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Interactive Architecture

Forthcoming Titles 2005

The 1970s is Here and Now

Guest-edited by Samantha Hardingham

March-April 2005, Proﬁle 174

More of a compendium than a compilation, this issue revisits and draws new meaning from the work that was

published monthly in 2 during the early 1970s.

The 1970s were marked by a seismic change that occurred in the representation of ideas in architecture.

The magazine bears out the optimistic, experimental, environmentally conscious and ultimately pluralist

culture that prevailed throughout the 1960s and carries it through until the emergence of a post-modern

discourse in the mid 1970s. The propositions described by young architects, engineers, scientists, artists and

environmental campaigners at that time were fuelled by both a social and cultural need to speculate on the

availability and exchange of information. They dreamt of inclusive global communities, structures and systems

that would embrace the promise of imagined new technologies. This was the era that preceeded the personal

computer, World Wide Web, mobile telephone and wireless network. This issue attempts to demonstrate that,

in spite of our very recent technological trappings, they are useless without good ideas.

Equipped with both a generation and information gap of thirty years, the following contributors (amongst

many others) present a Cosmorama of now: Marie-Ange Brayer, Nic Clear, David Cunningham, Liza Fior, John

Frazer, John Goodburn, James Madge, Will McLean, Christopher Moller, Robert Webb and The Word Dept.

The 1970s is

Here and Now

Food and the City

Guest-edited by Karen A Franck

May-June 2005, Proﬁle No 175

Around the world, from Brisbane to Manchester, from Bankgok to Grenada, food and food-related activities

are enriching and invigorating city life. In many urban neighborhoods we see an explosion of restaurants, bars,

cafes and take-aways. Traditional food markets are being rediscovered while new markets are appearing

as renovations, new construction and temporary structures set up each market day. And, even as urban

agriculture is threatened by urban redevelopment, it reappears in an increasing number of community

gardens and city farms. Food and the City explores the contemporary city as dining room, market and farm,

considering how food display, consumption and production bring vitality and diversity to public life and

sensory pleasure to urban experience while helping to create local character and opportunities for a more

sustainable way of life. The burgeoning gastronomic culture of cities, from growing to consuming, raises

questions of who is included and who is excluded, what is the role of architecture and urban design and how

food can be a tool for progressive social change.

Food +

the City

Design through Making

Guest-edited by Bob Sheil

July-August 2005, Proﬁle No 176

Most architects who build do not make buildings; they make information that makes buildings. Making

buildings requires acquiring knowledge not only of the world of information exchange, but also of the world

of making things. It is an expertise that goes beyond the architectural drawing and an expertise that many

designers cannot claim to fully possess or practice.

Design through Making is not only directed at architects, but engineers, educators, fabricators, machine

operators, and anyone with an interest in the manifestation of ideas. It seeks to challenge outmoded notions

that building production is preceded by design and making is merely the cooking of the raw or the end game

where no further design ideas are explored. Here a hybrid mode is recognised where the investigation of

ideas is fully engaged with the tactile, physical nature of architecture and building processes. It is an issue

that celebrates the re-emergence of making, not merely as an immense resource for ideas, experimentation

and customisation, but as a critical resource that will redefine architectural practices.

This title includes the work of Block Architecture, Mark Burry, Thomas Heatherwick Studios and Walter

Pichler. There is a special feature on Japanese traditions in architecture and contributors include: Iain Borden,

David Dunster, Sarah Chaplin, Jonathan Hill and Mark Prizeman.

Design

through

Making

Architectural Design

Vol 75 No 1 Jan/Feb 2005

ISBN 0470090928

Profile No 173

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Front and back cover: Ben Rubin ( EAR Studio)

and Mark Hansen, The Listening Post, Whitney

Museum of American Art, New York, 2002.

Photo © Ben Rubin

Editor

Helen Castle

pp 5, 8(t&bl) & 9 © Usman Haque; pp 6-7 & 8(tr)

13(t,tr &b) © Klein Dytham Architecture, photos

Katsuhisa Kida; p 13(tl&c) © Klein Dytham

Architecture, photos Jun Takagi; pp14-19

courtesy Ole Bouman; p 20(t&bl) © Usman

Haque, photos Pletts Haque; p 20(br) © Usman

Haque, photo Sam Brooks; p 21 © Dunne &

Raby; p 22(l) courtesy British Telecom; p 22(r) ©

dESIGN-UC ?????; p 23-6 © R&Sie/Philippe

Parreno; pp 27-9 © d ECOI images; p 30 © Ivan

Gasparini; pp 32-7 © Walter Aprile; p 40 ©

Arup; p 41 © i.Tech; p 42(t) © Shona Kitchen &

Ab Rogers, photos Dan Stevens; pp 42(b) & 43 ©

IDEO ; p 44(t) © SmartSlab Ltd; p 43(b) © Zaha

Hadid Architects; p 45 © Archiram/Robert

Cohen; pp 46 & 47(t) © Christian Richters; p

47(b) © UN Studio; pp 48 & 49 courtesy Michael

Weinstock; pp 51-3 © Metapolis, photos Laura

Cantarella; p 54 © Ron Arad Associates, photo

Carlos Lavatori; pp 55-6 © Ron Arad

Associates, photos Tom Vack; pp 57-61 © Ron

Arad Associates; p 62 © Christian Moeller; p 63

courtesy Christian Moeller, photos Ivan Nemec;

pp 64(t) & 65(l) courtesy Christian Moeller,

photos Masao Yamamoto; p 64(b) courtesy

Christian Moeller, photo Sagae Oguma; p 65(r)

courtesy Christian Moeller, photos Dieter

Leistner; pp 66-7 courtesy Christian Moeller; pp

68-71 © NOX /Lars Spuybroek; pp 72-78 © Tobi

Schneidler; pp 79 & 80(c&b) © Jason Bruges

Studio Ltd, photo 3 DW ; p 80(t) © Jason Bruges

Studio Ltd; p 81 © 3 DW & Jason Bruges Studio

Ltd; pp 82(t) & 85 courtesy realities:united,

Berlin, photos Landesmuseum Joanneum,

Graz, 2003; pp 82(b) & 83(l) courtesy

realities:united, Berlin, photos Harry Schiffer,

Graz; pp 83(t&c) & 84 © realities:united, Berlin;

p 83(b) courtesy realities:united, Berlin, photo

Piclerwerke GmbH/ArGe, 2003; p 86(l) © Paul

Verschure; pp 86(r), 87 & 88(t) © Kynan Eng, ETH

Zurich, photos Kynan Eng; pp 88(c&b) & 89 ©

Kynan Eng, ETH Zurich, photos Stefan Kübli; p 90

Rubin, photos courtesy of the artists; pp 94-6 ©

ETALAB & Virtual Artists, 2002; pp 97-9 © aether

architecture.

Production

Mariangela Palazzi-Williams

Art Direction/Design

Christian Küsters (CHK Design)

Design Assistant

Hannah Dumphy (CHK Design)

Project Coordinator

and Picture Editor

Caroline Ellerby

AD+

pp 100-02 © Jeff Goldberg/Esto; pp 103, 106 &

109(tr&b) © HG Esch; p 107(tl) © Mels van

Zutphen; pp 108-10 © Jane Briginshaw; pp 111-

16 © William E Massie, photos Jeremy Oldham

and William E Massie; pp 117-24 © Denise Ho

Architects; pp 125-27 © Sue Barr.

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01243 843272

Editorial Board

Will Alsop, Denise Bratton, Adriaan

Beukers, André Chaszar, Peter

Cook, Teddy Cruz, Max Fordham,

Massimiliano Fuksas, Edwin

Heathcote, Anthony Hunt, Charles

Jencks, Jan Kaplicky, Robert

Maxwell, Jayne Merkel, Monica

Pidgeon, Antoine Predock,

Michael Rotondi, Leon van Schaik,

Ken Yeang

Acknowledgement

Lucy Bullivant would like to thank the Arts

Council of England for awarding her a grant for

feasibility research to help develop the concept

for this issue.

Contributing Editors

André Chaszar, Craig Kellogg

Jeremy Melvin, Jayne Merkel

100+

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Editorial Helen Castle

Introduction Lucy Bullivant

Sky Ear: Usman Haque Lucy Bullivant

ICE , Bloomberg headquarters: Klein Dytham Architecture and Toshio Iwai Lucy Bullivant

Architecture, Liquid, Gas Ole Bouman

Interactivity at the Centre of Avant-Garde Architectural Research Antonino Saggio

Building as Interface: or, What Architects Can Learn from

Interaction Designers Walter Aprile and Stefano Mirti

Intelligent Workspaces: Crossing the Thresholds Lucy Bullivant

Terrain Vague: Interactive Space and the Housescape Mike Weinstock

Media House Project: the House is the Computer, the Structure is the Network Lucy Bullivant

Ron Arad on Interactivity and Low-Res Design Lucy Bullivant

Interactive Urban Design As Event: Christian Moeller Lucy Bullivant

D-Tower and Son-O-House: NOX Lucy Bullivant

Mediating Devices for a Social Statement: Tobi Schneidler, Interactive Architect Lucy Bullivant

Jason Bruges: Light and Space Explorer Lucy Bullivant

Bix Matrix, Kunsthaus Graz, Austria: realities:united Lucy Bullivant

ADA : the Intelligent Room Lucy Bullivant

The Listening Post: Ben Rubin and Mark Hansen Lucy Bullivant

Tate in Space: ETALAB Lucy Bullivant

Induction House: aether architecture/Adam Somlai-Fischer Lucy Bullivant

4dspace:

Interactive Architecture

Guest-edited by Lucy Bullivant

100+

Interior Eye: Eco Imperative Craig Kellogg

103+

Building Profile: Ministry of Education, Culture and Science, The Hague Jeremy Melvin

108+

Home Run: Lighter Living in the 21st Century Jane Briginshaw

111+

Engineering Exegesis: Blurring the Lines: Digital Housings André Chaszar

117+

Practice Profile: Denise Ho Architects Karen Franck

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Site Lines: The Submarine on the Hill David Heathcote and Sue Barr

128+

Book reviews Abigail Grater

Since the Industrial Revolution and the rise of science

fiction, the popular impulse has often been to regard

technology as a socially derisive and potentially malign force.

In the 1990s, this was further exaggerated by the spectre

of cyberspace with its promise of the domination of the

virtual over the physical. It engendered visions of a horrific

netherworld responded to by even the most subconscious

of neuro twitches. This issue of 2 turns these angst-ridden

visions on their head. Here, spatial design skills and adept

application of digital technologies are pooled to aid

interaction. This presents technology as a tool for exchange,

cohesion and communication. Web and remote technologies

may be the props of the contemporary world, but it is the

underlying social forces of individualism and an unrelenting

work culture that most often distance us from each other,

rather than the gadgetry in our hands.

Taking the form of installations and public art,

interactive spaces and structures can offer a welcome

respite. This is most often as an entertaining diversion,

whether it relies on spectacle, wonder or unadulterated fun.

The interaction between viewer and what is viewed can be

physical or remote, whether the object reponds to a bodily

presence or an electronic device such as a mobile phone. At

every level, it encourages us to leave our isolated self and

interact with a greater social group, perhaps merely for the

joy of seeing a chandelier reverberate with light in a gallery,

or contributing to an interactive sculpture on an urban scale.

Interaction is not just confined to the art world. It

provides tenable and, very often, remarkable solutions

for the work place, leisure sector, retail and the domestic.

As Mike Weinstock acknowledges in his recollection of

EM Forster’s refrain ‘Only connect!’, connection has to

be consciously sought out and worked towards. He gives

the example of UN Studio's Möbius House, where the

architecture enfolds the family in a continuous surface

that takes in shared and separate living spaces, enabling

the occupants to be simultaneously alone and together. 4

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