, painting in between and trying to transfer it to the own architecture of building and programming the in-between.
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Paul Klee, Highways and Byways Representation of a city that is half real and half drawn, like a calligraphy of the city.
Richard Serra, Torqued Ellipses Inspiring is the silence in the work of Richard Serra.
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Examples from art and architecture

Inspiration for the design of the learning environment can be found in many examples from art and architecture. From this rich tradition we have selected projects that exemplify some of the qualities we seek to support, in particular the transient and ephemeral, materiality, re-programming, connecting and mixing realities, tempo and rhythm, as well as narrativity. Diller and Scofidio - conceptual architecture: architecture preoccupied with technology
Diller and Scofidios work is preoccupied with technology and the effect technolo gy has on our behaviour in everyday situations, and environments. In their architecture technology is often used to create spatial settings in a non logical order or situation. A view from a different site might be integrated in a room via monitors and remote video cameras placed as windows in the rooms. A survey of the entrance of a building is in another project displayed on the third floor, reconnecting the visitor to the first spatial input by real time surveillance. In the Slow House technology is use d in a very explicit way with the architectural design. Again the monitors are important elements in the space and the idea of a vacation house as an escape from an everyday setting and environment. The design deforms the model of classical perspective and leads the visitor through a door, along a curved wall that leaves no visual information as one walks through the building. One monitor opens a window to the fictional world of TV, placed on the curved wall. Another monitor is placed in the middle of the w indow towards the ocean view, the end of the curved wall. This monitor is showing the exact view through the window but can be manipulated in time. Saved and replayed, fast forwarded or frozen. The spatial layout and the technology work together in creating a house that is coming down to being a window leading to a door ( flesh, diller and scofidio ). A passage from artifice ( the city-culture operating at its most apparent) to nature ( the viewculture operating at its utmost subtlety). (Diller and Scofidio 1994, 2001). Diller and Scofidio for Eyebeam: the creation of a space for new media arts Another quite provocative investigation of space is currently being carried out by the team. They are in the middle of a design process for a centre for digital culture in NY. The first year of the project will be a research year, but there is a material already presented that shows an attitude to the process of creating architecture that it is
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inspiring an worth trying to follow as it is being developed (http//:w ww.diacenter.org/dillerscofidio, Leeser 2002). The criteria for the space is a fundamentally updatable, technologically and profoundly rearrangable ( physically ) building set up. A space that are to be modelled on open source code capable of being rewritten , upgraded, reprogrammed, reconfigured to accomplish previously unanticipated tasks. The building is proposed to be designed with a double-skinned ribbon structure, looping back at itself. At one side of this ribbon an art studio is placed, and on the other the exhibition space. Between the two all the equipment is placed, easily accessed and upgraded when the need and use of the space changes. There are also ideas of an electronic tag system for the building. Every visitor will, as they enter, log in. By filling out a questionnaire they will then get a profile for their tag. The tag works with a smart network that tracks the visitors and gives them access to certain parts and facilities, denying them access to others. The tag system will also work with the bookshop and the caf for tabs, as well as the information system.
The building is also to be interactive, not only in the exhibition and informative parts, but also architecturally. As a visitor, in the building or on line, one can manoeuvre parts of the faade. So-called smart walls are to be created with liquid crystals between conductive film and glass panes so that the electric current regulates the level of transparency, and daylight conditions within the building. This work in progress holds a large number of aspects concerning architecture, technique as well as interaction and performance - inspiring and speculative. PRADA NY, Koolhaas/KRAM design and others: architecture preoccupied with technology and interaction This is a project where architects in collaboration with interaction designers have been dealing with issues such as inspiration material, visualization of the design process and the material that informs it, as well as interaction design that trigger investigation of cultural activities. The main idea was to rethink the concept of shopping. In order to accentuate the concept, interaction design and architecture was used in an innovative as well as provocative way (Koolhaas 2002, Gullbring 2002). The store is located in the former Guggenheim Soho space in New York, in other words a art gallery space by tradition, in two stories that runs a hole block from
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Broadway to Mercer street, along Prince street in Soho. The store consists of a series of events and spaces within the larger room. A variety of aesthetics, materials, and spatial elements. Some of the space has more of an traditional shopping set up with the collection pieces on display. Other spaces within the shop are not productive in that sense. These spaces are rather about contemplation, privacy, mobility luxury. As if luxury was not to shop, but to experience spaces that trigger creation, surprise and mystery.
The room one enters from Broadway has a large stair placed in the centre of the space. This stair leads down to the more private regions of the store. The stair is designed as an element for displaying bags, shoes and other products, but also works as a relaxing area where one is invited to have a seat. In the other end the stair raises as a wave through the space. A ramp in which a stage is built in. This element is one of the examples in this space that triggers cultural activities to take place in the room. The message is quite clear to the visitor. This space is also concerned with other activities than the commercial. In the ceiling is a series of metal boxes places. In these boxes other products are displayed. The boxes run on a wire system and can instantly be rearranged and together with the stage reconfigure the function and layout of the space. There is no static installation for the staff, they all have handheld devices that read the tags of the products for prices and facts. All over the space a large number of screens are placed. Some of them are hanging on the clothes racks, others are placed flat on the custom made furniture in the store. These screens have a multi functional purpose. Video clips, drawing material and other images are running on them when they are not activated. But the staff can then take their customer and walk up one, activate them to call for information from the database, video from a show, fabric samples etc.
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As a customer you are invited to take part in the design process in various ways. The inspirational material is on display in different audiovisual installations, integrated into the room. There are also rooms without any products, designed as small Prada gallery spaces. These are smaller rooms within the large store with a series of monitors built into the wall. Another interactive piece invites you to explore the Prada Atlas - a piece where the Prada stores of the world are marked, where you can zoom in on any chosen one, get the information about location as well as the collection. One can also see the Prada location according to the financial spread of the world, the location of the false Prada markets, Prada's location in relation to population, religion etc.
This is another piece where the customer, the user, is invited to a large range of information, work in progress and inspirational material. A kind of democratic gesture if one wants. In the lower level of the store there is a dressing room - a space and form of use where technology and the interaction play a central role. The room is built up as a glass box within the larger space - a transparent and open glass box which you as a customer can activate and turn into a non transparent closed space by pressing a switch by the sliding door. In the dressing room are two niches built into the wall. When an item from the shop is placed here the piece will be identified and on a display one will see the information about it. A customer can choose here to see clips from a fashion show, material samples, matching items from the other collections and so on. In the room a camera has been set up and a large mirror. When trying on a piece one can by this set up see a delayed moving image of oneself in the mirror.
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The idea here is that the technique is there, integrated with elegance, to give the customer access to as much information as possible and make the communication between customer and staff as flexible as possible. In this case the dressing room gives you a private space where you can get access to all the information wanted, as well as choosing to what extent you want it to be private or public by reconfiguring the actual walls. Workspheres, Moma NY: personalizing a work environment Workspheres was an exhibition at Moma in New York, dealing with issues concerning our future work environment (Antonelli 2001). Speculative pieces were presented by a series of artist commenting our work situation, our needs and wishes as well as our fears. Issues that seemed to be exposed to a lot of speculation where those of privacy/publicity, as well as the personalised work space contra the anonymous landscape of mobility. The exhibition also dealt with the idea of capturing our most creative moments, recording our cognitive processes of creativity and attention at any given period of time. Ideas of attaching these kind of mind fragments to a piece of furniture, to store information in the objects that surround us were shown in various ways at this exhibition. Some of these projects are attempting to rethink the computer interface itself, as a shared work environment. The nomadic worker was a target that many of the pieces had focused on. How does the nomadic worker move all his/her culture and knowledge between the places he/she visits? How does he/she set up the camp for a longer or shorter period of time? How does he/she find a place for contemplation, a shelt er from the stressful surroundings? And how does he/she mark the place that belongs to him/her, even if it is only for a very short period of time? 1. Naoto Fukasawa, IDEO, Tokyo, Personal skies: Fukazawas project has two elements, a chair that adapts chameleon-like to the clothing of the user, and a means of personalizing the work environment by projecting a personal ceiling above the desk (it could be an image of the sky in a choice of season or weather conditions, or of the home), sending a customized message to the rest of the office like a screen saver.
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2. Hella Jongerious Bed in Business: In the Jongeriouss specially commissioned working bed (part of My Soft office collection )technology is introduced into the bedroom. A keyboard and mouse are embedded in a smart pillow utilizing touch sensor technology to deal with the phenomena of the flash of creative intuition that comes in our waking dreams. 3. Jennie Pineus Head Cocoon: Cocoons are intended to provide a simple and accessible solution to shelter us from the stressful, intense work environment of the workplace. The Head cocoon can be taken anywhere. It folds up and comes with its own bag.
4. Jeff Reuschel, Ronna Alexander (Haworth) MindSpace: Our cognitive processes of memory and attention are applied to a snail-like model of a workspace by providing an
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environment that stores information-rich artefacts. In much the same way that a post it note has a form that has come to signify an urgent demand for attention for anything writ ten on it, so MindSpace makes use of a web of associations and sensory cues( visual, auditory and tactile) that serves as signals to help the user recall and retrieve information. 5. John Maeda Joe Paradiso MIT media Lab Atmosphere : The project deals wit h the problem of managing the enormous amounts of information we receive daily. A large cloud of information can be physically manipulated by three handheld devices on a wide screen. 6. Giuseppe Lignano Ada Tolla, Lot/Ek Architecture Inspirio-Tainers: An industrial container used for air freight cargo is transformed into a self-contained environment for work and relaxation. Mvrdv: the personalized work space within an open architecture The dutch architecture firm mvrdv, has designed the headquarters for VRO, a private broadcasting company in the Netherlands that is an example of a very interesting workspace (http//:www.mvrdv.archinet.nl/). Mvrdv has during the last couple of years received a large attention and are known as a firm that makes use of, and lays claim to, diversity. They proceed as a team, but are constantly inviting different and sometimes unexpected disciplines to collaborations with them, mixing disciplinary categories. A way of working that to a large extent informs their designs, and most often they are able to keep a large number of early conceptual ideas although the design to the very last outcome.
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The broadcasting company VRO used to be spread around ten villas in Hilversum outside Amsterdam. The building that is now their headquarters is a huge construction with a layout of an interior that folds the surrounding urban space into the actual building. The interior is created as a series of ramps and waves of polished concrete. These shapes are the continuation of the surrounding landscape, the grass hills in the landscape outside. A landscape that is highly present all through the building both, by the concrete shapes of hills and by the large glass elements that shield the inside from the outside. Between the levels that are cre ated in this interior landscape a large number of glass elements fills up the openings in between the floating concrete, creating dynamic and interesting sightlines within the space. Small staircases connect smaller spaces, or platforms, within the large interior landscape. In the in between space of the floating floors are restrooms, storage etc. located. Some straps of terraces, outdoor meeting rooms and relaxation areas are integrated in the work environment - spaces that overlap the gasp between indoor and outdoor. In one case a space is even designed so that one has to walk through an outdoor passage to get to the major meeting room in the building. As one walks around the building, up and down the tilted floors, one has an experience of exploration and surprise. The actual workplaces that inhabit the building appear like personal camps in this landscape. There is a large variety of elements, screen set ups, desks, snakelike formations of tables and chairs, permanent or temporary display set ups, and no overall asthetics what so ever. No space, small or large, has a similar set up as another. There is a unique strap of landscape for every work place. A unique sightline, a unique curve of the walls, a unique level in the building. The people that work here seems to have considered their work environment close to something like a landscape to camp in. A landscape with high adaptability as well as an openness to free choice of both functional and aesthetic values. Walking around in this work environment one is met by a crystal chandelier hanging from the concrete beams, an oriental carpet lying on the sloping floor, a small white party tent over a meeting table, objects and furniture that identifies the different camps. Individual work places personalized with a free and flexible attitude. Free and flexible in relation to the architectural characteristics and to the function of the different camps set up within the large space. The space has a high density and each work place is quite small counted in square meters. But this density is certainly experienced as a creative density. The differentiated levels, shapes of walls, floor and roof, together with the variations in sightlines adds to an impression of a series of unique and personal workplaces that each has its strong and well defined place and character.
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A cafeteria is placed in an oversized stair, leading up to the roof. By large glass sliding doors can one reach the roof landscape. A series of smaller slopes covered with grass leads up to the top where a table and bench are placed. An isolated workplace with internet connection and power elegantly placed on the side of the table. If one chooses to work here for a day one might run into the goat from the farm next door, that on a regular basis comes here to trim the grass. donald judd + archo 02: experimental installations This is a couple of art installations using architectural elements for exploration of spatial qualities and of conception of a defined space in different larger settings. This is also an example that shows an experimentation with materials and light conditions as well as the aspect of scale (ARCHO 02). These types of spatial experiments or installations can serve a good purpose as spatial experiments in our work. Experiments where one can create speculative pieces that deal with a certain function or quality. It can be useful for experimenting with components from the catalogue to set them into a spatial setting, evaluate the demand they set on the room as well as understan d the value they might add. They might work as up scaled parts of a larger model of an environment, or as a series of plug ins that together create a larger environment. An environment that has the quality of being updatable, technologically and profoundly rearrangable by different combinations of plug-ins. This might then be a way of understanding what it means to create a space that are to be designed so that it can be rewritten and reconfigured.
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el lissitsky, maholy nagy, ica boston and others: keeping the poetics of the sketch model Artist imagine architecture is the name of an exhibition at the ICA in Boston. An exhibition where artists are dealing with the idea of bringing a new perspective to questions of scale, structure and social interaction through architectural model making. In this exhibition issues are raised concerning the use of a model as a methaphor for the unattainable or desired, but also about the materials of the model as something attractive for their everyday associations and unpretentious characteristics.
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1-4 : Dorothy Riley, 1941 The spatial explanation of a building, 5 : L. Moholy-Nagy, 1940 Space modulator ( construction in plexiglass on a mirroring plane ) There are a number of artists during our century that have used t he architectural/sculptural model for explorations of different media and materials, for communicating ideas and concepts more or less abstract. Investigations and explorations that have been made by artists and architects as they deal with different media and tools put to their disposal. This kind of explorations are of a large interest concerning the mixed media issue. The issue of how and where the virtual reality meets the physical and what qualities the different types of models have, how they inform our design process. They help us understand variations in semantic perspectives. For instance a model can be looked upon from a conceptual, constructional or atmospheric perspective. A project can be analayzed in its various temporal stages. One example that we have discussed might be to build a model where one can tag different elements and connect a certain layer of information to it ( in any media we choose .). A way of exploring the possibility to work with a model that holds a complexity of material, where one can set the level of information used at a certain time. The model could also in this way hold the history of our design process to give us the possibility to reinform the work in progress. In this work I find the historical experiments of Maholy Nagy (1961) and El Lissitsky most valuable, as well as the more recent work of the artists of the ICA exhibition (ICA Boston, Artists imagining architecture, 2002).
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Electronic Lounge, Festival Zentrum & Netzkunst Ausstellung, Architects: beige
This temporary architectural installation an augmented lounge and Internet caf was created in a listed building from the 1950s as part of the film+arc.graz festival on media and architecture in Graz, Austria. The architects borrowed a metaphor from a Unix protocol for their design of a media skin. The Kernel wraps up all other protocols and at the same time none of them. Similarly, the media skin docks onto the buildings existing faade, turning itself inside out, ending in the interior lounge as a cable plugged into the Internet terminals. The Kernel simultaneously acts as spatial shelter, projection skin, seating, and terminal. A simultaneity of real and net world is created. So are peoples movements in real space presented in the net space. Their Internet surfing is projected onto the media skin. This is a good example of how to materialize the net on the one hand, of the transient and ephemeral character of impressions on the other hand (Rumpfhuber/Sdoutz 1997, Schrer 2002). Haus Sobek, 2002, Architect: Werner Sobek
Werner Sobek designed his own private high-tech prototype house. Its glass architecture is equipped with sensors. The customary haptic interfaces of built architecture, such as door handles, fitting and locks are eliminated. Clapping ones hands, waving in a pre-defined pattern etc. makes the refrigerator door open, the toilet flush or the light slowly dim. Familiar gestures have to be unlearned, new ones learned. The whole house turns into a sensorial interface. This example helps think about how to use body movement pantomime and other movement arts for getting access to material and for influencing the environment (ARCH+ Mai/Juni 2002).
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backspace.org, Media Lab and Riverside Lounge 1994 The backspace was opened in 1994 in an empty basement space near Tower Bridge in London by Net artist Heat Bunting, the net Agency obsolte.org, and the label Ninjy Tune Records, all based in the same building block (http://backspace.org/, RaeHuffman 1997, p. 14). The space is open to an interested public that is invited to make contact and subscribe for a small amount of money. Subscribers work on Internet project sand get feedback. After one year of running the place a huge and interesting amount of net-art projects was produced. The space is open twenty-four hours a day, it is a chat room turned physical, with people logging in and out and working on a diversity of projects. One interesting feature is captured by the backspace metaphor. It alludes to a space which is non intentional and has to be appropriated. A similar metaphor and real space at the same time is the garage - a place which, due to its informality and workshop character, makes everything possible, from inventing computers (Bill Gates, Steve Jobs) to making music (the group Garage using a garage for their rehearsals). Moderate:witness, Video series and spatial installation A space is equipped with four monitors. On each one and the same person narrates a story in 15 sec clips. The image of the person changes between being clear and sharp and rather fuzzy. The visitor may read the story in a linear way or in different combinations, depending on his/her movement through the space. This is an example of media being translated into space, with the structure of the film becoming materialized. Space is experienced through rhythm, with the rhythm cutting the space. This helps think about how to use video and film within space (Andreas Rumpfhuber@AKI Montevideo/Amsterdam 2000, Schrer 2002, p.45).
Relational architecture, Rafael Lozano-Hemmer Lozano-Hemmer has been working since 1994 on a series of interactive light installations in cities. His most famous installation was done in Mexico City.
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His work is part of what is called relational architecture. At its core is the design of buildings and public spaces by using alien distributed, networked memory. Relational architecture transforms the master narrative of a specific building or place by overlayering audiovisual elements that re-contextualize it, suggesting different readings, turning buildings into repositories for distant memories: Relational buildings have audience-activated hyperlinks to predetermined spatio-temporal settings that may include other buildings, other political or aesthetic contexts, other histories, or other physics. In this sense, virtual architecture dematerializes the body, while relational architecture dematerializes the environment (Lozano-Hemmer 1997). Light installations such as these are to do with narrativity and memory, with attaching additional meaning to built architecture (http://www2.alzado.net/evinformacion.html, http://prixars.aec.at/history/, ht tp://xarch.tu-graz.ac.at/home/rafael/fear/.
Walks, Janet Cardiff Janet Cardiff equips visitors of a building or part of the city with a CD walkman or small video recorder. While following the artists directions, they become involved in the stories they watch and listen to at the same time. Voices, footsteps, music, the sound of a car or gunshots make up a fictional soundtrack overlayering the actual indoor or outdoor space.
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Cardiffs work builds on the conventions of cinema and science fiction. It explores the complexity of subjectivity in a world where the distinction between sensation and imagination tends to collapse. Janet Cardiffs work is an example of connecting and mixing realities, of cruising, and of re-programming a space (Manovich 2002, Biagioli 2000, p.36, http://www.abbeymedia.com/Janweb/muenster.html). Kramlich Residence, Architects: Herzog /de Meuron This is the residence of a video collector (Riley 1999). Herzog/de Meuron attuned the architecture to the needs of projecting video. Their reference was Mies Van -der-Rohes idea of the pavilion with a fluent ground floor. The two sinus curves of the living room create an undulating, fluent space, its relationship to the outside world remaining fuzzy. The videos are hanging on the wall as images with fuzzy borders, filling the space with changing atmospheres.
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Institut du Monde Arabe, Paris, Architect: Jean Nouvel Jean Nouvel constructed one of the first media fac ades. He used the photo technology of the lens for regulating the daylight in the building. When the sun is shining, the lenses gradually close, filling the interior space with a sharpened light (Boissire 1992). This may be seen as an early example of an augmented space, mixing technology and architecture.
Palais de Tokyo, Paris, Architects: Anne Lacton and Jean Philippe Vassal Remarkable in this project is the architects reaction to the limited budget for adapting a huge museum space. As there was not enough money for darkening the large space for video projections, they argued in favour of changing the museums opening hours. The possibility of showing video performances was perceived as more important than perfectionizing the architecture of t he building. Paris has now a museum that is open during the night, at a time when people visit bars and clubs. This is also an example of re-programming an urban space.
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Pablo Nerudas houses Pablo Neruda designed his own houses. Sometimes this meant that the building regulations were not observed. His designs reflect his poetry as well as his biography. One story says that still lacking a desk for his study, Neruda mentioned that the sea would provide him with one. In fact, he later used a piece of wood t hat was washed ashore for constructing his desk. His houses are narratives turned into material (Isla Negra 1982 from the book, "Neruda Retratar la Ausencia, Editorial Dolmen, Photographer Luis Poirot).
Eurocity, Architect: Rdiger Lainer In the Eurocit y project light and images are used as materials, which accentuate and augment the qualities of glass or concrete surfaces, rather than dissimulating their presence. A central idea is the notion of the buildings faade or skin as translucent and as creating a textile impression, filtering the light in a highly differentiated way:
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During the day the building transforms its appearance, shimmering hermetically in the morning and partially reflecting its surroundings. The changing light produces an almost imperceptible metamorphosis. The arrangement supports the configuring of cinematic images - light interventions of different kinds. Projections (e.g. of movie titles) can be used, or light images which change the buildings skin. When it gets dark, the lighting of the buildings inner space creates a festive character, the faade turns into a veil delicately hiding people and movements. The building's faade acts as a 'transformation layer', facilitating changing relationships between inside and outside. The building can communicate its contents. Depending on the daylight, these connections are one-way or reciprocal. Their specific quality derives from their degree of transparency, opaqueness and compactness of the faades material. (Zschokke 1999) YOUgend, Exhibition Project, Rdiger Lainer
Lighting technologies are used in the exhibition project YOUgend . The idea here was to explore the relationship between space generating architecture and narrative technology. The exhibition was planned as an implantation in an existing re-vitalized building. It consists of a landscape of enclosed atmospherical spaces, followed by spaces for more in-depth explorations of themes, open ramps and bridges. This silent architecture forms a stage for narratives. Sound, light, video and colour projections create varying atmospheres and they produce events. The layering and connecting of
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these different media allow differentiated ways of experiencing, walking through, listening to, and viewing the space (Lainer/Wagner 2000).
Inspirational learning spaces qualities and practices

The fieldwork participant observations of students work at the Academy and at the Malm School, interviews with architects and students together with the examples from art/architecture provide rich resources for thinking about the inspirational learning space. As a first step we describe this space in terms of particular atmospheric, material and spatial qualities that should be created and supported: The transient and ephemeral character of inspirations Materiality and the diversity of materials and representations Mixing realities and forging connections Creative density Adaptability to a diversity of uses and identities Experience of dimensionality and scaling Re-programming and the different view Narrativity Tempo/rhythm
The transient and ephemeral

Inspirations often arise from the transient and ephemeral way in which objects, people, an ambience are encountered, their peripheral presence in the back of one's mind, as it is strongly expressed by one of the architects. Short -time events, fast, assembled, adhoc, such as film, video and fashion photography, are important resources: film tries to use images, sound and content for creating dense, shortened, intense moments this is not just film but where things are assembled and produce an atmosphere (Fashion photography) is also a short-time event. Some things need to coincide fashion, the photographer, the styling, graphical aspects. extremely short-time, much faster than film (Gregor Eichinger).
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Some architectures play with ephemerality. Diller and Scofidios Slow House is the last piece of the car slowing down on its way from the city. The wave in Herzog de Meurons Kramlich Residence is an ephemeral element, furnished with transient video images.
Materiality and the diversity of materials

We saw how both, the interaction design and architecture students, work with representations in different media. The materiality of some of these representations plays a crucial role in envisioning particular aspects of a design. For example, architects work with a great diversity of models of different degrees of abstractness. These models help experiment with and develop aspects of a building such as colour or interaction with daylight. The qualities of the materials chosen for a model play an important role in these experimentations. You pass a staircase on your way to a meeting in an apartment and the staircase resonates in you at least for half an hour before it leaves you. Y ou have arrived in the apartment but all this stays with you, material, acoustics, smells . One of my dreams is to have a kind of laboratory to say, here we have a wall from freshly cut wood, lets say for two months, so that we get used to the smell, and then comes maybe concrete entrenched with wine and in the right dimensions, so that the whole body may experience it. (Gregor Eichinger)
In the studio or classroom material often is present in the form of random collections (left-overs from previous projects, samples etc.). Finding specific material for a model may influence the choice of material for the building such as in this example:
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T: (stands up and starts looking into a paper bag filled with materials) For wood we can use cardboard and for glass something transparent, and for the fabrics we should take something semi-transparent V: Yes I also thought that .. no actually it does work The properties are that it is not solid it does not stand. But I think that the fabric does not have t o be opaque T: But there are also transparent fabrics V: It depends on what we want to differentiate already in this model to represent what it is about
Crucial is the possibility to explore the physical properties of material to smell, feel, and manipulate it. In another episode V is undulating a transparent plastic sheet. At first she is doing this to try the consistency but soon the material starts making sounds and she continues to explore the sound further playing it as an instrument. The PRA DA shop by Koolhaas/KRAM design and others uses technology as building material. The projection screen turns into a door, the door into a screen. Screens are hanging on the clothes racks, as if the images they produce had the same textuality as cloth.
Mixing realities and forging connections

Students go back and forth between media and representations, circulating references (Latour) throughout the design process. As each of these representations exhibits and clarifies particular aspects of the design, it is important to forge and maintain connections. In writing about their creative work, a number of artists and architects have used the notion of mapping: express ; there is only the moment and your expression of it, using the means available at the time, no matter what form or language it might take. If the analogy of the journey is taken, then our work is the map of our experience and it is recorded by the use of equivalents. Even in conceptual art, in which the performance / thought is the work, it is still an equivalent, because it is premeditated. No matter how automatic the procedures leading to its creation , a piece of work is about, and of process. In fact these automatic procedures are a de facto recognition of process. And in that sense all work is time based and sculptural since nothing exists in a vacuum and something is made. (TOMATO, a media design group in London).
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the map is open and connectable in all its dimensions; it is detachable, reversible, susceptible to constant modification. It can be drawn on a wall, conceived as a work of art, constructed as a political action or as a meditation. (Deleuze and Guattari) Drawing maps of ones own work, territories and expressions is a way of connecting. Laying on top of someone elses map, to see what happens, to see your own patterns differently. And then to continue that way of working in the next task. Turning that material inside out, changing perspective, changing tools and media. Students also go back and forth between realities as in this example from the Malm School where probes material depicts places where students go to be alone think or daydream, with their ideas travelling back to the studio. In interaction design exploring context and bringing the perspectives of differe nt actors into the studio is important.
The architecture students explore the city or a specific site for a project, bring video and audio material as well as pictures and sketches from such excursions. Connecting may happen by installing a temporary worksite in a specific place such as one architect who ... does already the planning on the site itself which creates an entirely different situation for the designing that you are always there and also that you need to temporarily install an office with all the problems involved - this is a quite particular way of producing architecture, if for example you have to re-interpret a canteen turning it into a workspace ... .(con:)
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It may be inspiring and stimulating to bring the space outside into ones work space the site of a project, street life in front of the door, a significant place in the city, as is the case in the architectural office with a large window connecting the space to the street outside.
We wanted this contact with the street outside ... we have these Venetian blinds, they enable you to switch yourself off but you may also leave them open ... this has a positive effect, this possibility of being in touch, this has something refreshing for me, when the traffic passes by, maybe because we rarely go outside, working so much ... it is like a screen ... with our heads a little above people passing and you overhear parts of their conversations ...(Anna Popelka).
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Connections may be of very different qualities and they may be mediated through different media. Architectural examples are the translucent skin of the faade of Rdiger Lainers Eurocity building or the relational architecture of Lozano-Hemmer with video projections adding narratives to a faade or a public space. Janet Cardiff uses video and audio recordings for connecting a space with faces, places, and stories. In the PRADA shop the Atlas allows customers to get information about locations and the collection, taking them e.g. via video to the place where a man sells fake Prada products on the street.
Creative density
Fieldwork observations show how engaging in an immersive mass of material may support intensity in design situations. While some people want things to be messy and rough such as in writers Friederike Mayrckers office, others may want to have things in order and cleared up.
Friederike Mayrckers working space
Kyoichi Tsuzuki. Office Space from Tokyo Style (Antonelli 2001)
There are plenty of examples of odd/surprising/useless objects laying around that may suddenly stimulate peoples creativity. For instance the pink foam boxes which someone found in the garbage bin and placed in the Malm studio within a day they found interested users who started playing with them. Another example of this creative density are surprising or interesting combinations of objects such as books, CDs, objects of everyday life. These dense assemblies offer the chance to find something unexpected. ... how books are arranged (in a bookstore), how you may drift through und how you encounter other books while searching for one, this is the surprising element in these spaces ... things encountered by chance ... ... I had a tiny office underneath my apartment and it was never clear where which books should be ... this separating which is not possible when you design ... these mixtures, when you suddenly find Der Mann ohne Eigenschaften amidst books about architecture .... (con:)
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A limited space may provide stimulating perspectives, with things and spaces over layering each other. This provides a real potential that you may rapidly switch between these worlds and arrive at mixing them ... Often when we sit here and watch TV and on the table these big scale models ... watching TV and from the corner of ones eye looking at t he model and then all of a sudden wanting to change something . This state of not looking-at-directly, this second level, to look without focusing, was an interesting situation ... these are the chance happenings that come for free and which bring distract ion and stimulation ... (con:)
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Configurability - adaptability to a diversity of uses and identities

Adaptability means the possibility to reconfigure a space so that you can personalize, exhibit, build models, collect, have a nap, make coffee, interact with material and odd objects, etc. There are many architectural solutions for this. The PRADA shop in NY contains many examples of adaptability, such as the stair which is designed as an element for displaying products or the ramp into which a stage has been built. Pablo Nerudas houses are perfectly configured to his need to express stories and poems. Diller and Scofidio for Eyebeam have constructed a space which is a fundamentally updatable, technologically and profoundly rearrangeable set up. The backstage and the garage stand for spaces in which everything is possible. The need to quickly configure and adapt ones workspace is visible in our fieldwork.
It describes for example how students expend the work space for certain activities to concentrate it once more when e.g. focusing on a particular task. In the first days of the Lego Mindstorm task this group used small tables put together for sharing lego bricks, sketches and manuals. They then made their own track fields with obstacles for testing the vehicles. As design grew more intense, the group tightened the space. The intensity of work also makes it desirable to be able to use the space for multiple purposes, solitary work as well as group discussions and presentation, sketching as well as building models, having a nap, and eating lunch. At the Academy students often stay over night when they work long hours, and sofas and a bar for relaxing are high on their list of priorities. Is the office a studio, is it an office in the Milleniums Tower, or is it more a workshop for producing bicycles or an artists studio, or ... and this is what I miss sometimes, an architectural structure which made almost everything possible, from setting up a small company, to living spaces, to offices ... The Milleniums Tower would not allow you to ... weld things together, and this is something essential for producing architecture, that you dont sit all the time, that you stand like at a work-bench, in clothes that may get dirty ... to be able as the architect -planner to work on materials, hard materials such as steel or wood, to place a machine ... that the space enables this This is an important quality, to hang up samples of materials ... to use the space in a much tougher way, because it is a workshop and not a writing space. ... I also think that ones attitude is different, when you get up and manipulate things instead of being seated in a constrained space ... this makes a difference from the perspective of your body, if ... the scale of a model is of a size that you may place a dolls house in it, some effort is needed to move it ... where you start simulating architecture in its materiality ... ... also to remain in one space, this is what many of them do, to stay over night ... a space that for a short time turns into this magic space which you dont want to leave .... . (con:)
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Often it is just the possibility of a small change of place which makes a difference:
... and we often have these informal conversations on the balcony, since B and I smoke ... this small change of place, it is funny but our talking gets different there ... this tiny balcony but you talk differently from when you sit at a table ... (con:)
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Students also express the desire to personalize their workspace or to express their identity as a group Personalizing ones work space may mean the opportunity to surround yourself with the things that matter (e.g. the student who refers to his colour sheet which might look like a flag of a banana republic as reminding him to stay on his track) and to exhibit your work, to make it visible for others. Personalizing also may mean to leave simple marks, e.g. the chair taking on the pattern of your clothes, the ceiling showing some image of relevance for you or your work (Fukasawa, Personal skies), the MVRD building (Winy Maas) where the personal may take somewhat eccentric features, such as hanging up a glass lustre from Murano.
Experience of dimensionality and scaling

Architecture students often find it difficult to imagine things when they are blown up to full size. Playing with dimensionality, scaling up and down may be useful exercises. Scaling may help discover new features of a material or a site, experience how a model or texture looks like when it is blown up. Below are a 1:1 model of a building from cloth as well as a large-sized model (from Spath, Dieter (2000), Guadalajara /Mexico, Projekt "Mosku", CHBL).
As part of planning an intervention in an urban area, the architecture students carried their models to the site, looking into them with an endoscope. This scaling workshop gave them the opportunity to their models int o the real space and to see them in real size in the space.
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Re-programming and the different view

Essential to design practice is the ability to develop a concept-based understanding of a design. This requires to mobilize, extend, and flexibilize the design idea (which may be represented in a first sketch, model or textual description), in a process that helps reprogram the facts and generate a different view. This different view rests on the designers ability to perceive the novel wit hin the familiar, to discover relations between seemingly incongruent objects and notions to relate the unrelatable. Re-programming is at the core of many art/architecture projects such as the high-tech prototype house Sobek, the video installations by Lozano-Hemmer, the Palais de Tokyo project, the photo lens windows of the Institut du Monde Arabe or Janet Cardiffs work. Each of it touches upon a different aspect of the familiar which is re-read and reinterpreted. Interaction designers re-program by blending the perspectives of different actors or by disrupting social conventions of interacting. A quality that enables or supports such a different view in a visual way is fuzziness views that blur, distort, veil and allow things to remain ill-defined, unfocused and indistinct. At the Academy experiments with projections on textures - blurring, distorting, creating layers were carried out. If you for example project your model onto yellow cloth, it may look like concrete.
In a project it may be important to arrive at a different view of material. In this example, material - collection of branches and leaves - was re-programmed, casting it into metal and using it for the faade of a building. The architect (Rdiger Lainer) envisioned a shimmering surface, introducing the metaphor of industrialization and the re-interpretation of nature.
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Narrativity
The architecture students work has strong narrative elements, in particular in the first concept development phase of a project. They oft en use diagrammatic sketches for expressing their stories of use or particular qualities of a space. This card (left) tells the story of how convenient it may be to live on top of a street market: ... you are in the midst of cooking and realize that you forgot something ... then you just rush downstairs to get it.
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This drawing (right) communicates the idea of visitors leaning and sitting in the faade of a building - the faade as something that you can lean on (belehnbar), or that you can sit on (besitzbar), this idea of the lounge. Creating narratives is an important part of the formation of interaction designers in Malm. Here the students present their work using video cards. The collage depicts situations were technology is troublesome.
Artists and architects have found a great diversity of ways of introducing narrativity, some of them using technology, among them, again Lozano-Hemmer and Janet Cardiff or the installation moderate:witness.
Tempo - rhythm
This quality is to do with scaling over time stretching events or living in 15 second worlds which are used in the installation moderate:witness to introduce rhythm into the space. Although not directly observed in the fieldwork, the temporal structuring of the design process is an important feature of the work. Different activities have different temporalities. While some are contemplative and slow paced, others are speedy. Time is an explicit parameter in the Malm School and tasks are timed in hours, days or weeks. This gives students the opportunity to probe different rhythms and levels of intensity. There are phases of tension and relaxation in the process of work. A phase of nonintentional browsing and cruising may be as important as a phase of concentrated work under time pressure.
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The architectural space

The spatial qualities
An architectural space is not static, it constantly changes with peoples activities. The notion of use -as event (Lainer/Wagner 1998) emphasizes the changing, evolving, temporary and sometimes performance-like character of activities in space. It is resonant with Bernard Tschumis idea of architecture not as an object (or work, in structuralist terms), but as an interaction of space and events. His ideas revolve around choreographed, cinematic moveme nt (in time, through space), and through this he arrives at an alternative way of looking at the materiality of architecture as in its solids and voids, its spatial sequences, its articulations, its collisions (1981, in Nesbitt 1996, p. 159). At the same time, a space is not neutral, it is a space for something, being furnished with specific practices, artefacts, symbols, knowledges, and ideologies. It provides actors with a 'view from somewhere' (Haraway, 1991), a special vision. Dorothy Smith (1990) emphasises the possibility to locate and identify positionings as a precondition of knowing. A particular script, she argues, can only be produced at a particular place. This notion of space as shaping social practices on the one hand, being constantly changed by the people who inhabit and use it use as event on the other hand, needs to be kept in mind when thinking about how to implement particular qualities in the spatial design.
Among the qualities which the architecture of the ATELIER space should embed, are: Ephemerality the possibility to create transient impressions, e.g. by producing moving images, blurring, distorting, creating layers. Configurability the space as a workshop with the possibility to program it for varying uses: for individual as well as cooperative work, for working with computers or building a model, for performing and relaxing. (Re)programmability the possibility to test out things, perceive them in a different context, e.g.
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To paint the floor with a light blue colour in order to be able to experience that a light blue floor is something comfortable, not something cold or disturbing (Anna Popelka)
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Connectivity with medial and real windows onto the outside world. The space that was selected for the ATELIER project w ithin the Academy offers some possibilities for creating these conditions. It is located in one of the four towers of the Academy building that was constructed by Theophil Hansen. It is far from perfect and cannot do everything. For example, it has no windows, with the light coming in from openings in the roof, and it has no natural ventilation. However, the lack of perfection, the spatial constraints are important, since they stimulate activities, the creative appropriation of the space, its re-programming for changing events and needs.
Architectural examples of learning spaces

The architects thinking about the ATELIER space has been influenced by a diversity of architectural projects. We want to mention a few.
The Site Office

Some architects and urban planners, such as Robert Mull, create their office at the site, turning the site into a planning space. The physical presence of the context - being exposed to the genius loci influences the planning process. Also having to cope with the problems of setting up a temporary office may become part of the process, when the architects needs to reprogram the site for the requirements of their own work (Photo con: Projekt: "Start Down" (2001), Linz).
Cruising - mobility
There is an increasing number of examples of mobile offices, where the nomad worker travels the world with the Internet in his/her backpack (Projekt =Multi Mind 2000). One of the earliest examples is Hans Holleins bubble office. The trolleys that have been shown as part of the Workspheres exhibition at the NY MOMA are high-tech versions of it. Mobil trumen (dreaming while being mobile, NL architects) transfers any place, including the metro, into your own living room.
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Zeichensaal, TU Graz
The Zeichensaal (drawing space) at TU Graz is a well documented student project. The basic idea is to provide the architecture students with a multifunctional space which can be adapted to varying needs. Its main feature is its workshop character students can do anything, from sketching, drawing to building models. They, for example, used the regular floor pattern as a ruler for measuring. Another feature is the possibility to personalize the space. Students brought an aquarium from their home, turning the space into a stage. Installing a TV set and a kitchen space made the boundaries between work and living fluent.
Sound Lounge, NL-Architects, Biennale di Venezia 2000

This installation private city/public home by NL architects was set up in a large space. This hybrid of a public living room was meant to be a space for experiencing music, film, photography, and the Internet. By creating individually programmable sound spaces and focusing them onto the seatings, the architects produced a diversity of small places within the space (Biennale di Venezia 2000).
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Media Floor and Media Ceiling, Expo Hannover 2000

This project of Jean Nouvel and others at the Expo 2000 in Hannover under the theme of mobility points at the possibilities of mediatizing all basic parameters of the space, including floor and ceiling. In this longest cinema of the world projectors and mirrors create the effect of a 3D movie (Nouvel 2000). The design of the PRADA shop or Herzog-de Meurons Kramlich Residence also experiment with this possibility. Turning unusual places into a screen for projections not only increases the space for doing things, it also helps create stimulating experiences.
Constant, Experiment Studio Rotterdam, 1966

The construction of the Experiment Studio (Constant 1974) was the nearest that Constant came to testing his theories of direct sensory stimulation through architecture. "Constants plan for Experiment Studio Rotterdam motivated ideologically. The key intellectual manoeuvre was to think of architecture as a medium rather than as the art of shelter. Architecture mediated between the individual body, the social body, artificial sensations, and nature" (Sadler 1998). The areas as shown on this floor plan were designated for 1 documentation room, 2 sound room, 3 bending-over room, 4 metal space room, 8 crawling hallway, 9 smelling room, 10 module hallway, 11 workshop. With this construction Co nstant created an experimental space for the homo ludens, reflecting the situationists ideas of life as a play, or what Mc Luhans book Understanding Media of 1964 projected as the future.
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The stage like structure which floats above the ground reminds of the 20s, when Moholy-Nagy worked with projections of moving light for creating surprising effects on the stage, like in his stage designs for Piscator (Gropius 1934). Digital media introduce additional possibilities. They allow architects to play with rapid changes of scenery, mobile furnishings and sequences of (coloured) light, in similar ways as in the theatre. Enrico Prampolini (1915) has coined a concept for this process of mise-en-scne lets create the illuminating stage: luminous expression, which with its emotional power will irradiate the colours needed by the theatrical narrative (quoted in Brauneck 1993, p. 97). At the core of this notion is to use technology for producing and communicating specific spatial qualities light, movement, rhythm. (Lainer/Wagner 2000)
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The Space Frame

The Space Frame has been installed at the Academy of Fine Arts in Vienna. It is the first prototype of an architecture for an inspirational learning environment. The idea was to create a simple infrastructure for placing, hanging, and displaying elements, horizontally, as well vertically. The grid which has been mounted on the ceiling supports the visualizing, scaling, colouring, etc. of spaces, objects, and people. A sliding-door systems provides the space with frames for multiple projections and for layering walls. The frames serve for hanging textiles and other materials, objects, plants, etc.
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Fixing elements turn the walls into spaces for attaching objects. As a next step, the floor will be re-designed, with e.g. small platforms, allowing to position objects at different hights or on an inclined plane.
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This simple infrastructure will help set up the experiments with gradually more integrated scenarios and prototypes
A first inspirational experiment

The architects con: Bernd Knaller-Vlay, Heidi Pretterhofer and Dieter Spath set up their temporary office within the ATELIER space, where they are currently working on the design of a two-family house for which they use a pavilion typology. They tested the basic infrastructure of the space. The large working table is filled with design material: a variety of working models, some simple sketch models, other more elaborate ones, plans, books, pictures, sketches.
Sitting at the computer cre ates a spatial situation of working with three layers simultaneously the computer screen in the back of the room, the large working table which can do almost everything in the middle, and the grid. The architects watched a series of videos by Charles and Ray Eames. The grid with its layers produces a spatial experience of the video, with the size of the projection turning the office into a movie theatre.
The architects started working with a collage of pictures of the site which provides an almost panoramic view. With a view on the video, which showed how the Eames Case Study house with its garden elements is inhabited by two playing children, they experimented with views from their model onto the surrounding green. A next step would be to superimpose a projection of the most interesting vista onto the model, scaling it, so that one feels almost immersed. Another stimulating experiment would be to produce selective views, going back to their design and re thinking it.
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The architects already collected a lot of association material and Dieter Spath keeps a diary in which he notes down all his ideas, including the ones he has when cruising the city on his bicycle. Waiting the other day close to a tramway stop at the Ring in Vienna, he made pictures of his impression of a roof which is transparent, hardly visible, with fuzzy borders. Again, the architects imagination is supported by projections onto the grid which provides a sense of scale and spatialness.
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Future scenarios
Future scenarios are a technique used in participatory design. They offer descriptions of future practices, helping all the participants to envision how a technology may enhance current work activities helping users to improve their practice and/or do entirely new things. Future scenarios are often based on intense fieldwork and its joint analysis. Constructing a scenario may include acting out scenes of current or future envisioned work activities as mutual education into work practices, technology constraints, and new possibilities. Building scenarios can encourage reflection during design, they are concrete yet flexible, and they can be easily revised or extended. They can be viewed from multiple perspectives. The following future scenarios have been constructed around four sets of practices that the ATELIER project seeks to support: Configuring a place, a team, design material, tools ... Connecting and augmenting design representations, physical objects, spaces ... Re-programming a site, material, tool, object, interaction ... Cruising a city, ones dreams ...
Integrated into the scenarios are first ideas about how to make use of the technologies - components and component assemblies that are developed as part of the ATELIER project. While some scenarios are quite concrete and focused, others are more complex and unfinished. Experiments with the technology prototypes in real learning situations at both, the Academy and the Malm School, will be needed to further develop these scenarios, eventually creating new ones.
Configuring
The configurable space Each new project requires a new spatial configuration. The wish for controlling the environment was very explicit among the students. Ideas varied from moving furniture around to more abstract ideas of a varied topography. Its partly a question of personalizing the space, but also a part of the collaborative process where the group will develop a common identity.
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The scenario starts with the students entering the ATELIER space to build up their own project space. An important experience is that a perfectly furnished space is often not the best solution to creative work. The students need to appropriate the space, struggle with its constraints, finding their own interpretation and set-up. This is why they find the space completely empty. Furnishing elements can be found in a prop store which may be an adjacent space. However, we also may use spatial layers within the ATELIER space, such as the wall, for storing furniture. This Interactive wall (see sketch) has things to pull down or to push up. Other things may be pulled down from the flies under the ceiling.
The prop store contains all kinds of typological furniture from different contexts (such as settee, cinema chairs, etc.), old and new, neutral and specific, simple and designed. There may also be a set of implantations, such as ladders, platforms, moveable walls, etc. The technology components can be found on a shelf.
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Setting up ones own project space becomes one of the first opportunities for reflection. Being able to configure and personalize is part of opening up the design space. This includes playing with different contexts and media. Design metaphors will often play a large role in this search for identity and conceptual understanding of the design. Keeping the metaphors, in digital or physical representations, projecting them onto the walls, could be of importance. The stage The stage supports exploring context, simulation, and presenting design ideas. By enacting design ideas in a collaborative setting, ideas of dramaturgic expression could be brought into the design process. Supporting use of the whole body could enhance the understanding and experimentation especially with tangible interfaces. It could also allow the use of physical props such as mock-ups or other objects that affects the design. Creating an immersive environment with video projections onto the grid could support enacting in changing environments, such as students inviting others for dinner in a building they have designed, changing place (e.g. from the dining room to the kitchen), changing scale, colour, and lighting. The props for the scenario are the grid, large wall display, moveable display/whiteboard, moveable projector, moveable speakers, the texture brush, early mock ups of design idea, web cam, tags and reader, etc. A group of designers is working on a tool for supporting children making music, they are trying out different environmental settings on the large wall display, while using primitive mock ups they enact situations of use. They are playing with non-existing toys in simulated settings. The group has already decided on the basic technology and has a strong concept of building a tool for children making music by physical interaction. They would like to place it in a playground but have not yet decided on the physical form or on the
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different modes of interaction. They use the stage as a means for trying out different ideas. On the large wall display they project different videos from playgrounds. By placing out different paper mock ups they create different settings in which they act by role playing. Mock-ups can be enhanced by tags as to carry further information about them. They try to envision different characters and by trying to create breakdowns in the scenarios, they can gradually refine their ideas. Since the design concerns a physical interface for children they think that both form and surface structure is of great importance and uses the texture brush to paint different surfaces on differently shaped mock ups. The soundscape of the environment will affect the tool and they have made sound recordings, which they play in different settings. Since projectors and speakers are not fixed, but moveable, they can try out many different variations. They have discussed how jazz musicians improvise in groups when they developed a common conceptual understanding of the design and have several videos that they can project on moveable whiteboards close to the wall display. These recordings are roughly edited and are already tagged and so they can easily be played. One of the members in the group have found a book about antique toys and by placing the book in front of a web cam they can have still images projected without the tedious work of scanning the images. They decide that when they have a functioning prototype (which probably will be too fragile for outdoor testing), they will use the studio for a workshop with some children. They also plan to record a video-scenario based on a performance on the stage as a kind of virtual mock-up for further discussions with users. The collaborative space It is a great advantage to have each other as resources, to in the design work obtain knowledge form each other but also to reflect on each others ideas. The primarily goal of the collaborative space is to provide condensed collaborative group work and to support individual ideas to evolve. The room could be a tool to emphasize focus and concentration as well as a way to develop a common understanding of the design material. There are different architectural approaches to support the switching between solitary and collaborative work. Publications about office furniture discuss these approaches, providing exemplary solutions, such as the Personal Harbor Workspace by Roberto Luchetti Associates a fully equipped cell made of sliding curved doors with frosted glass windows that give complete visual, acoustic, and territorial privacy(Antonelli 2001, p.93). Cutting out space particles from a larger space, so that they provide temporary shelter for individual work to be removed easily can be done in many different ways. Students may wear helmets such as in Mobil trumen by NL architects that isolate them acoustically, they may pull down small cubicles from the ceiling for visual protection or use a phone booth.
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The props for this scenario are: individual digital worktables, displays, projection walls, shared digital worktable, headphones with microphones, helmets, phone booths, working cells, etc. The scenario starts in a special combi office with four (or more) cells, separated from each other by walls. The rooms are dark, quiet and comfortable. In each room there is a chair that could be adjusted in to different positions, a digital work area to write and sketch on and projection walls.
In the isolated room it would be possible to concentrate intensively, without distractions from outer world (mobile phones, other groups conversations etc) and submerge in to the individual mind as well as associate on other group members reflections and ideas. When one student sketch or write something on her worktable, the other members can see, comment it and/or add something to the sketch. The verbal communication is performed by the use of headphones with a microphone. When the group decide to stop the brainstorming session they can turn the chairs around towards the common digital working table in the middle of the room and continue to work on the material. This could be a relaxed way to conduct brainstorming sessions with no influence form the outer environment and to fully concentrate on the task. It could change the way in which the group normally function and work, give room for new ways of interactions and to open up the discussions into new directions (the possibility to inspire and respond on each others ideas) but also practicing in verbally put forward and motive ideas. The group is placed in the collaborative space, one student in each cell. They have decided to start the design task by a short brainstorming session. Each student adjusts the room setting according to her/his own preference. One student wants to have projections on the walls, an other student chose to have a completely dark room and to adjust her chair so that she can lay down. A student starts the session by sketching on her interactive display. She says in to the microphone that she is thinking of something big and universe and draws a circle. While she draws the other sees her
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sketch on their displays and can add both with drawings and text to the illustration. They comment their actions by talking in to the microphone. After a while when they have produced a few illustrations they turn their chairs around to the common digital working area and browse though the produced outlines. On the table they can perform additional drawings and notions. When they are ready with the work they chose to print out the drawings as well as save them in the project folder. Checking-in at the editing entrance The question of bringing elements of the external world in a vivid way into the design process can be seen as a way of collecting samples. Juxtaposing these samples in different ways thus becomes a process of sampling. A mobile device that supports this sampling would be an important tool. This device could be the jacket that allows for recording of picture, video and sounds. The word entrance signals that the environment should support immediate use of the material brought in, a sort of rough and quick editing. Metaphorically this could be thought of as a kind of airport check-in. You check-in the material you have brought with you, pictures, video clips, sketches, texts, references and physical objects. The material is metaphorically and to some extent literally scanned and tagged for the destination in the studio or project to be picked-up there for further use. In addition scanned and tagged material may be displayed on a public arrival display as a general source of inspiration in the studio. We think of this as a way of pouring the material into the storage while entering the environment. At the same time the material must be available for further editing later on. Entered material can be given persistency in the project by use of tags. An objective seems to be ways of easily attaching media as well as physical objects to the tags. Another aspect of bringing in external inspiration is by connecting the environment to external sites. The props for this scenario are mobile recording device, tags, and an attaching table. The scenario starts with one designer bringing in material from a field trip. He teams up with the group, the material can be used immediately but is later available for editing and categorizing. He has used the jacket for collecting samples from an external site of interest. While entering the studio the jacket is recognized by the attaching table and unique idnumbers are automatically given to the files contained in the jacket. All he has to do is to grab an empty tag from the bowl where there are plenty of them and connect the id to the tag. He writes a quick note on the tag for describing the content and can immediately put it into use in the exploratory game which hes fellow project members currently is playing. Another project member has been sitting at home last night surfing for inspiration in the form of websites he finds interesting. Since he get his best ideas at night thats a common way of working for him. He copies the URLs into a text document and ftp the text file to a shared folder. When he enters the studio the following day he attaches the URls to tags and use them in the game. The idea of an attaching table is to easily attach media to tags for giving them a physical representation (and media to physical objects). In this way they could be immediately used, while still being accessible for indexing later on. The computer in the table could offer very simple commercially existing tools for editing sound and video. It should have a firewire for pouring video into the environment. If possibly it should recognize if the mobile recording device enters with recorded material. It should also be possible to access the network or by ftp for the access of material that have been
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edited elsewhere. The two drawings show the attaching table from above and from the side.
Activity awareness application This is a small additional feature of the ATELIER space which we illustrate using a fieldwork example from the Academy. Learning from Tibet is a project with eight students. Big models are shared around the room. The project is designing interventions in a valley. Students have worked out a general concept together and have chosen a part to develop more individually. Each person has an own desk with own models, some models are shared between more than one person. The working environment is very informal like the hours. Times are set for meetings but they can start one or two hours late. All the student are seldom all together in the room. For example near the project deadlines. Otherwise people work with a loose cooperation,, as they have other activities (other projects, lectures, sport and other hobbies, part time jobs). Interactive systems could offer the possibility to be connected with what is happening in the room. To know if somebody is working on a part of a model that is particularly important for example. Or simply to know if somebody is in the room working. Vincent is biking from the swimming hall to home at 18:00. He checks through his mobile device the activity in the room to see if it is worth visiting the Academy before going home. The system shows the presence of three students currently working on the shared model. He decides to pass by the room before going home. The week after Vincent decides to set awareness alarms instead of checking frequently the situation in the room. The system is sending him an SMS when more than two persons are discussing around the shared model and if somebody touches the model that he is developing with another student.
Connecting and augmenting

Starting point is the observation that students simultaneously work with different representations in different media, each allowing to explore different aspects of a design, each with its specific combination of abstractess and concreteness. This is an important aspect of design work by changing representations and media you switch perspective, focus on particular aspects, learn about the strengths and weaknesses of your design. In this process an enormous amount of material is created.
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The following scenarios, some of them very specific and small, address the needs connected with handling the enormous amount of design material. The sea of design material A strong wish for access to project material was observed among the students. One aspect is the value of creating an immersive mass of design material that is present in the design situation. The transference of ideas through different media is essential to the design process. Strategies for engaging in the material are very different for designers. Therefore freedom of arranging and changing is important. Having the design material physically present so that it can merge with the ongoing design work, visible also to passes-by who are invited to comment, is an important aspect. However, when the project has no dedicated space, the process of re mounting project material for every session gets cumbersome. Therefore session saving is an important issue in the environment. An additional possibility to be explored is to have randomly selected displays of design material projected onto the walls of the ATELIER space or show up as part of peoples screensaver. Since project related material also includes programming code and hardware configurations there is a strong perspective of open source in the metaphor of the sea of design material. To help configure t he sea of design material many props from the Atelier environment can be put in use. By using the Materialkammer a project can explore the different materials used in earlier projects. By using the attaching table from the editing entrance they can add and arrange new material. Browsing the physical sample collection (physically or from a database (similar to the ideo-box)) they can also find inspiration material. The architects are also thinking about alternative ways of remembering material. One way could be to use them as objects and this in a different way. Waste material could be shaped into elements for storing things, as seat, moveable walls or shelves, furnishing the ATELIER space. The props for the following scenario are: multimedia- database, physical sample collection, attaching table, Wunderkammer, Materialkammer, editing table, wall displays, tags and tag readers. Selection/pointing/annotation device. One possible scenario starts with a group of designers working on concept for a particular project, going back and forth in their project timeline; they choose to have certain material in constant presence (reminders). Other material is often substituted; concept grows from metaphor to explicit picture. They engage in both physical and digital material. Physical objects are enhanced by tags as pointers to information about them. The sessions are saved as to give no interruptions in form of packing down and remounting project material. Often media is layered on top of each other and there is an ease of juxtaposing by physical interaction. Use of bookmarks supports iteration in process. Access to material from other similar or quite different projects can help achieving different perspectives on the own ideas and concepts. Browsing through this other material is a sort of cruising ideas and inspiration. The environment can in some sense be seen as a sea of design material; that which is project specific and the total mass.
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Creating a documentary of a project During projects student develop constantly new representation techniques. Moreover projects can be important items in a student portfolio especially if prizes are won and I external reviewer participated in the evaluation. The project work of student is of interest to the Academy and to other student as well. For these reasons it could be important to document projects. The system could help to build a documentary little by little making it easier for student to input media before that material gets lost.
The documentary of the project as a media path to access clips and other digital files. Attaching digital media to physical models
Current Models.
Current 3D models are sometimes augmented with pictures depicting situations as shown in the two stills below. Digital media and tags give the opportunity to augment 3D models with audiovisual material. The advantage of digital representation is that they can be played interactively and to highlight details in a timely fashion. On the other hand the advantages of analogue and physical representation as the pictures in is that they are displayed the whole time all together and they are easy to use. We have identify four moments of interaction with diagrams or models that can be supported by interactive systems: Leaving and find digital media messages on models Performing presentations with the aid of interactive audiovisual material Simulation and experimentations of alternative sequences Painting and scaling models
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Pictures on 3D models
Digital messages on the models

Learning from Tibet is a project with eight students. Big models are shared around the room. The project is designing interventions in a valley. Students have worked out a general concept together and have chosen a part to develop more individually. Discussion are frequent as the project develops negotiating solutions for unexpected problems and ideas. Peter, one of the students, has found some material in a book concerning the walking path that connects all parts together. Before leaving Peter attaches a media message on the model w ith a tag showing everybody a picture of the book and the page and an audio message saying I have found some material for the path its in a book on my desk page 154.
Peter leaves a multimedia message on the shared model Later the same day Albert comes back with other students. Albert sees the new messages on the model and points it to the other student. Albert takes a PDA in his hand and plays the message by passing the PDA near the red message tag.
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Albert plays the multimedia message on the PDA, Gadgets: PDA, tag reader, tags, media database.
Augmented storytelling
Often students perform their presentations and discussions around models.
The diagram linking the profile of interviews and the map Anna is working on a project where an inner courtyard is being redesigned. She went to interview people around in the streets around the courtyard. She developed a diagram linking some textual information that summarizes the interview to the place where the persons have been interviewed. The link is done with colored pins and threads. Anna is now performing a presentation on her diagram for the assistant in a weekly review. She has tagged part of the models and attached digital material that can be played through a PDA.
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Anna is presenting her diagram activating clips with her PDA She moves the PDA near the courtyard in the map and a video clip is shown of the courtyard on the PDA. She then starts to describe the interviews. She places the PDA near the interview profile of a young couple, and a video is played of a part of the interview. Gadgets: PDA, tag reader, tags, media database.
Simulating a walking path

In the Mbel Leiner project the objective is to integrate the faade of three buildings owned by a furniture shop. The faade is a combination of paths and rooms through several area, it is an interface or threshold between inside an outside. The students (T and V) are developing a lot of artifacts concurrently, producing during the project several versions of models, drawings collages, etc. These artifacts are linked together, some like the collages are called by the students and professors association materials. Not only the artifacts are changing simultaneously but also the way in which they are linked can change. A drawing depicting a person on a comfortable surface is not always linked precisely to a specific point in the faade. T and V know that they wanted to have a caf, an internet corner, and other things but their disposition will become stable only towards the end of the project.
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Several representations developed for the faade Verena wants to attach digital media to different section of her faade. She then wants to simulate the walking through the faade experiencing atmospheres through sounds and pictures projected on the wall. The environment is in developing mode. Verena activates one sensor in the model to create a new association. When the environment will be in playing mode and the sensor will be activated then the environment will play the picture and sound.
Verena wants to associate media to a part of the model.
a) With the mobile devices she chooses to associates a picture through the tag reader. B)Verena browses the system in search of a recorded sound she took at the site. She associates the recordings also to the same part of the model
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a) Verena navigates with her finger the model. One part has drawings and dialogues, b) Another part has drawings and music
Another part has pictures and sounds Gadgets: touch Sensors, PDA, media database.
Painting and scaling models

Students use all kinds of material for building models. Sometimes the choice of material itself plastic sheets, cardboard, pieces of glass or metal, wood, etc. directly influences their thinking about appearance and building materials. Very often this relationship is quite abstract the material helping to envision particular qualities.
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Being able to experiment with textures and colour on the model, eventually blowing it up to (near to) full size may help students to arrive at a clearer understanding of their choices.
The main prop for this small scenario is the texture brush. The students first use it to apply different textures onto their model, using the brush. One student brought samples of textiles with beautiful patterns. The students pick up some of these patterns with a scanner camera and apply them, scaling them up and down, projecting the changing model onto the grid. They start using differently coloured light, producing a sunset and a rainy day. These exercises help them re -read their design, to understand the role of light, colour, and material and to better integrate these parameters into their design concept.
Re-programming
A crucial design skill is the ability to develop a concept -based understanding of a design. This requires to mobilize, extend, and flexibilize the design idea (which may be represented in a first sketch, model or textual description), in a process that helps reprogram the facts and generate a different view. This different view rests on the designers ability to perceive the novel within the familiar, to discover relations between seemingly incongruent objects and notions to relate the unrelatable. There are quite a few fieldwork examples pointing at re-programming. For instance, students reinterpreting the entrance into the Malm School by turning it into into a change room and a space for reflection upon choices. An architectural approach to reprogramming a door may be to make the door very deep - you all of a sudden may want to use it for different purposes. Other examples are the students projects for a Fitness Centre in a high rising building e.g. inviting mountain bikers in, varying the temperature in the building so that different training conditions are provided. Part of the architectural students training consists in learning to see things differently. This implies changing familiar images, mutating the city, the landscape, objects of everyday life. An example from teaching is to think architecture as a nature disaster. This may be interpreted phenomonologically (things drifting, dissolving, borders being removed, camouflage, etc.), formally (waves, wood washed ashore), as well as socially (how to create protection, change living conditions, etc.). We have identified three ways to support re -programming: creating a dream space where atmosphere can be produced and changed, a display space that helps see things differently, and engaging in exploratory games. The dream space Jonathan Crary points at the need for provisional and flexible strategies of adaptation and imagination outside of the enforced rhythms of high-tech consumption, arguing
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that the continual emergence of new thresholds at which an institutionally competent subjectivity veers into something dispersed, unfocused, and non-productive, in forms that we could call passive non-compliance. These are experiences that hint at a wide range of noninstrumental and deviant interfaces (Crary 2000, p. 144). The daydream has a crucial role in producing the kind of non-intentional, emotional experience that escapes easy categorizations. The dream space is a particular state of the ATELIER space, when activities focus on the production of atmosphere and emotion. Main props are the grid with its projection facilities and the Materialkammer. The idea is to create different atmospheres, to sharpen ones senses, to stimulate sensuality. The dream space is like a non-dangerous drug. Themes that students may explore in the dream space are e.g. an alpine panorama, Meeresluft (ocean breeze) or diverse materialities. As part of these experiences they may train themselves in sitting on the train and changing the colour of the passing landscape, cutting edges into the mountains, transforming treetops into glass. The sensual experience of colour, light, wind, and images influences the design process. Students may want to view their models in the light of the setting sun or in the midday heat. The Materialkammer allows them to e.g. produce a rainy storm in the forest and then let it turn quiet with the sun falling in. The display space This scenario is to do with how to use grid, display facilities, texture brush, and mixed reality tool for more systematic explorations of objects, contexts, and atmospheres. The grid provides the space with frames for simultaneously projecting onto different layers. This is a simple but quite effective immersive environment. Students may e.g. place projections of different objects or people on different layers in the space, walk through, playing with size and distance. This is an example of exploring through simulation. There are different possibilities of using the display space for re-programming: Students may vary the context of an object through simple projections, e.g. place a railway station in the midst of a jungle or igloos in the desert (without having to do complex renderings). Technological perfection may be counterproductive, as the blurred image may help arrive at a different interpretation. Seeing things differently may be supported by looking at an object or site from an unfamiliar perspective from a birds eye view or from the height of ones knees. Simple scaling up and scaling down changes familiar objects, helping to see entirely different uses. The mixed reality tool would support the simultaneous viewing of real and virtual objects (you project an image of an object onto a semi-transparent screen and for the viewer real and virtual objects are in the same space). Another set of activities is to do with changing atmospheres. Students may use selective projections for painting light on parts of a model and adding bright red colour to another part.
Exploratory games
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Supporting exploration of the context of use would be an essential property for the interaction design students. This exploration is important for the definition of the problem, which is objective for the design assignment. The game played by the students during the participatory inquiry process is close to the situation we envision. Other examples would be the card games that have been developed by the architectural students as part of AMuse.
In addition to using media relevant for the context of use, any media of inspirational or otherwise interesting nature could be tagged and used as gaming cards. We conceive this as a collaborative process that can be carried out by a group of designers or in participation with the users. It is also a question of seeing situations of use and modes of interaction from different perspectives. One way of working could be by cycling through different situations, and bookmarking them, thus allowing iteration in the negotiation process. Another way of working could be to develop scenarios (using video clips, references to commercial products, voice over, etc) as a way to create a shared view on the design task. The props; a game board, tagged media representations, bookmarks, tag readers, tags, Annoto pen/telephone input, display with stereo projections. The setting; A group of designers is w orking on how to improve the intranet, which is little used, for an office complex. They have done a lot of fieldwork and have a collection of video clips, still images and recorded interviews. While using tagged representations of media on a game board they negotiate the meaning of different situations of use. The tagged media representations allow instant playing by physical interaction. The group is seated in a semi-circled sofa with a large game board-table in front. A tag reader enhances the table and the gaming cards are tags in the size of credit cards. The cards are divided in two areas, one with a picture and the other with an empty field for writing on. By placing the tag/card on a section of the game board the media is instantly played. If the media is visual it will be projected on a large display, which is placed in front of them. The display looks like the cards, i.e. it is divided in two halves, one for displaying visual media and the other one is used for writing or sketching. They take turns in laying out cards 3-5 at the time, telling small stories of use. Every now and
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then they play/output cards as to enhance their storytelling. The tagged cards are mostly video clips from the office or recorded interviews. But one in the group has spent the previous day to edit clips from commercial movies which he finds interesting. He has tagged these clips at the attaching table which is close to the entrance in the room and uses them in the game. They also have some still images from commercially available products that are relevant. These images contain links to the companys web site for further information. While playing, different stories of how the information is used in the office emerge. Every now and then they make a pause in the game and uses an Annoto pen (or telephone input) to write some notations on the notation part of the display. This is convenient since they dont have to get up from the sofa but still shares the same view. Sometimes when they have interesting stories laid out on t he table they use a bookmark-card as to preserve the current cards laid out. The table recognizes the id of the cards and they can later go back to that setting. Sometimes they uses an mini-disc player to record the voice of a non-existent office worker in a fake interview. At the attaching table they quickly edit a sound file that is tagged and used as a new game card. While playing they find out that in the office the intranet is used in combination with traditional pin up information boards and gets the idea of building an electronic bulletin board, which is connected to the intranet. The continue the game with a selection of cards, but now with the aim of building a scenario
gamers
game card
display
the setting from above
Cruising
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Students carry a lot of ideas and material from their daily travels between the home and the studio as well as from outings to particular places. Preserving this material and making it available to ongoing work are crucial needs. The Jacket: supporting visitors in creating a media path
General Description of the Jacket

The main goal of the Jacket is to support a person during a visit to create a personal perspective of a place. The Jacket helps collecting information from sensors and combines it with information of time and visitors actions. Information from sensors, like location, direction, temperature etc., is stored keeping track of the time dimension. Moreover particular actions of the visitor are also recorded (like taking a picture) and they may trigger the re cord of particular information (like the direction of the photo shot).
During the visit the information is stored in the iPaq, the information is later used ion the Atelier environment
Scenario of a visit
The jacket is a machine that supports people during visits to create a personal perspective of places of interest. The perspective is materialized in the Atelier environments in an animated media path enriched with sensorial data. The personal perspective is created during the visit through a performance. The visitor performs a path taking pictures having conversations and performing other actions. The jacket aims at amplifying the performance of the visitors by combining information of the walked path with sensorial data and audiovisual material. The jacket has a component in the atelier environment to represent, share, and manipulate the perspective. The important aspects of the jacket are: Create a personal perspective Collect sensorial data Amplify the performance of the visitor Create a representation that can be manipulated
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The component in the atelier environment is important to: Share the perspective collaboratively work on representation combine the animated media path with other representations
An interesting issue behind the originality of the jacket is the concept of intervention. The visitor is not just able to record in mechanist sense information on the environment. The visitor is able to perform an intervention that can be represented, amplified and manipulated.
The first version of the Jacket Peter is visiting a square to collect material and design a new square. He follows people around to understand how they live the square. Peters records his paths, interviews pictures and sounds, other information with the Jacket.
Peters wears the Jacket during a visit Peters starts following a young couple. The couple enters the shop. Peter interviews the shop owner. He then walks to the children playground and records sounds of
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children playing. He then follows a women with a child. They arrive at the bus stop where he takes picture and sounds of the bus.
In the Atelier environment a media path is created Peter goes back to the Atelier environment in the entrance the information of the walked path is transferred in the system. The information from the sensors is attached on the media path. The values recorded from the sensors can be represented with different color variation or volume of sounds. Peter chooses to represent with the volume of a music the value of the luminosity when playing the path.
Information from sensors and audiovisual material compose the media path.
Peter combines the media path with a drawing of the planned square. Peter deforms the path to adapted to the new square. During the programming of the new sq uare he can then play and edit the animation to explore different ideas.
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References
Antonelli, Paola ed. (2001). Workspheres. Design and Contemporary Work Styles, The Museum of Modern Art, New York. ARCH+, Zeitschrift fr Architektur und Stdtebau 157, September 2001: Sobeks Sensor oder Wittgensteins Griff. ARCO 02 (2001). Feria internacional de arte contemporneo, Communidad de Madrid. Biagioli, Monica (2000). Janet Cardiff- The Missing Voice, Artfocus Magazine, NYC, Spring 2000. Boissire, Oliver (1992), Jean Nouvel, Emanual Cattani et Associs, Studio Paperback, Artemis Verlag-AG, Zrich. Bscher, Monika, Kompast, Martin, Lainer, Rdiger, Wagner, Ina (1999). The Architects Wunderkammer: Aesthetic Pleasure & Engagement in Electronic Spaces. Digital Creativity 10 (1), 1-17 Crary, Jonathan (2000). Untitled remarks, In Joan Ockman (Ed.) The Pragmatist Imagination. Thinking About Things in the Making, Princeton Architectural Press. Diller E., Scofidio R. (1994). Back to the front, Princeton Architectural Press, Princeton NJ. Diller E., Scofidio R. (2001). Flesh the body of architecture, Princeton Architectural Press, Princeton NJ Gropius, Walter (1934) Theaterbau. In Gropius, W. (Ed.), Apollo in der Demokratie. Kupferberg, Mainz/Berlin. Gullbring; Leo (2002). Prada SoHo, Interir magazine 3. Koolhaas Rem, OMA/AMO (2001). PRADA work in process, Foundation Prada, Milano. Haraway, Donna (1991). Situated Knowledges: the Science Question in Feminism and the Privilege of Partial Perspective. In Dona Harawa (Ed.), Simians, Cyborgs, and Women. New York, Routledge, pp. 183-201. http://backspace.org/ , 19-08-2002 http://prixars.aec.at/history/ , interactive art, 19-08-2002 http://www.abbeymedia.com/Janweb/muenster.html , 19-08-2002 http://www.abbeymedia.com/Janweb/muenster.html , 19-08-2002 http://www2.alzado.net/evinformacion.html, 19-08-2002 http://xarch.tu-graz.ac.at/home/rafael/fear/ , 19-08-2002 http//:www.manovich.net/
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Huffman, Kathy Rae (1997). Alternativer Netzzugang an der Themse, Backspace, ein Raum in London und ein Modell fr Private-Alternative-Partnership, Hefte fr Gegenwartskunst III/2. La Biennale di Venezia (2000). Citt: Less Aesthetics More Ethics, Marsilio: Venezia. Lainer, Rdiger, Wagner Ina (1998). Connecting Qualities of Social Use with Spatial Qualities. Cooperative Buildings - Integrating Information, Organization, and Architecture. In Streitz, N., et al. (Eds.), Proceedings of the First International Workshop on Cooperative Buildings (CoBuild'98), Lecture Notes in Computer Science. Springer, Heidelberg, pp.191-203.. Lainer, Rdiger, Wagner, Ina (2000). Silent Architecture Narrative Technology. Digital Creativity 11/3, pp. 144-155. Maholy Nagy L. (1961). Vision in Motion, Paul Theobald Press. McLuhan, Marshall (1964). Understanding Media Nesbitt, Kate (1996). Theorizing a New Agenda for Architecture. An Anthology of Architectural Theory 1965-1995. New York, Princeton Architectural Press. Nouvel, Jean (2000). Mobilitt, ARCH+ 149/150, p. 88-91. Prampolini, Ernst (1993) Futuristische Bhnenbildnerei. In Brauneck, M. (ed.) Theater im 20. Jahrhundert. Rowohlt , Reinbek bei Hamburg, pp. 96-98. Projekt =Multi Mind (2000). Kunst+Technik, Berlin 1999, ARCH+ 152/153. Riley, Terence (1999), The Un-private House, MOMA, New York. Rumpfhuber, Andreas, Sdout z, Franz (1997). SPATIAL.gestalt.UNG, In Charlotte Pchhacker (Ed), film+arc.graz, 3. Internationale Biennale, Graz, p. 102 Sadler, Simon (1998). The Situationist City, MIT Press, Cambridge MA. Schrer, Oliver (2002). RealityCheck8- beige. Bro fr mediale Architektur, In Architektur&Bauforum 218, May/June, p. 45 Smith, Dorothy E. (1990). The Social Organisation of Textual Reality, In D. E. Smith (Ed.), The Conceptual Practices of Power. A Feminist Sociology of Knowledge. Boston, Northeastern University Press, pp. 61-80. Zschokke, W. (1999) Rdiger Lainer. Urbanism, Buildings, Projects, 1984-1999. Birkhuser, Basel/Boston.

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Atelier

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Purpose of the document

Learning from inspiration in art/architecture

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The nature of inspirations

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The role of inspirational objects

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Annika Nyst rom

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Examples from art and architecture

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Electronic Lounge, Festival Zentrum & Netzkunst Ausstellung, Architects: beige

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