Ambient Intelligence (AmI)

Design Thesis Project | Computational Cluster

Masters Cluster Design Guide: UBLM6X-60-M | Master of Architecture |ABE / UWE, Bristol
Cluster Leader: Dr Merate Barakat | Specialist: Dr Lidia Baranah

Humans have a recursive response with the surrounding environment - built & natural. The morphology of the urban fabric, infrastructure, and the environment affect the demographics' behaviour, and growth of the community and in return, the architecture adapts. This process occurs over a long-timescale where the structures are static, and we reconstruct and adjust the building over its lifespan. What if the building itself is dynamic? Could a gradual daily change occur in response to the inhabitants use? Can the user and the building learn each other's patterns, and adapt? Nature does that; why not architecture?

The UN employed the word 'Slums' in an effort mobilise the international community to tackle the poor infrastructure connection and housing and services qualities. Although a commendable effort, the negative connotations associated with the word 'slums' mistake the physical urban quality with the characteristics of the citizens living there (3). Indeed research (4) informs us that informal settlements have thriving informal economies that benefit the government-regulated economy, and the mental wellbeing of the inhabitants is statistically better than its planned counterparts.

You are invited to detach from the preconceived notion of what a slum may be – and look at the urban tissue with 'Martian eyes'; i.e. consider the morphological characteristics as a biologist studying a beehive, or a termite nest. You will find those spontaneous settlements present as a complex subsystem within a meta-system, the city. You will find logic in a commonly miss understood chaotic and discontinuous spatial pattern and rapid and unorganised development process (5).

In fact, all the attempt to eliminate slums has failed. There are many opinions on why that may be. It can be argued, however, that is due to the resilient (6) nature of the system; it is self-repairing, it metabolises material and energy efficiently and can reorganise if the system is disrupted. This process is a result of a recursive relationship between the territory dwellers and the informal built environment, each adapts to the other, exhibiting system intelligence.

This brief is challenged by Ambient Intelligence (AmI) in the Built Environment. AmI is an exciting new area of design of embedding 'intelligence' into the architectural experience. It is the natural evolution of embedded intelligence and responsive systems. These computational methodologies use sensors and microcontrollers to enable responses to specific predetermined human behaviour, and the response is one-sided; e.g., smart home appliances. In AmI, the building and the users learn each other's patterns, changing each other's behaviour, in a very similar manner of how slums grow, form, self-repair, self-organise, and exhibit resilience.

This process also occurs in the planned settlement but at a longer time scale where the building is static, and we reconstruct and adjust the structure over the span of decades. Most importantly it also occurs in nature, and although most research considers the 'Artificial' aspect (7), within the context of this studio, we learn from nature and apply biological and mathematical models into it the architectural process, namely Biomimicry. Biomimicry is a broad field, we will focus on the collective intelligence and self-organisation of social insects, and animals to learn how they learn from and affect their surroundings. Understand these models, and apply them as algorithms to define site selection, tectonic strategies, spatial organisation, and environmental response.

To my knowledge, only a select few apply AmI in architecture design (8). This is an exciting opportunity to gain expertise in an intrinsically transdisciplinary, and gain an understanding of the use of smart materials, sensors, and pervasive media.

Seminal Text + An Architect's review

"If I have seen further, it is by standing upon the shoulders of giants". Sir Isaac Newton

This design method is a transdisciplinary field connecting a broad number of domains. In this phase, as a team, students build together a foundation of knowledge. The aim is to provide an Architect's review; i.e., reading, critiquing, and making connections to architecture. For each seminal 'core' texts to be made into films.

1 http://www.interactivearchitecture.org/some-thoughts-on-responsive-kinetic-architecture.html
2 Tumwebaze, I. K. and H. Mosler. “Why clean the toilet if others don't? Using a social dilemma approach to understand users of shared toilets' collective cleaning behaviour in urban slums: a review.” Journal of Water Sanitation and Hygiene for Development 4 (2014): 359-370.
3 GILBERT, A. (2007), The Return of the Slum: Does Language Matter?. International Journal of Urban and Regional Research, 31: 697-713.
4 Roy, D., Lees, M.H., Palavalli, B., Pfeffer, K. and Sloot, M.P., 2014. The emergence of slums: A contemporary view on simulation models. Environmental modelling & software, 59, pp.76-90.
5 Barros J., Sobreira F. (2008) City of Slums: self-organisation across scales. In: Minai A.A., Bar-Yam Y. (eds) Unifying Themes in Complex Systems IV. Springer, Berlin, Heidelberg.
6 Schalk, M., 2014, June. The architecture of metabolism. Inventing a culture of resilience. In Arts (Vol. 3, No. 2, pp. 279-297). Multidisciplinary Digital Publishing Institute.
7 Gams, M. et al. “Artificial intelligence and ambient intelligence.” J. Ambient Intell. Smart Environ. 11 (2019): 71-86.
8 MIndLab in Australia - https://mindlab.cloud/#research-team

Intro to ARduino 

UBLMKB-30-3 _ Architectural Representation & Modelling

Code 01 | Blink

CoDe 02 | Serial Com

Code 03 | Dimmer | Potentiometer + LED

Code 04 | Servo

Code 05 | Servo + Sensor

Sonic Responsive Systems

Masters of Architecture Design Studio

Session Studio CA+P | Fall 2014 | ARCH 6005-04

College of Architecture and Planning, University of Utah

As a research-based studio that integrates digital aural composition with physical space design, the objective is to produce a sonic design; whether it be musical, soundscape or tapping into the sound energy generated by a space. In essence, the archetype integrates space design as a musical instrument and the space’s ‘musical’ composition, as one intertwined paradigm. The work progress adopts a transversal approach and, uses the conceptual and technological bridges that are naturally created between science, visual arts, mathematics, and music. Therein, the students create a visual and aural synthetic experiment, in which the perception of sound is closely related to the various forms of a surface. There is a series of challenges to be tackled. The obvious one is the nature of sound and to grasp the dynamic characteristics of a visually indiscernible design tool. Another issue that needs to be tackled is employing digital tools and physical kinetics implementation. Students have been introduced to electric engineering basics, such as motor fittings and audio transducers, which is vital to transform the surface into a dynamic sonic space.

Stroboscopic Illusion

Team: Selahe Ansari, Joseph Briggs, and Brian Scott

Our group decided to continue the work of the Hydro E group from the previous year. The group aimed to use a stroboscopic effect on streams of water oscillating at a specific frequency to make it appear as if the streams were  suspended in place. The previous group used speakers to drive the oscillation of the streams of water. Since this is simply a mechanical effect of the speakers playing a specific frequency, our group decided to use simple gears to produce the same effect. The experiment is based on the video on the following page which demonstrates a similar effect when the streams of water are driven at frequencies of 23 to 25 Hz while recorded at 24 frames per second. Though the effect is clearly visible in the video, it is not visible to the human eye when confronted with the stream of water in reality. The stroboscopic effect is a method to make this illusion visible in reality.

Kinetic Symphony

Team: Kirck Chadwick, Danny Carmen, and Massih Nilforoushan

The way this program is designed to work is through the use of what we called “Sensors,” (Represented by the white circles which trigger when a high enough sound level enters the microphone. The sensors move over the field and as they enter a certain proximity to each “Drop” (Represented by the black circles) the drops rise and fall accordingly. When a sensor reaches the other side and does not affect any more drops, it resets and waits for the next sound. The reason there are two drops on each side is so the wave can be constant if there is continuous sound, Otherwise it would have to stop and wait for the first sensor to reset.

Team: Fatima Malekloo, Lindsay Raudales and Tales Brito

We studied some precedents and the most helpful was the One Ocean Pavilion. It contains a system that applies a force upward and downward on a strip of glass fiber reinforced plastic causing it to twist. Each fin is individually controlled by linear actuators in order to make a wave like effect on the façade. Our objective is to have a very similar effect that will respond to sound waves.

Sonic Responsive Systems

Masters of Architecture Design Studio

Session Studio CA+P | Fall 2013 | ARCH 6005-02

College of Architecture and Planning, University of Utah

This studio is a research studio that integrates digital aural composition with physical space design. The objective of the studio is to produce a sonic design; whether it be musical, soundscape, or tapping in to the sound energy generated by a space. In essence, the archetype will integrate space design as a musical instrument, and the space’s ‘musical’ composition, as one intertwined paradigm. The work progress adopts a transversal approach and, uses the conceptual and technological bridges that have been therefore naturally created between science, visual arts, mathematics, and music. Therein, creating a visual and aural synthetic experiment, in which the perception of sound will be closely related to the various forms that a surface. There is a series of challenges to be tackled. The obvious one is the nature of sound and to grasp the dynamic characteristics of a visually indiscernible design tool. Another issue that needs to be tackled is employing digital tools and physical kinetics implementation. Students will be introduced to electric engineering basics, such as motor fittings and audio transducers, which is vital to transform a surface into a dynamic sonic space.

Blossoms

Team: Sarah Steven, and Arave Winkler

The physical environment is not only experienced through visual sense. We have been encouraged in this studio to consider that architectural design is found to be successful when it manipulates one or more perceptions in order to convey a certain aesthetic significance. We decided to manipulate human infrared energy to create a sculptural choreography. The captured human energy triggers motion in the opening and closing of the blossoms which in turn layers with a simple tone to create a visual, aural, and human responsive as one intertwined paradigm. The layered and open structural framework reflects this intertwining and encourages the visitor to step closer to see what’s going on and interact further.

Movox

Team: Tyson Smith, and Matt Pattberg

We decided we were going to design a wall system that has boxes popping out in reaction to sound. Initially we will react to a hand clap, but we plan to branch out into other frequencies/responses as we become more adept at programming. We have also thought that we will incorporate some sort of lighting into the boxes to create further variation and patterning. Using the gear assembly that worked well we came up with a train type method that worked quite well. Using this in combination with driving rods to transfer the motion to the adjacent unit we ran into more issues. The length of the rod would need to be adjustable to allow for the inaccuracies of us and the laser cutter. To alleviate this we decided that it would be best to transfer
the motion horizontally and vertically with the use of gears. The gears allow for the most tolerance and ease of operation.

Team: Spenser Anderson, and Matthew Rogers

Our concept was creating a moving wave using materials that are not generally associated with waves. To create a dynamic, fluid movement that moves in a set pattern to give an illusion of moving water.

Flux

Team: Pingting Wei, and Kristi Faught.

HydroE

Team: Ray Bryson, and Matthew Reeves.

... but what would one see?
what will a wall of unmoving water droplets
contribute to architecture
...or when they move upstream?

Flutter In the Rain

Team: Emily Nybo, and Tal Rice

While researching precedent studies we were drawn more to the designs that create sound rather than the design being produced from a sound. From this discovery, we formulated more ideas all with one intention in mind. The intention behind the design would be to create an array of the same sound. For the design chosen this will be accomplished through rotating objects of various materials and/or sizes. These objects would act similarly to gears where they rotate and affect one another. The different materials and sizes may all work in unison yet have their own, individual characteristics.

HyperSpace dB

AA Alexandria Visiting School

Director: Merate Barakat

Tutors: Ahmed Abouelkheir, Ebtissam M. Farid, Ali Farzaneh, Kensuke Hotta, Mohamed Zaghloul, and Rana Zureikat

Hosting Institute: Bibliotheca Alexandrina

Egypt has always been a magnet for scholarly visitors from all around the world. Greek, Roman, Christian, Arab, Ottoman, French, and English cultures are but some of the cultures that have intermingled the Egyptians’ character. This progression from westernized cultures to eastern, and back, has created a unique sonic quality for Egyptian cities. Moreover, Alexandria, ‘The Pearl of the Mediterranean’, is a unique Egyptian city known for its history, and charm. The city is the second largest city in Egypt, and has a long history of being the beacon of knowledge and art in the region. The AA Alexandria Visiting School aims to extend technological and digital techniques from research conducted at the Architectural Association School of Architecture, to the centre of the Middle East.

HyperSpace dB is a workshop that focuses on the challenges of an acoustic design vignette using digital tools. Acoustics add an extra dimension to space; it may superimpose temporal hyperspaces within a physical Euclidian space. Multi-dimensional aural spaces are the very essence of the Egyptian culture and can be comprehended by being immersed within sonic dynamic qualities. The adopted unique overall theme is ‘HyperSpace decibel’, aiming to create three distinct sets of installations, one that introduces sound, one that uses the existing sound in a space, and one that creates a visual sculpture that responds to sound. One of each set will be installed within an exhibition space in the Bibliotheca Alexandrina, creating three different acoustical arenas within one space.

The AA Alexandria Visiting School will be working closely with the Library of Alexandria ‘Bibliotheca Alexandrina’, which has a long history of research and research collaboration. In addition, ENCODE studio will be collaborating with the school in the fabrication and assembly process through their connections with workshops around Alexandria.

Sanduq El-Mosiqa

Team: Joseph Audeh, Mohamed Dawood, Mai Emam, Asmaa Gamal, Zeina Hussein, Moustafa Khater, Mohamed Saad, and Salma Sherif

Alexandria is renowned for conducting huge geo-engineering experiments to excavate and preserve cultural artifacts .The Roman amphitheater, Qtaiey Fort, and various shipwrecks are among many examples. Sadly, many local Egyptian antiques are overlooked by organizations like the Supreme Council of Antiquities; they are pawned off to tourist shops, and they are frequently overlooked. Sanduq El Musiqa is a project that attempts to revive and resuscitate an 80 year-old music box from a corner shop in Masala that once played “Ah ya Zain” by Said Darwish. Using Arduino, Processing and emerging technology, this installation connects a sonic heirloom with an interactive platform and motion sensors , allowing users to re-imagine the sound box experience in a strange and quirky way.

Human movement was captured using a simple webcam mounted above the interactive area. The colored shapes -that is the output of the process-were supposed to be projected on the same area that people interact with.After several experimentation and negotiations with "Harmonics" team -The output team-we found that the webcam is not accurate enough to detect the difference between the movement of people over the platform and the shapes projected on it; so we had to challenge ourselves to find a way of capturing movement of only people movement uninterrupted by any other movement.

Urban Wave

Team: Ahmed Eid Rihan, Sarah Ezz el-Arab, Youmna el-Ghazi, Mohamed Gohar, Maha Hosny el-Gowaly, Fatma Magdy, Mohamed Mahmoud Saleh, Mohamed Rihan, and Sarah Salama Soliman

Using sound sensors to record urban sounds as inputs and then translating them into numbers that change following the frequency. these number will be interpreted as physical motion. Starting with the wooden frame it has three beams holding two vertical perforated walls, also the beams were perforated to save material and load. the beams were double layers of MDF carrying the gears in between, to control them from deflection. each beam has three gears connected to the mesh (control points) an the other end was to the servo that’s connected to the arduino. Four different materials were used, MDF for the whole structure, the mesh was elastic wire and the balls were ping pong balls, hanging wires were transparent to minimalize the color coding.