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Installation is a system designed by Simon Greenwold at the Aesthetics and Computation Group at the MIT Media Lab, consisting of a viewing window and a stylus with which users can create virtual forms and install them permanently into a real space. By tracking the position and orientation of the stylus and the window itself, we are able to calibrate virtual coordinates with real viewing position. The ideas explored by the Installation become powerful when we imagine several windows at once looking onto the same evolving construct. Then it becomes a model for luxurious collaborative computation. This model is applicable potentially to many kinds of collaborative form making whether physical form or abstract information.
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At the mit media laboratory aesthetics + computation group they work toward the design of advanced system architectures and thought processes to enable the creation of (as yet) unimaginable forms and spaces - from turbulence.org
July 4th, 2005
Here’s a lovely little Piece by Chris O’Shea using the Arch-OS system of Portland Square Building at Plymouth University.
Using the buildings huge array of sensors various researchers are exploring future concepts for inteligent buildings, Chris O’Shea has used the internal vision systems to create a constantly changing landscape being altered by the passage of people throught the atriums of the building
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Cybrid Landscape Project
June 4th, 2005
Virtual and Physical Architects SOFTROOM are one of the few architecture firms to really embrace the potential of digital technology. Here’s a project they did for BBC building virtual datascapes.
3D Web Search Engines use depth and scale to grade information. In the distance, all available informations forms an enclosing envelope, while items of direct interest appear closer and therefore larger. Nomy’s world responds to her mood and she can reshape it according to the type of data being presented.
The set design is composed of a series of layers, which can be freely mixed to create a variety of locations. The modular nature of the set allowed the look of the show to evolve. Two pilot episodes were followed by a tight production schedule, with two fifteen minute broadcasts per week.
June 3rd, 2005
