CYBORG CULTURE INFORMING ARCHITECTURE

CYBORG CULTURE INFORMING ARCHITECTURE: REINSERTING THE HUMAN

by Christopher L. Ferguson

Subrnitted in partial fulfillment of the requirernents for the degree of Master of Architecture (First Professional)

at Dalhousie University Halifax, Nova Scotia

O Copyright by Christopher L. Ferguson, 2001

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Dedicated to al1 supporters (bodily or othewise).

Especially,

M.L.C.

; >)

Image Credits ........................................................................................................................ vi

Abstract ................................................................................................................................ vii ...

Acknowledgements ............................................................................................................. VIII

The Body ............................................................................................................................... 1

Thesis Question ......................................................................................................... -2 Introduction ................................................................................................................. 3

..................................................................... ............... There is a Paralfel .... 3

Parameters for Discussion in Architecture ...................................................... -5

Historical Motivation and Precedence .............................................................. 5

The Goal: Re-ernbodiment ............................................................................... 9

Architecture Within Cyborg Culture ................................................................ 11

................................................................................................................ Conclusion 15

............................................................................................................................... The Soul 16

Site and Program Description ................................................................................... 17

...................................................................................................... Program Specifics 19

.................................................................................................... Preliminary Studies 25

....................................................................................... Processes and Simulations -26

.......... The Musée des Confluences: A Museum of Science. Technology and the Body 37

Summary: Response to Thesis Question .......................................................................... -54

................................................................................................................. References ............. ,.. -55

IMAGE CREDITS

Page 7.

Page 8.

Page 11.

Page 12.

Page 16.

Page 21.

Page 22.

Page 23.

Page 24.

Swimming Machine, 1880. From Beaune 1989,473.

The Vibrating Helmet, 1892. From Beaune 1989,476.

Weissenhofsiedlung, Stuttgart, 1927. From Curtis 1996, 197.

lnterior of Villa Savoie, Le Corbusier, 1927. From Colomina 1994,283.

Tower of the Winds, Toyo Ito, 1985. From Puglisi 1998, 10.

Zagreb Free Zone, Lebbeus Woods. From Woods t 991,160.

Interior, Zagreb Free Zone, Lebbeus Woods. From Woods 1991, 158.

Greg Lynn, Port Authority Gateway. From Lynn 1999, 108-9,118.

Stelarc as the Cyborg. From Toy 1 995, 96.

Satellite view of the city of Lyon. F rom Musée 2000.

City plan of Lyon showing site boundaries. From City Map of Lyon, 1976.

Aerial view of the confluence, facing northeast. From Musée 2000.

Aerial view of the confluence, facing southeast. From Musée 2000.

Aerial view of the confluence, facing norîhwest. From Musée 2000.

Aerial view of the site and A7 motorway, facing southeast. From Musée 2000.

Aerial view of the confluence site, shown in black dashed lines. From Musée 2000.

Current proposals in utilizing cyberspatial methods of investigative design methodologies

involve disembodying the Mind to free oneself from the Body. Historically, one of the primary think-

ers behind this idea was Descartes. Descartes felt the body can be studied in absence of the mind

(or soul). In today's culture, the very idea of the cyborg permeates our lives, from transplant pa-

tients to the eccentric. Further study indicates the interest in a complete mind transfer: the ultimate

melding of soul to Artificial Intelligence. The assumption is that the idea of Al calls into question

what it means to be truiy human. However, it is possible for cybernetic-thinking machines to inter-

act with humans without disembodiment of the Mind. The implications to architecture are similar,

and in fact mirror that of cyborg theory and development. The disembodiment of humans from

habitable space has disinfected the modern enclosure from human habitation. In other words,

there is a large difference between intellectualized space and intellectualized habitable space.

A cornpetition based in Lyon, France, for a new science and technology museum at the con-

fluence of the rivers Saone and Rhone will also be a catalyst for redevelopment of the area around

the confluence for new residential, commercial and office schemes. The program for the museum

speaks of a high involvement of the user within the building scheme. Therefore, the program rep-

resents the ideal testing ground for the purpose of building spaces for people once again. The final

solutions will anticipate a process of design, abstractions of results, and an architectural solution

that wilf represent a journey a user (cyborg) will take through pure building experiences to re-hu-

manize both the cyborg user and the architecture.

ACKNOWLEDGEMENTS

This author wishes to thank the following for their involvement and continu& feedback to-

wards the development of this thesis:

Dalhousie University University of King's Col/ege Rhone Departmental Council

Prof. Ted Cavanagh Dr. Gordon MCOU& Monsieur Jean Ollion

Prof. Jacques Rousseau and Monsieur Philippe Rambaud

Prof. Christine Macy the CTMP 4411 class (thanks

Prof. Terri Fuglem for putting up with the archi- Ryerson Polytechnic University

and tecture guy!) Prof. Yew-Thong Leong

Prof. Terrance Galvin

Additionally, to:

the Ferguson family

the Coleman family

Ferrara-Contreras Architects

G+G Partnership Architects

and al1 my colleagues over the years, a deep-hearted ttiank you.

Finally, to:

Ged, Lerxst and Pratt: beautiful inspiration!

Coca-colao (that fine brown wine) and M&Ms0 (the power pellets).

Alexander Keith's lndia Pale Aleo.

The Seige and X-Force (it's been fun).

and that great external examiner in the heavens,

God.

viii

Thesis Question The question that this thesis is exploring is: In acceptance of Our current and Mure cyborg

culture as Embodiment with the Machine, can re-humanized cyborg culture become a catalyst for

re-embodiment of the Human into Architecture?

This paper is meant to be a paralle! to the design work accomplished by this thesis. The

topics covered invite the reader to examine the influences that have driven the thesis, and to make

connections between the polemic and the design work.

Introduction Any architect with an ounce of introspection will think of the future, maybe for economic sta-

bility, for scheduling purposes, or even for predicting weathering patterns on exterior walls. Some

will even try to discern the future of design, and work toward a symbolism of that future. Usually

this turns into a discourse for either a reaction to, or an imposition into and onto, the built environ-

ment. All too often, however, the implications to society are forgotten, misinterpreted or arrogantly

set aside for the sake of aesthetic and architectural polemic.

Currently, architecture is behind with our tirne, a time where a particular type of being has

come into the fray, and we as a society are forced to ask "What is this?" To speak of where we are

is to speak of the worship of the technological sublime; to define the object of our desire, we

speak of the cyborg. As defined by Donna Haraway as "a cybernetic organism, a fusion of the or-

ganic and the technical forged in particular historical, cultural practices" (Haraway 1991, 149), the

question to ask is what is the particular cultural practice. It can be proposed that we are today im-

mersed in cyborg culture, a point in time when social, political, and historical notions are in a par-

ticular state of constant flux with the cybernetic organism. Truly, as Marshall McLuhan stated, "any

extension, whether of skin, hand, or foot, affects the whole psyche and social complexw (Benedetti

1996, 144).

Thus, if we accept the fact that we are now immersed in a cyborg culture, what are the im-

plications of such cyborgs in architecture, and consequently, the architectural design process?

This is the kind of question the profession should be asking themselves if we are to survive as a

force to cause change, especially for any beneficial reason. Yet, even for this kind of cause, why

should architects wake up and pay attention to this seemingly science fiction-like notion of the

cyborg?

There is a Parallel

It has been suggested by many, including C.P. Snow, that what once was probable is now

possible, and in fact we are on the verge to many more possibles; this verge is the point where

society can be compared to the metaphor of the "blur" for descriptive purposes:

The Probable is any event that is once removed from reality and is like real but is realfy not ... The Possible, conversely, is everything that the Probable is not, or any events that are ver- real ... The virtuality of the Probable has overfiowed into the reality of the Possible. (Leong 2000, 1 )

The blurring of boundaries between the Probable

and the Possible can explain two parallel histories

of development: that of the cyborg in anatomical

theory and that of modem architecture. But, what

does this have to do with architecture? We as ar-

chitects advocate the "possible" by providing

spaces that celebrate and glorify technology to a

point where the human has been forgotten. In fact.

this disembodiment has infiltrated the rnost sacred

of personal spaces, the home: house as museum,

house as office, house as replicator, house as ma-

chine. There is a markedly large difference be-

tween intellectualized space and intellectualized

habitable space.

In other words, there is a rnirror image hap-

pening between the development of technology for

humans and the development of architecture for

humans; disembodiment is occurring in cyborg re-

search and implementation as well as architecture.

We are forgetting that the two disciplines are to

serve humankind, and not to be a dominating

force. The area of study lies within two mirrored

polemics: one is cyborg theory, and the other is

the theory of modem architecture. To Say suc-

cinctly, "the 20th century is the century of conver-

gence" (Chu 1998,69).

Yet, built architecture has failed to dea! with

new technologies beyond syrnbolism. This in-

cludes technology in construction, lack of cyber-

netic systems for buildings, and attempting to

post-humanize space with traditional rneans of dis-

course.

The Journey Through the Blur - personal project

Parameters for Discussion in Architecture

In order then to properly define where architecture can usefully fit within cyborg culture,

there are some natural arguments that would generally not be very useful if pursued:

i) Advancemenude-advancement of technology. The process by which it permeates architec-

ture is more interesting.

ii) Proposing new technologies within buildings. An assumption can be made that these ad-

vancements exisUwill exist.

iii) Working within a post-human context (the extropian principle of increasing a cybemetic sys-

tem's intelligence, including capacity for improvement (More 1999, 1) which gives rise to artificial

life, and the idea that embodiment was an accident; as an epiphenomenon, it is meant to be ad-

vanced further to intelligent machines (Hayles 1999,2-3)). It is more interesting to know why the

process continues towards a post-human context; analysis will lead to architectural ideas.

iv) Solutions to overcome "cybernetic totality" (Lanier 2000, 158-1 79), or the loose description

of everything being cybernetic. This should only be discussed with reference to analysis for the

need for re-embodiment.

The reason for setting these parameters is to ensure that such arguments that are based

on premature fads are removed from the discussion. tt should be clear that the underlying inten-

tion is to propose solutions that will be built, as a piece of physical architecture for humans, and

not machines.

Historical Motivation and Precedence

To help explain the aforementioned mirroring of human/architectural disembodiment, we

can study the anatomical/philosophical development related to automata, and then make connec-

tions with architectural theory.

Descartes, in h is Passions of the Sou1 of 1 649, speaks of a separat ion between w hat we

think we do and what we actually do. lt is by this very belief that the sou1 does not inform the body

as one may have thought at the time; in fact, the body can be deemed a simple automaton, includ-

ing the personality within the body. The sou1 is dedicated to thought, and does not "give movement

and heat to the bodyn (Descartes 1985, 329). This is a significant concept, as this is the beginning

of mind/body dualism explaining human anatomy. Previous to this idea, the body was treated as

part of the divine in Christianity and other faiths as late as the 1400's. Even surgeons did not allow

themselves to touch the body while dissection occured (Reiser 1978, l ) , as Christianity was the

dominating force behind body divinity in European times. It wasn't until 1543, when Vesalius pub-

lished his anatomical manual De Humanis Corporis, that this view changed. His methods involved

him actually touching the body, and dissecting it himself (as the frontispiece shows) (Reiser 7978,

1). The body is no longer treated as a precious object, as Humanism now permeates the intellec-

tual circles instead of Christian dogma. While this example only documents Christianity, there are

elements of body divinity in almost all world religions. Buddhist methods of healing ranging from

China to Japan "emphasize particular elements within a complex system, and several types of

syncretism with biomedicine" (Picone 1989, 467) where Chinese medicine or Japanese kanpd

treat the body as "only one element in a universe of interrelated entities" (Picone 1989, 469).

We now move back to Descartes. The real staternent Descartes makes that really gives the

first possibilities of cyborg existence is the following:

But on carefully examining the matter 1 think I have clearly established that the part of the body in which the soul directly exercises its functions is not the heart at all, or the whole brain. It is rather the innermost part of the brain, which is a certain very small gland situated in the middle of the brain's substance and suspended above the passage through which the spirits in the brain's anterior cavities communicate with those in its posterior cavities. (Descartes, 1985, 338)

In this beginning, any previous reason for not studying the body to a certain degree because of

sacred aspects has been thrown out. The stage is now set for full intrusion into the body, with even

secular leaders now separating mind (soul) from body:

The Christian worldview that undewrites Western culture overlays this physical dis- gust with a moral revulsion. D.H. Lawrence, who believed that "the greatest, most deeply rooted enemy of sensual life is Christianity," blamed St. Paul, taking the apostle to task for his "emphasis on the division of body and spirit, and his belief that the flesh is the source of the corruption." (Dery 1996, 236)

In Buddhist circles, the interrelatedness of elements including the body developed later into the

Japanese "ghost in the machine" philosophy of human description, which is not far off frorn

Descartes' philosophy.

The industrial revolution and the steam actuator brought the invention and analysis of cyber-

netics (the study of self-governing systems) by Norbert Weiner in the 1940's. Scientists started

making connections to al1 aspects of science regarding cybernetics (almost amounting to cyber-

netic totality) which included studies of the body. If the body were the equivalent of automata,

could a machine be made to equal the abilities of the body? More specifically, could prostheses in

the body by automata enhance the bodily experience? If feedback loops happened between hu-

man and machines, what would result? In attempting to answer these questions, there became a

need to isolate (or disembody) the body from the mind (soul) so as to quantify the ingredients;

therefore, studies in cyborg technology began with a notion of disembodiment. Why did automata

become desirous objects? It was because of three issues that describe tne development of classi-

cal automata. One was a fascination with mechanMc beings (simple machines, balance, wheel).

The second was the defining of the machine as a mechanical individual, or the act of humanizing

-1- --- -,--- -: ...- an object. The automaton "had close links with liv- ssA&?<;, .- - - - - - .- c

ing creatures in al1 its different manifestations, but

especially in relation to the medicine and physiol-

ogy of the period," and finally the automaton is

viewed with a certain aesthetic, or as a ludicobject

(Beaune 1 989,435-436).

In doing cyborg explorations, the implica-

tions within the constructs of human society have

become mind-boggling; science fiction, develop-

ments in artificial intelligence (Al), reproductive

technologies, prostheses, and feminist theory in

disengenderment are but some examples. The

idea of the cyborg has touched ail these areas in

ways that bend the very idea of humanity, and

again, since every new medical age before this,

calls into question what it means to be human in

this age:

The effect of that technology is a culture shock that not only sepa- rates one generation's ideals from the next generation's, but actually shakes the next generation's ideals as fast as they are formed ... The problem is that they al1 tear at the definition of what it means to be human ... That is the realm of cyberpunk: to explore what it means to be human, or inhuman, in the world of the future. (Smith 1989,3)

Almost side by side, architecture has been

dealing (although very unconciously) with the

same issues. The influence of modern architecture

has never been more prevalent than with the re-

building of Europe after each of the world wars,

where housing was needed quickly and efficiently.

Utopian tendencies that became the Modernist's

banlecry urged ahead massive schemes of neW top: The Swimming Machine. 1880. bottom: The vibra& Helmet. said to cure men-

forms of housing to match this new world order of tal nervous disorderS. , 892.

rising technological and engineering advances.

The projects realized were to suggest schemes of

mass modern housing for a modern age (Curtis

1996, 197-1 98). Buildings as machines for living

was the theme, with reduced ideas of form from

pure function to fit the user. One such example of

this is the Weissenhofsiedlung housing project in

Stuttgart, circa 1927.

As modern architectural thought migrated to

North Arnerica, a grievous error occurred. ihere

were no real problems of housing in the United

States, so problems of form become an intellectual

exercise designed for a technocratic society as

opposed to a new way of living. Once the symbol-

ism of the Weissenhofsiedlung became reduced

of its original formal purpose and engaged its foot-

hold in the corporate establishment, buiiding be-

came commodity; building became devoid of form

or real societal purpose. Technological advance

and machination became suspect of not really pro-

viding the convenience that had been promised by

earlier proponents of the modem rnovement

(Ferguson 2000,2-3).

Secondly, humans and their evidence of

their presence had been compfetely removed from

the equation of building design through another

machine, photography. Le Corbusier's early ex-

periments with photography displayed men and

wornen (though mostly women) facing away from

the camera, or walking away from the scene.

Sometimes there would only be an object that

proved someone had been there (Colomina 1994,

283-285). These early attitudes became the fore-

ninner to today's architectural photographic stand-

ards: skew-angled empty spaces, free of any trace

of habitation. The machine filterd the architecture

top: Weissenhofsiedlung, Stuttgart, 1927. middle: Interior of Villa Savoie, Le Corbusier, 1927. bottom: Tower of the Winds, Toyo Ito, 1985.

of the inhabitants (Ferguson 2000,2-3).

Finally, as we entered the electronic age, architects such as Richard Rogers, Rem Koolhas

and Toyo Ito began to explore symbols of technology as immateriality through transparency,

sensoriality through environmental stimuli, and multimediality through building-as-communicator:

the first works of "hyper-architecturen (Puglisi 1998.7-1 0). The three themes of immateriality,

sensoriality and multimediality have been prevalent in architectural works frorn the 1970s until

even today. The architect's treatment of people in these architectural "hyperspaces" became

analogous to a circus freak show: humans on display as machines themselves, disembodied of

their spirit (Ferguson 2000, 2-3):

We build dwellings that, perhaps, satisfy most of ouf physical needs, but which do not house our mind. Home is a projection and basis of identity, not only of an indi- vidual but also of the family. (Pallasmaa 1992, 2)

Therefore, the use of the modem, and modern architecture by association, had caused the

loss of the human inhabitant. If these ideas are converged with de-souled cyborgs roaming around

these pieces of architecture, then what kind of world would we reafly be living in?

The Goal: Re-embodiment

Having established the congruent nature of disembodiment in both cyborg development and

modern architecture, a discussion of re-embodiment can begin. It is possible to start with the idea

of convergence as an inevitability; this has been already established with the earlier statement of

acceptance of being immersed in a cyborg culture. If it is tnily a culture, then the notion of the

cyborg being an evolutionary step can be disrnissed as not cultural, but a futile attempt at mimick-

ing natural reality (whether it be creationism, Darwinism, what have you). Several examples can

be stated to prove this. Firstly, through Descartes himself, it is forgotten that he himself did no1 ad-

vocate a cornplete mind-body split: a dualism, perhaps, but never a complete split. Many a phi-

losopher, cornputer scientist and science fiction writer has forgotten this. Claudia Springer writes:

The human body ... so built ... that even if tbere were no mind in it, it would not cease to move in al1 the ways that it does at present when it is not moved under the direc- tion of the will, nor consequently with the aid of mind." What separates human be- ings from animals and machines, according to Descartes, is the human's non-me- chanical mind, which is animated by the sou1 and capable of speech and reason. (Springer 1 996,38-39)

Descartes made no distinction between the sou1 and the mind; this is the mistake that artificial in-

telligence supporters have made, including Marvin Minsky of old MIT fame. His proclamation of

viewing "intelligence as something that could be achieved by any 'brain, machine, or other thing

that has a rriind'" (Noble 1997, 156) is quite a contrast from the real reason MIT started developing

computational systems:

One day in 1964, (Bob) Fano arrived at his office to find Joseph Weizenbaum wait- ing for him, glowering.

"What's the matter?" Fano asked. r h e MAC system was not working last night," growled Weizenbaum. "i was

told it would be working this morning. It's not working now. What the hell is going on?"

Weizenbaum's outrage, recalls Fano, was "the expression of a customer of a public utility." Fano tumed to Dick Mills, his assistant director, and smiled. "We've done it!" he said. (Garfinkel 1 999, 8-9)

Bob Fano, then director of Project MAC at MIT during the 1960's. conceived of the computer as

machine-aided cognition: the key word here being "aid." It was also to be a multiple-access corn-

puter, and each of these terrns made up the acronym "MAC." Fano saw the computer as a tool, an

aid, and also a service similar to water or electric utilities, and proven so as expressed by the dis-

may by Weizenbaum for its inoperable state. The dependence on the machine had begun, but to

serve humanity directly; Weizenbaum's reaction was the beginning of a culture-type: the computer

user constantly swearing a: their desktopllaptop because it won? print from Windows 981Mac OS

9.OILinux 2.4 bec~use oi a missing driver. We've al1 seen those days (Garfinkel 1999, 8-9).

What hrlinsky wants to know (which went against the agenda of the MIT program) is whether

thought can go on without the body. Minsky, answering "yesW to this question, views the body as a

"trap," or "rneat," and the mind was capable of being uploaded to a machine. This uploading, in his

view, gave immortality to the lifeforrn. The problem with his theory is that he is taking an analogy of

"softwarew being loaded into "hardware," and forgetting about the qualities of our "software" (soul)

within our own "hardware" (body). These include memory, Our cognition of our own demise, and

the fact that the thoughts are destroyed with the body upon annihilation of the earth. With regard to

memory, Jean-Francois Lyotard States quite elegantly:

It's obvious from this objection that what makes thought and the body inseparable isn't just the latter is the indispensable hardware for the former, a material prerequi- site of its existence. It's that each of them is analogous to the other in its relationship with its respective (sensible, symbolic) environment: the relationship being analogi- cal in both cases. (Lyotard 1991, 16)

There cannot be no refationship to environment. We are grounded, thus thought is grounded. One

way in which it is grounded is the idea of mortality, and the sense that there is an end that is some-

how better than the present. To grasp this concept, thought must know suffering. Machines may

have memory uploaded to them, but they are meaningless thoughts, with no frame of reference or

goals, nor even self-preservation (Lyotard 1991, 14-1 5). Fano was right: machines serve human-

kind, and in this acceptance, we accept the aug-

mentation not as evolutionary, but as a natural fact

of progression. We are truly participating in a

cyborg culture.

Architecture Within Cyborg Culture

We can now speak of architecture and its

place within the polemic of the cyborg, its con-

structs and the environment the cyborg finds itself

in. If automata serve humanity and act as a cul-

tural, cognitive augmentation, there are arguments

within architectural discourse that state the "cogni-

tion" gained in augmented humans could be expe-

rienced or expressed in differently designed real or

virtuaf spaces. However, architects' interpretations

of the real worid as people started to "jack inn and

cyborg across the wide fantasia became the ne-

glected worlds that cyborgs left behind to pfay in

the virtual sea, especially in Gibson's science fic-

tion novels; this was the mistake architects made

in interpretation:

This aesthetic has already had some currency amongst a handful of arcbitects who seek materials and agents which have accelerated weathering characteristics, which patinate and becorne a dull gritty celebration of human use. (Chaplin 1995,34)

One such theorist, Lebbeus Woods, proposed au-

tonomous zones where he assumes that humans

are a solitary creature, and that enlightenment to

the sublime is achieved by such solitary self-refer-

ential existence. He explains further that "al1 living

is experimental, and self-conscious living even

more so, pushing at the boundary of the human,

exclandina it. elaboratina what "humanw means and

top: Zagreb Free Zone, Lebbeus Woods. bottom: Interior, Zagreb Free Zone, Lebbeus

Y Woods.

isn (Woods 1991, 21 -22). lnstead of glorifying the neglected real world as a result of disembodi-

ment, the emphasis could be on regenerative fom to encourage re-embodiment, or "therapy

Virtuality need not be a prison. It can be the raft. the ladder, the transition space, the moratorium, that is discarded after reaching greater freedom. We don? have tc reject life on the screen, but we don? have to treat it as an alternative life, either. We can use it as a space of personal growth. Having literally written our online personae into existence. we are in a position to be more aware of what we project into every- day life. Like the anthropologist returning home from a foreign culture, the voyager in virtuality can retum home to a real world better equipped to understand its arti- fices. (Turkle 1995, 5)

Having stated this, it is this author's wish that we view Our continued existence as celebrating

"finitude as a condition of human being, and that understands human life (as) embedded in a ma-

terial world of great complexity, one on which we depend for our survival" (Hayles 1999, 6).

In using the tools of cognitive experience/expression, and regeneration, a palette is now ap-

pearing with which to create a synthesis of design. So, to start with macro concepts, "a city should

offer its public the opportunity to share, collaborate, and participate in the processes of cultural

evolutionn (Ascott 1995, 38-41). This speaks of cities that grow, not necessarily in size, but in com-

plexity. This can then be a theme for every other piece of design to enter the city. There are cur-

rent architects who are doing precisely such an approach. Greg Lynn has ideas on using morphol-

ogy techniques, and allows animation over a time period to morph the fom to a point, stop, and

then carve space within the form to augment the design. He calls this process a way of taking "ob-

ject-oriented entities," and introducing movement through "optical processionn: a form of introduc-

ing animation into the formal conception (Lynn 1999, 11). Advocating a temporally dynamic space,

his solutions argue against an artificially intelligent process. He refers to the human factor as "sys-

temic human intuition." The notion that his solutions are time based and vector based (the defini-

tion of object-oriented things) indicates that buildings "cannot be produced al1 at once; it has its

time dimension and continuum and is a gradua1 product of the ... individual's adaptation to the

worldn (Lynn 1999, 11).

As a proposal to push the very idea of object-oriented synthesis, the suggestion could be

made to integrate this approach with the vector that represents the cyborg. Automata are under

control of the operator. Thus, to parallel the human-augrnented control, the designer could intro-

duce personalized filters into the fields of control that exert influence on the simple objects. This

action mirrors that "hand of the designer" exerting their influence on the program constructs.

Further, ideas of the blur, mirroring, transparency and movement over time can be com-

bined as constituent parts for a main idea. If the theory is held that a city should change over time

(Ascott 1995,40), so should the constituent parts. If Juhani Pallasmaa (Helsinki University of

Technology) feels that buildings are revealed over time (Pallasmaa 1992, 3), this indicates

change. If Karl Chu (Southern California lnstitute of Architecture) believes in genetic space being

an evolutionary system (Chu 1998, 72), then these ideas al1 lead to a convergent path of concept:

the idea of the ephemeral. Ephemerality in architecture is the opposite of permanence, the oppo-

site of static, the opposite of traditional and modem architecture.

Current techniques in ephemeral architecture include exhibit design and short-terrn events

such as stage design for concerts and the World Expositions (Hanover 2000 being the most re-

cent). Larenzo Apicella, a leading ephemeralist, suggests that the idea of ephemerality is through

experience and memory. The building remains through re-memory and re-membering, with the

built-in function of the memory realizing its own demise, just as thoughts do.

So then, if these different techniques were used, what might a solution be? A cyborgian ex-

perience may be had by a cyborg if their input and "jacked inn senses changed the space through

their own experience. Only perceivable to an individual cyborg, these sensations could be various

programs or constnicts that are built as a prosthesis, depending on the cyborg and individual au-

tomata. Common to al1 cyborgs would be an engagement with blurred space, reflected walls, and

plays on transparency to produce multiple reflections, to jog the memory of the cyborg to remind

them of their humanness. Maybe particular implants react a certain way when engaging different

walls. The building in the real may exhibit qualities of movement within a process to attain a per-

manent building, yet the experiential qualities, and even material qualities, can be unique as per

cyborg user. The input might be emotional, sensory, informatic; each would be in a cybemetic link

to the cyborg. As a metaphor, the experiences could be described as grotesque and sublime, in

the tradition of the 18th century English garden (maybe we can catl these experiences "digital ha-

ha'sn), or like the John Soane museum interiors. The five senses are thus joined by the sixth, as

interpreted by the prosthetic in a cybemetic relationship with the human and the building.

It is hoped that, in this way, the jacked in experience informs, teaches, and will allow the

cyborg to react to the external environment (the real) in a different way than before, without ne-

gleci or distaste. Thus, as Neil ?piller describes, "the architecture of the future will be homogene-

ous, networked, highly sensitized, telepathic, moist, dry, digital, and biological" (Spiller 1998, 157).

Conclusion

In many ways, there is actually an advantage for cyborg culture and high-tech-architectural

solutions not touching as of yet. It rneans that architecture hasn't been tainted with another mark

of utopian tendency for the time being. An opportunity now exists to affect architecture theory in

such a way that the profession can alter building methods in a beneficial way. The final implica-

tions could very well be reactive/responsive stimuli that will continually re-embody humans, to con-

tinually re-introduce the human to humanity and to architecture via cyborg culture.

European landmass study - marking the location by the "blur."

Site and Program Description

A site needed to be selected for the purpose of testing the hypothesis of re-embodiment ex-

pressed so far. The testing ground for developing re-humanized spaces is in Lyon, France. A com-

petition occured recently for a new Musee des Confluences, a museum dedicated to exhibitions

and dialogue of science and technical knowledge. The building was conceived to help inform a

radical urban plan for the surroundings around the site. Part of the program involves using the rnu-

seum as a catalyst for further development in the area, which calls for razing of the area to include

an urban scheme with the museum - commercial, housing, and office typologies. There now ex-

ists the possibility to study both public and private spaces: the urban scheme, the public building,

and the house as testing areas for the architectural solutions.

The museum is to be built at the confluence of the Saone and the Rhone Rivers. Shortlisted

to participate and submit proposals are:

Coop Himmel b(l)au

Steven Holl

Peter Eisenman

Tectoniques Architecture

Francois Seigneur and Sylvie de la Dure

Jacques Ferrier

Carlos Ferrater

The reason for choosing the site at the confluence of the rivers Saone and Rhone is because the

site contains strong implications towards the museum, architectural development, and a place of

dialogue for current and future cyborgs. Within the program itself, the cal1 for a high level of human

interaction was first and foremost:

The future museum must put the public at the heart of its concerns. The public in question will be varied in type and needs ... This user-oriented policy will guide the

City study - exposing layers.

teaching and cultural approach adopted ... lt is understandable for a museum to be concerned with the past and Our heritage ..At will, however, also base its program- ming on contemporary and future issues ... As the future museum is based in Lyon, it will have to ... make itself felt on the international circuit ... The future museum will bring together all the different media of communication and expression: video, the new technologies, theatre, etc. (Rhone 2000,3)

The other reason for choosing this site was that the Saone was a major trading route/com-

munications path, and the Rhone was the picturesque, romantic route (the first modern ideas).

Therefore, the main theme of convergence has appeared again and seems appropriate. Conver-

gence can be applied as a metaphor both in the ideas of cyborgian society and architecture and in

the physical nature and history of the site.

The site has a unique status applied to it because of the confluence of the two rivers. The

symbolic nature led many to conceive of urban renewal schemes from the 1800s and onwards,

including a Tony Garnier scheme in 1924. However, there have been no clear plans of develop-

ments in place; the Saone banks are lined with industrial zoning and railway land, the main train

station (Perrache) is too far from the tip of the banks, and there is no clear pedestrian plan to the

tip of the confluence. One clear historic aspect of the peninsula is shown through various bridges

across the banks of the Rhone and Saone; the railway bridge to the west was built in the 183O8s,

the Pasteur highway on the east was built in 1927, and the La Mulatiere highway was cornpleted in

1979. These represent two very different construction methods and transportation routes over his-

tory: the 19th and 20th centuries, with the potential for the museum to develop an idea of a bridge

for the 21st century (to again continue the idea of convergence).

Specifically, the boundaries of the site are the peninsula that is formed between the Rhone

and the Saone Rivers ninning north-south, and bounded to the north by A7 motorway integrated

with rail, bus and a motorway system. It is the requirement of "dialogue" that is driving a prefer-

ence towards integrating the museum with its surroundings. According to the site program:

Metaphor study - convergence.

The project is based on the idea of opening up the site by downgrading the motor- way and demolishing the stationlbus station/rnotorway complex. It will Iink the north- em and southern ends of the peninsula and re-establish the close links between the city and its two rivers while leaving space for large public areas and parkland ...

The existing Sainte Blandine neighbourhood located just behind the vaults of the station will be taken as the core of the projed. The new buildings which will provide al1 the expected amenities of a town centre will add 1,200,000 m2 of space broken down as follows:

- 545,000 m2 of residential and other facilities at street level, - 120,000 m2 of shops, hotel and leisure facilities, - 310,000 m2 of public and private arnenities, - 225,000 m2 of office space.

The 150 hectares of the site are in the northern part of the peninsula, between Place Carnot and the Town Hall. The programme will bring the number of residents in the area to 25,000 and the number of jobs to over 16,000. (Rhone 2000, 9-1 0)

It is only fitting that the urban spaces connecting the museum to other surrounding building

types exemplify the conditions of integration with public and private space, and a dialogue in ex-

pressive forrn. From the aforementioned program, the shape of the site, the dialogue on cyborg

culture, and the history of modern architecture, the therne of convergence is extremely strong.

Convergence occurs both explicitly and implicitly: explicitly through programmatic issues of public

and private integration, and implicitly through social discourse on the body politic mixed with the

technological sublime. The site is fitting for the theory and the architecture.

Program Specifics

The intention of the museum is, according to the clients, to be a museum of science and

society. The question the museum would like to pose is how science is molded by mankind, and

how mankind is molded by science (the exact same can be said of technology and its effects on

the body). The visitor is anticipated to be a diverse patron, so the collections are going to be trans-

versai and comparative. The exhibit topics themselves for the permanent collections are to be the

following:

i) Origins of Existence and the Universe

ii) The Ecological Future

iii) New Technologies

iv) Arts and Sciences

The visit by the museum-goer should be intellectual, sensorial and recreational. The "sensorial"

function could be manifested by "message exchanges" between the patron and the exhibit itself.

These qualities that are desired within the museum are a good match for a building dedi-

cated to an entity (the cyborg, described above as diverse) that will interact with the building so as

to create ephemeral experience, a "message exchange" in itself. Science is to society as society

is to science: a feedback loop, a cybernetic relationship.

With that cornparison made, it can be safely said that this museum can be renamed The

Museum of Science, Technology, and the Body.

Satellite view of the city of Lyon.

City plan of Lyon showing site boundaries.

Aerial view of the confluence, facing northeast. Aerial view of the confluence, facing southeast.

Aerial view d the confluence, facing northwest. Aerial view of the site and A7 motorway, facing southeast.

Aerial view of the confluence site, shown in black dashed lines.

Preliminary Studies

A representational model of the blur.

The re-embodiment model.

Three spaces in re-embodiment model: enigmatic, threshold-to-blur, entrance to neural net-space.

Processes and simulations

The first three pages of images describe the digital processes used to arrive at the main

building form of the museum. The black and white images were derived from simplified descrip-

tions of the previous model studies. The images were combined and then extruded using the grey

scales of each pixel, which denoted a height value. This first process was the beginning of the

synthesis for the main exhibit spaces of the museum.

The final seven images are still frames from an animation. The volumes, representing vari-

ous programmatic elements of the museum (besides the main exhibit spaces), are arranged ac-

cording to spatial order and then fields of infi uence are allowed to morph the shapes into new vol-

umes. Fields of influence are vectors that include a direction and value based on existing site con-

ditions: flow rates of the rivers, various speeds of travel along major highways, wind, etc. The final

field of influence is a vector introduced by the designer to counter and tame the Machine, whereby

the Hand of the Designer has the last word in the morphing process,

Shapes were pulled out of the model at various frames: frame 75, frame 100, and frame

200. The shapes were then repositioned into the overall composition that became the final design.

The criteria for choosing the final volumes were based on looking for potential volumetric space

for habitation based on specific programmatic elements. For example, the auditorium needed vast

seating areas and a large volume. Thus, one blob was pulled out at frame 75 relatively early in the

process before the morphing reduced the blob to nothingness. Other blobs were better off as roof

forms or canopies.

top: The origii bottom: The fi

ial study images. na1 composed image.

The resulting extrusion of the black and white composition. This was the fint study of the main exhibit space,

The Musée des Confluences: A Museum of Science, Technology and the

Body

The dialogue of the building attempts to explain the experience cyborgs and humans will

have with the building. One such experience is how the building will sit on the site and how the

building will conduct itself in real, tangible ternis.

The next set of experiences attempts to create a story of re-ernbodiment of the cyborg and

thus humanization of space in the real. The Enigmatic space (page 48) is represented within the

Origins exhibit, the first cyborg encounter where the building walls are affected by various prosthe-

ses and project exhibit images based on this exchange. The Blur space (page 50) occurs within

the New Technologies section. The first realizations of humanness are made rnanifest through

transparencies, reflections and refractions while walking through the exhibits of walls of glass. Fi-

nally, the Humanized space (page 52) within the Arts and Ecology exhibit allows the cyborg to

project their own idea of what the room could be, coupled with the shown exhibit. Experience is

made unique, individual and ephemeral.

The Blur The New Technologies

I

"...A c y h g is a cybemetic organism, a hybrid of rrrtdYne and organism a creature of social rdity as wdl as a creature d fidion ..." (Haraway 1991, 1)

Humanized

The cyborg has now learned to prdect and affect, rather than be affected by tfie Machine.

Their experience becornes personal, ephemeral, and everiasting. 4

Arts,

to offer reconcilialion wilh the Machine.

Sciences, Ecolog y

The building continues to be a source of 1

"...Virtuality need not be a prison. It can be the raft, the ladder, the transition space, the moratorium that is discarded after reaching greater freedom..." (Turkle 1995.5)

SUMMARY: RESPONSE TO THESIS QUESTION

As this thesis has been about process as much as it has been about making a building, it is

worthwhile to discuss process in the conte* of its usefulness.

Mirroring a way of working to demonstrate a particular theory for architecture seems to be

appropriate in justifying the methods by which one creates a building. Certainly this idea is not new

and in fact has been exploited as a rneans of intellectual exploration for the sole purpose of justify-

ing the very existence of the building. It is in this latter case that the failings of modem architecture

ring true.

The methods by which one creates the building is markedly different than simply justifying

the existence of the same building. The former suggests that there might be room for improve-

ment based on situational circumstances, and for the good of good space. The latter suggests an

outcome similar to the card game "52 pick up," where the card's position once fallen is immovable.

Whether a card is overlapping another a certain way, which renders the card unreadable, or they

are ail flipped right side down when they need to be right side up, it does not matter: simply dis-

turbing the result means the process is disturbed and architecture somehow does not exist.

In using the morphing process via animation, it was seen that not al1 morphed shapes pro-

duced what looked like promisable volumetrics suitable for habitation. To list a criterion that one

could use to pull out such usable shapes doesn't seem feasible until one has studied the anima-

tion enough to see what rules can be used. This basically means post-rationalization.

It is this author's opinion that there is nothing wrong with this approach, Any architect trained

over a period of a lifetime to see found potential in an object's quality of space is qualified to judge

the potential in the animation sequence. The beauty of the approach is that the visions seen by

each architect will be different, yielding different results. One architect might have pulled shapes

out at.frames 2,60, 99, and 189, which would have given a different aesthetic to the building

shape. This process now mirrors the proposed Humanized rooms in the museum where each pa-

tron's experience is different than the other. Experience of the building and design conception be-

corne epherneral and mernorable along convergent paths. You could argue that this happens al1

the time in design processes. However, the point here is that specific criteria set too early might

yield similar results across every examiner: the familiar cry of the Modernist.

And, quite frankly, it really wouldn't have been as much fun.

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