CONTEMPORARY PROCESS ON ARCHITECTURAL DESIGN

1. MARCOS NOVAK
LIQUID ARCHITECTURE
DEMATERIALIZED ARCHITECTURE
EVERSION
IMMERSION
CYBERSPACE
HYBRID INTELLIGENT ENVIRONMENT
TRANS ARCHITECTURE
ROBOTICS
K.KEDHEESWARAN,M.Arch
Asst,proff.
K.KEDHEESWARAN,M.Arch Asst,prof

2. CONTENT
• MARCOS NOVAK - WHO IS HE(ABOUT)
• EMERGENCE OF VIRTUAL SPACE
• CYPERSPACE
• TRANS ARCHITECTURE
• LIQUID ARCHITECTURE
• AS HE SAYS – LIQUID ARCHITECTURE
• VARIABLE DATA FORMS
• PARACUBE
• DATA DRIVEN FORMS
• HOW NOVAK’S “LIQUID ARCHITECTURES” ARE GENERATED.
• EXAMPLES
K.KEDHEESWARAN,M.Arch Asst,prof

3. Marcos Novak is an architect, artist, composer, and theorist who employs
algorithmic techniques to design actual, virtual and hybrid intelligent
environments.
The self-described trans- architect is seeking to expand the definition
of architecture by including electronic space, and originated the concept of
liquid architectures in cyberspace and the study of a dematerialized
architecture for the new, virtual public domain, the immersive virtual worlds.
WRITINGS:
•Liquid Architectures in Cyberspace (1991)
• TransArchitecture: Against the Collapsing Radius of Fiction
• Transmitting Architecture: The transPhysical City (1996)
K.KEDHEESWARAN,M.Arch Asst,prof

4.  Pion eer of th e arc h itec tu re of V irtu ality ( virtu al + reality )
 Co n c ept – ‘L I Q UI D ARCHI T EC T URE’ OR T RANSARCHI T EC T URE’
 E xistin g solely on comp u ter s creen s
EVOLUTION (as Novak states it):
MULTIDISCIPLINARY (MANY)
INTERDISCIPLINARY (BETWEEN, AMONG)
TRANSDISCIPLINARY (ACROSS, BEYOND)
New TECTONICS (The science of construction)
Involving algorithmic conception, rapid
prototyping, robotic prefabrication
Novak apparently wants to blur the boundary
dividing the real world from the virtual world
(reality to virtuality)
Materially, an architecture that is conceived algorithmically,
prototyped rapidly and fabricated robotically.
Informationally, an architecture that is conceived algorithmically,
executed computationally and inhabited interactively.
HIS APPROACH:
K.KEDHEESWARAN,M.Arch Asst,prof

5. we conceive algorithmically (morphogenesis);
we model numerically (rapid prototyping);
we build robotically (new tectonics);
we inhabit interactively (intelligent space);
we telecommunicate instantly (pantopicon);
we are informed immersively (liquid architectures);
we socialise nonlocally (non- local public domain);
we evert virtuality (transarchitectures)."
HIS APPROACH:
K.KEDHEESWARAN,M.Arch Asst,prof

6. EMERGENCE OF VIRTUAL SPACES:
Once predicated on qualities such as enclosure, form, and , architectural
space is finally getting rid of its physicality and is now giving way to virtual spaces,
where digital technology emerges in the form of data and information.
Digital media are responsible for creating a new territory where stability and
actuality are tempered by this indescribable reality: a reality where variations of
visual qualities, internal contents, and social expressions are influencing the
creation of new spaces. However, this is not an imperious assumption. The
emergence of new virtual spaces does not always mean the end of physical space
• TRANSVERGENCE
• TRANSARCHITECTURES
• TRANSMODERNITY
• LIQUID ARCHITECTURE
• NAVIGABLE MUSIC
• HABITABLE CINEMA
• ARCHIMUSIC
• EVERSION
• ALLOGENESIS
By, "...placing the human within the information space, it is an architectural
problem; but beyond this, cyberspace has an architecture of its own and,
furthermore, can contain architecture
“cyberspace is architecture, cyberspace has an architecture, and cyberspace
contains architecture"
K.KEDHEESWARAN,M.Arch Asst,prof

7. C Y B E R S PA C E :
But what does it mean literally?
‘Cyber’ connotes automation, artificial control, and computerisation. In the context
of artificially generated imaginable environments,
‘space’, of course, means a multidimensional place, most often used in relation with
Electronic spaces created by computer-based media.
Cyberspace relate to ‘virtual reality (VR)’, ‘data visualisation’, ‘graphic user interfaces
(GUIs)’, ‘networks’, ‘multimedia’, ‘hyper-graphics’.
K.KEDHEESWARAN,M.Arch Asst,prof

8. TRANSARCHITECTURE:
A new domain extended to include intelligent local, remote, and virtual space as a new continuum; … the
techniques for designing in this new continuum involve conceiving architecture algorithmically, modeling
it directly from data via new techniques such as rapid prototyping, building it robotically, inhabiting it
interactively, occupying it telepresently, and connecting it seamlessly to virtual space, where a parallel
conceptual and poetic structure applies
In short, “transarchitecture” is The intersection of information, in the form of algorithms, and the material
world, as robotic prototypes
It is the Intermingling of architecture and media, the combination of design and machine/computer.
K.KEDHEESWARAN,M.Arch Asst,prof

9. LIQUID ARCHITECTURE
Cyberspace is liquid. Liquid cyberspace, liquid architecture, liquid cities. Liquid architecture is more
than kinetic architecture, robotic architecture, and architecture of fixed parts and variable links.
Liquid architecture is an architecture that breathes, pulses, leaps as one form and lands as another.
Liquid architecture is an architecture whose form is contingent on the interests of the beholder;
It is an architecture that opens to welcome me and closes to defend me;
It is an architecture without doors and hallways, the next room is always where I need it to be
and what I need it to be.
Liquid architecture makes liquid cities, cities that change at the shift of a value, where visitors with
different backgrounds see different landmarks, where neighbourhoods vary with ideas held in
common, and evolve as ideas mature or dissolve.
Marcos Novak, Cyberspace: First Steps.
K.KEDHEESWARAN,M.Arch Asst,prof

10. AS HE SAYS – LIQUID ARCHITECTURE
Space is no longer innocent. Under the impact of science and technology, ordinary space
has become just a subset of a composite "newspace" that interweaves local, remote,
telepresent, interactivated, and virtual spacetime into the new spatial continuum that is
the focus of emerging transarchitectures.
Physically, this installation consists of four interrelated parts :
A. A large scale video projection of liquid forms derived from mathematical explorations
of virtuality;
B. A physical model captured from the fluctuating projected virtual forms ;
C. a sensor-created, invisible, interactive sculptural form, and ;
D. a generative, interactive soundscape that weaves the previous three together
K.KEDHEESWARAN,M.Arch Asst,prof

11. • The video projection consists entirely of liquid, animated mathematical forms derived from the
manipulation of mathematical fields.
• Various kinds are shown in rapid succession.
• An interactive, generative musical algorithm drives the video, intercutting among various sources at a
high rate, producing a large number of new variants by multiplexing the sources in time.
• Each strand of video is thought of as a separate reality, and the rapid intercutting suggests the
coexistence of multiple superimposed realities in the same instance.
VARIABLE DATA FORMS (1999)
This investigation seeked to create architectonic propositions that are liquid,
algorithmic, transmissible and derived from the geometries of higher
dimensionality.
By "liquid", Novak intends a total but rigorous variability driven by data shifts in
cyberspace that can be transformed into physical world.
K.KEDHEESWARAN,M.Arch Asst,prof

12. VARIABLE DATA FORMS (1999)
By "algorithm" Novak means that the forms are never manipulated through manual corrections : rather,
the mathematical formula that generate them are adjusted to produce different results.
By "transmissible" Novak means that his data-forms can be compressed into algorithmic codes for
transmission to fabrication sites, machines or to virtual environments.
PARA CUBE (1997 – 1998)
For this project, a cuboid was defined by six parametric surfaces, each with
its own coordinate system.
The parametric equations governing each surface were arranged so that a
variation on a particular surface would cause reactions or permutations on
adjoining surfaces, effectively creating a topological cube.
K.KEDHEESWARAN,M.Arch Asst,prof

13. The parametric cuboid was manipulated to create two forms : a skeletal frame and a
smooth skin.
• Parameterization allowed the smoothness of each element to be defined and
manipulated through computational formulas
• The frame was derived from the same process, where the skin was computed at
high smoothness and the skeleton at low smoothness.
• The skeleton was then mathematically extruded into the fourth dimension by
adding a fourth coordinate to every three-dimensional point.
Thus, points became lines, lines became polygons, polygons became cubes and cubes
became hypercubes.
• The resulting four-dimensional object was rotated about a plane in four-dimensional
space according to the appropriate matrix transformations.
• The transformed object, projected back into three-dimension space, became a
space-frame of variant dimensions.
• The skin was not extruded into the fourth dimension but instead remapped to
create a rippling, non-homogeneous surface.
PARA CUBE (1997 – 1998)
K.KEDHEESWARAN,M.Arch Asst,prof

14. DATA-DRIVEN FORMS (1997 -1998)
These images are the result of deriving forms from fields of found data. As spatial
models, the forms explore two concepts : the delamination of passage from one
data set to another and arbitrary cross-fade (between data sets).
In the examples shown here, an algorithmic function extracted from linked Web
pages as two sets of points in the three dimensional matrix.
Using spline-based interpolation, two sets of curves were generated.
From further functions, the two sets of intertwined surfaces, or "lamina", were
formed.
A series of crossing links (cross-fades) were then enframed between the
conjoined surface-forms, producing a rich enmeshing of distorted frames and
surface modulations.
K.KEDHEESWARAN,M.Arch Asst,prof

15. HOW NOVAK’S “LIQUID ARCHITECTURES” ARE GENERATED
Composition created by a genetic algorithm. This image forms the basis of the following
investigation of the spatialization of information
New composition derived from previous one by processes of superimposition, masking,
and filtering, Information implicit in the original composition is now visible as color
variation.
Merging of algorithmic composition with scanned data, Image processing reveals hidden
patterns implicit in the structures of the component images.
K.KEDHEESWARAN,M.Arch Asst,prof

16. Variation of the image in previous stage produced by further image processing.
Although it is simply a transformation of the previous image, for the viewer this image
constitutes, in effect, new information.
Three dimensional algorithmic composition, with the composition shown in image 1
mapped onto the environment of a cyberspace chamber
Two algorithmically composed objects in a cyberspace chamber. Dynamically varying
algorithmically composed textures combining computed and scanned information are
displayed on both objects and environment.
K.KEDHEESWARAN,M.Arch Asst,prof

17. Dynamically varying three- dimensional composition comprising a liquid architecture.
The number and dind of its component parts vary according to factors such as position,
size, and proximity to other component parts.
Visualization of a liquid architecture in cyberspace.
Mapping information onto object and environment, varying it in place, time, and
attribute, focusing attention through filters and masks, and inhabiting it allows hidden
patterns to become visible, and therefore knowable.
The information content of computed and digitized data is used to create the perceptual
character of this space, the "place" of cyberspace
K.KEDHEESWARAN,M.Arch Asst,prof

18. A MULTIMEDIA CYPERSPACE PROJECT AT BANFF CENTER FOR ARTS IN 1991 the first example of a new virtual
space created through the themes of liquid architecture.
The project was to join inner and outer worlds, moving into and out of virtual space
“in shell” VIEW OF THE MODEL CLOSE UP “in shell” VIEW OF THE
MODEL
“ex shell” VIEW OF THE MODEL
K.KEDHEESWARAN,M.Arch Asst,prof

19. ZEICHENBAU 2000
It originally consisted of five elements: a video
projection of forms generated by mathematical
algorithms, a physical model, fixing the fluctuating
projected virtual forms, a sculptural form created by an
infrared sensor, an interactive and generative
soundscapes weaving the three elements, and finally the
visitor himself.
The space is constantly reformulated
evanescent environment according to the information
exchange between the elements. The sculptural form
that remains one of this facility symbolizes Marcos Novak
phenomenon eversion, the transition from virtual to
reality, that of a digital architecture with built
architecture.
It was conducted through a manufacturing
process called "rapid prototyping" called LOM
(Laminated Object Manufacturing), laser cutting and
overlapping layers of material.
K.KEDHEESWARAN,M.Arch Asst,prof

20. CONCLUSION
The work of Marcos Novak has been presented here as the most accurate example of architecture
embracing new technologies to enable the creation of cyberspace.
The “Visionary Architecture” -Novak assimilates modernist theories in his utopian beliefs.-
Novak has not shown any concern in this global level. He seems to have been restraining his studies to the
manifestations of one’s mind in the realm of his/her own body.
In this sense, his creations are still very experimental and haven’t yet been conceived for an extended
medium , such as the Internet. And considering that the Internet, today, stands for a global community,
or a place where social interaction, cooperation, and shared responsibility
Cyberspace as a virtual laboratory, where the production of dematerialized architecture in the form of
principles, or algorithms, represents his new architectural visions.
Novak completes: “Today, we are witnessing a dislocation of architectural terms, such as space and action,
form and function; calling attention to the disappearance of functionalist theories and to the normative
function of architecture.”
K.KEDHEESWARAN,M.Arch Asst,prof