The Information Designer
To design the design to production process is the new task for the expert formerly known as the architect. The new architect acts as an expert member of a swarm of experts, there is no explicit leader throughout the whole process, there are only temporary leaders for a certain task in a certain phase of the project. Customised, transparent and verifiable information exchange between the members of the design to production swarm - as from the very initial phase of the project - forms the basis for a lean cooperation securing an integrative approach of the design to production process. The new architect is an information designer who designs the design process to start with, linking data to geometry throughout the whole process from concept to operation. In the open design game each expert becomes a co-designer, each of them responsible for expert decisions in their own field of expertise. Clients, quantity surveyors, users, climatic engineers, structural engineers, spatial designers, interaction designers, material designers, robotic designers, front-end application programmers, all are considered to be experts in their own field.
The expert formerly known as the architect is the designer of open design systems, open for participation by end-users and experts alike. The spatial expert designs the comprehensive design process rather than a fixed end-product, while at the same time the spatial designer becomes a product designer. This new kind of product is not so much an end-product but rather a systemic framework of all possible products within a certain range / bandwidth of possibilities, though clearly with an explicit character, which is the signature of the new spatial expert, the expert formerly known as the architect. In the open design process the new expert uses parametric design tools, while programming and scripting methods are exploited as to link the design to the robotic production. The ultimate promise of parametric architecture is that spatial design will become a social game, open for many to participate in. Architectural designs and buildings as fixed end-products are disappearing. More and more built environments will be programmable as to adapt to changing needs and desires. Spatial designs will be developed as fully customisable products, guaranteed in all aspects of planning, quality, performance, distribution and pricing.
Kas Oosterhuis [founder Hyperbody/NGB - NGB session chair/NGB#1 editor]
Russell holds a bachelor in Environmental Design Studies from the Technical University of Nova Scotia, where he also obtained a master’s degree in Architecture. His research encompasses Building Information Modelling, Intelligent Buildings and Ambient Assisted Living. He is no stranger to TU Delft: in 2010 he chaired the Research Evaluation Committee for Architecture and Urban Planning in the Netherlands, which undertook a combined assessment of the research programmes and institutes at TU/e and TU Delft. He was also part of the Organising Committee for the Solar Decathlon Europe 2014, where TU Delft’s 'Prêt-à-Loger' came third.
Another very important project is Funen, a major housing complex in Amsterdam (305 apartments, 3000 m² of office space and underground parking) built in a former industrial zone, a “garden city” combining landscape development with living solutions in a high density neighbourhood in an original and complex way.
Other major projects include the De Landtong residential and commercial development in Rotterdam (1998); urban development of IJburg artificial island in Amsterdam (1999); and the Cap Gemini office towers in Utrecht (2004).
Van Dongen has also built famous musical and cultural facilities such as the Heineken Music Hall (2001), Amsterdam Conservatory (2007) and the Philharmonic Concert Hall in Haarlem (2006).
In 2006 the Royal Institute of Architects of the Netherlands (BNA) presented him with the Kubus Award.
Van Dongen has also pursued a long and prestigious academic career, teaching at several universities including Universitat Internacional de Catalunya in Barcelona.
Ilona Lénárd’s autonomous work is characterized by her Powerlines, strong fast and intuitive gestures that translates into abstract 2-dimensional ad 3-dimensional worlds. Having studied both acting and spatial art she has developed a natural feeling for cross-disciplinary work and has been active in such different fields as work of art in public space, intuitive sketching with the computer, autonomous sculptures, collaborations with architects on the grand scale of architecture leading to large sculpture buildings, interactive spaces, abstract calligraphic paintings, carpet design, and more recently robotic paintings. Products that are representative of Ilona Lénárd’s recent autonomous work are her series of intuitive abstract calligraphic paintings and the Machining Emotion series of robotic paintings that are produced during the Dubai Design Week 2015. Recently Ilona Lénárd has developed a series of unique carpet designs called the FLOW carpets, based on her FLOW paintings, and the Jacquard woven tapestries Omniverse series.
He has presented his work at renown museums, festivals, galleries and music venues as SMAK - Ghent, Ars Electronica Festival - Linz, Stedelijk Museum - Amsterdam, V2_'s DEAF - Rotterdam, ICC - Tokyo, NAMOC - Beijing, Transmediale - Berlin, SONAR - Barcelona, Taipei Fine Arts Museum, SFMOMA, FILE - Brazil, SONAMBIENTE - Berlin, Art Basel Parcours Night and Donaueschinger Musiktage.
A Perceptual Approach to Sound and Space
Edwin van der Heide will present different relationships between sound and space while taking the perspective of the (inter)actor. He takes the Water Pavilion (collaboration with ONL, 1997) as point of departure and goes in generative and interactive directions illustrated by his recent work. He will touch upon aspects of physicality, virtuality and presence and take a perceptual approach.
He has set up interaction and media labs in Amsterdam, Barcelona and Maastricht and lectured on interaction at various universities and schools. He has taught in Masters programs such as Architecture, Industrial Design, Cognitive Systems, Interactive Media, and User-System Interaction at universities in Delft, Eindhoven, Barcelona and Sydney.
His interactive audiovisual installations, projections, and performances have been presented at venues in Sydney (Vivid, Powerhouse Museum, Cockatoo Island, Museum of Contemporary Art (MCA), Beams, Night Garden, NG Gallery, and the DAB Lab gallery), Metronom Gallery and the Mercat de les Flores in Barcelona, and STEIM and other venues in Amsterdam.
“spatial interfaces and interactive architecture”
In his talk Sander will discuss the main challenge facing architecture today, a crisis of relevance. Nowadays most architectural designs are produced by young throw-away employees of large firms, a race to the bottom. However, there is hope. Complexity is building in architecure and currently the solution is to fragment complexity in bite-size chunks and farm these off to relevant specialists, but it will not be long there will be so many tiny bite-size chunks one will turn to the architect that can orchestrate the players and the data into a symphony."
Minesweeper interactive design game
Minesweeper is a classic computer game, as while as a NP-complete problem that cannot be solved in reasonable computing time. This short talk discusses the uncertainty of minesweeper game as the lack of sufficient local information, and a global information sharing technique to deal with such uncertainty. Further on, an interactive minesweeper game is introduced, which draws the connection between minesweeper game and computational architecture design.
PluraliCity, how we shape(s) the city.
In most of our projects we take an almost inverted approach to making projects. Getting to know the end-users demands from the inside out, makes our project closely knit to this end-user. Our projects become more specific and explicit, thus more interesting in their intrinsic motivation and raison d'etre (reason of being). If there's no end-user we doubt a projects existence... Starting with the end-user also means there's a commitment from the start, there's a clear goal, a potential financial current to feed the project and minimize risk in a projects feasibility. Instead of seeing the development chain as a sequence of consecutive steps, we rather see the process of spatial development as an integral, synchronous process of direct feedback between the different stakeholders in every phase.
Tomasz has a background in urban planning (TU Gdansk) and architectural design (TU Delft). Before pursuing an academic career, he has practiced for several years as architect and architectural project manager, among others at ONL[Oosterhuis_Lénárd]. As part of his PhD research at the Hyperbody group at TU Delft he investigated tools and methods for iterative designing of interactive and adaptable architectural environments. In his academic pursuits he has always aimed to maintain the link to real-world applications, which resulted in co-founding a start-up company “Hive Systems” developing software for design, simulation and deployment of distributed networks of interactive devices.
In his current work at the IDE faculty in Delft, Tomasz leads the development of the Building Occupancy Certification System (BOCS) as part of the Climate-KIC Building Technologies Accelerator (BTA) flagship program. He is also involved in the Horizon 2020 Open4Citizens research project aimed to support citizens in using open data. His main teaching involvement is in Interactive Technology Design, Interactive Environments Minor and Interaction & Electronics courses.
By adopting digital technologies and developing new applications for existing computer-based design and production methods, true process and product innovation for the building industry can be realized. Digital adaptation of existing industrial manufacturing processes allows us to create mass-customised series of unique components which together form a unique and richly complex end product. By means of adaptive parametric systems we are able create an unbroken digital chain from the initial design to the realized end-product, which allows us to develop infinite variations within the bandwidth of the industrial manufacturing process. Through smart design applications, this process can subsequently be opened up to the client.
In practice, she has used this approach in recognized architectural interiors, large-scale installations and building applications. In academia, she has a wide experience teaching in US and European institutions, where she founded and directed various Master and Post-graduate programs. Currently, she is a Head Lecturer in Digital Production at the Faculty of Technology of AUAS (Amsterdam University of Applied Sciences) and program reviewer for other institutions.
He is member of the Dutch Building Information Council and has been a Member of the Board of Witte de With Center of Contemporary Art in Rotterdam and of the VCA (Computerusers Architectural Offices) until 1989. He has been the co-founder of the Attila Foundation, responsible for the groundbreaking Sculpture City event in 1994 and the ParaSite weblounge in 1996. He has lectured worldwide at numerous universities, academies and international conferences since 1990. Oosterhuis has initiated two GameSetandMatch (GSM) conferences at the Delft University of Technology on the subjects multiplayer game design, file to factory design and build methods and open source communication in the evolutionary development of the 3D reference model. Award winning building designs include the Saltwaterpavilion at Neeltje Jans (Gold Award 1997 for innovative recreational projects, Zeeuwse Architectuurprijs 1998, nomination Mies van der Rohe Award 1998), the Garbagetransferstation Elhorst/Vloedbelt in Zenderen (Business Week/Architectural Record Award 1998, OCE-BNA Award for Industrial Architecture 1996, Aluminium Design Award 1997) and the Hessing Cockpit in Acoustic Barrier in Utrecht (National Steel Award 2006, Glass Award 2006, Dutch Design Award for Public Space 2006, nomination Mies van der Rohe Award 2008, nomination Golden Pyramid 2006).