This article contextualizes digital practices within architectural spaces, and explores the opportunities of experiencing and perceiving domestic environments with the use of media and computing technologies. It suggests methods for the design of reflexive and intimate interiors that provide informational, communicational, affective, emotional and supportive properties according to embedded sensorial interfaces and processing systems. To properly investigate these concepts, a fundamental criterion is magnified and dissected: dwelling, as an important ingredient in this relationship entails the magical power to merge physical (...) environment with the psyche of inhabitants. For this reason, a number of views are presented and discussed, providing necessary conditions to include matters of affectivity, ubiquity and layering complexity of interior space. Moreover, specific processes of the possibilities of the digital are mentioned, and examples are presented of the infusion and diffusion of ubiquitous computing technologies within domestic spaces. To briefly conclude, this article is an attempt to discuss the relationship of human-architecture-computer symbiosis and the design process of creative and innovative spaces that affect states of memory, perception, experience, as well as mood and emotion. (shrink)

Buildings are solid, monolithic, static structures of steel, stone and glass. Buildings are at their most dynamic during the phases of construction and ossify from the point of completion. They occupy a different timescale to the rest of us, unlike the mayfly that enacts its lifespan in the space of a day, or our three score and ten, buildings emerge from a long gestation to face the elements for periods that can span a thousand years. Or they used to - (...) increasingly the contemporary built environment ebbs and flows, generating a dynamically changing landscape as buildings are designed, constructed and demolished in the time it used to take to construct a model. This state of flux is enhanced by the addition of surveillance systems, telematic communication networks and environmental monitoring and control technologies. All these factors provide a new tangible dimensionality to contemporary architecture. Arch-OS is an ‘operating system’ that harnesses these new architectural, technological and social dimensions. Arch-OS, ‘software for buildings’, has been developed to manifest the social, technological and environmental life of a building and provide a living laboratory for cultivating transdisciplinary knowledge. Arch-OS buildings will be permanently in a state of flux. By feeding on the diverse forms of dynamic data that are generated by a building, its environment and its occupants, Arch-OS transforms the architect’s drawings, the brick, steel, glass and fibre-optic infrastructure into a living, breathing environment. Arch- OS provides users of buildings with a spatial and temporal consciousness, essentially re-programming human activity through a heightened social, architectural awareness. Arch-OS combines a rich mix of the physical and virtual into a new dynamic architecture, an ‘intelligent’ entity, that interacts, responds and anticipates: Arch-OS is a nervous system for multidimensional buildings. ‘Soft Buildings’ explores some of the ‘dimensions’ made manifest by Arch-OS. Specifically the generation of new kinds of space, a new kind of model, generated by a soft building. (shrink)

'So mote it be …' describes a trinity of artworks by Mike Phillips that explore the delicate relationship we have with the extremes of our perception. These data-driven sonifications and visualizations play with the atomic forces that bind the material world as measured through the atomic force microscope (AFM). The works try and locate the trauma of seeing things that are invisible and beyond the resolution of the human eye to a history of cultural experience that similarly tries to see (...) things that might ordinarily have been perceived as occult or at the very least the product of Hollywood. (shrink)