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Today with AI we could generate architectures worthy of Piranesi's drawings, even only for the sole pleasure of architectural space that is detached from need. But architecture in real life has a weight, survives the program that generated it. We have to be careful not to confuse the infinite potential of geometries with realizability.

The architectures we build are intended to serve human beings, but the very sophisticated technology through which we do that are so powerful that bring with them 2 possibilities: the essential one that founds the progress of the quality of human existence and the dangerous one of arriving at negative effects from which we don’t know how to return to the starting point.

What can we do if we find that the technique and technology through which we build our architectures can lead us to negative results from which we do not know how to return to the initial conditions? Is there a way through which we can build the "conditions of safety"?

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I could make a virtual experiential representation of the pigeon alley/tunnel that i cycle under on my daily commute to work with pigeons on many ledges of three consecutive railway bridges above the road and pavement

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AI tools can make images, but there is a long road from images to architecture.How can AI aid designers in their process of conceptualizing ideas?

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Image generated by AI with MidJourney

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We can practicaly replicate anything from the phisical realm in the virtual one.How can we use simulation and analysis of the virtual in order to make the real 

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Extract from Informed Geometries. Parametric Modelling and Energy Analysis in Early Stages of Design - https://www.sciencedirect.com/science/article/pii/S1876610215029343

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Can the relationship between architecture and neuro sciences represent a new frontier for the architecture researchers interested in involving people in the design process? And if yes through which kind of instruments? Is the VR enough or do we need other tools able involving other senses beyond the vision and hearing? And if also the answer to this question is yes… how can the architectural research be retroactive (as suggested by Eurau of Alicante) in this field? I.E how architectural research can influence the research on virtuality?

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Not every virtual construct makes a space. How can we design better virtual spaces?

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Part of the VRTransForm project  - https://www.uauim.ro/cercetare/ffcsu-2021/vrtransform/

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1.     What questions the presence of the human body in architectural virtual imagery may raise about our embodied experience, and about the influence of architecture on our movements, interactions, and emotions?

2.     What significance lies in the juxtaposition of the human body against architectural spaces, and how does this interplay shape our understanding of scale, proportion, and the relationship between human perception and the built environment?

3.     How does the interplay between the human body and architectural forms invite reflections on the relationship between the material and the ephemeral?

4.     In what ways does the presence of the human body within architectural compositions disrupt or reinforce the traditional dichotomy between subject and object, human and non-human?

5.     In an era of growing interest in virtual experiences, how could the presence of the human body in architectural imagery potentially emphasize the importance of physicality, sensorial engagement, and embodied encounters with architecture?

6.     How does the presence of the human body within architectural compositions transcend visual documentation and become a medium for existential inquiry, prompting us to reflect on our place, purpose, and connection to the spaces we inhabit?

7.     How can we reflect on power dynamics and social commentary conveyed through the deliberate representation or exclusion of certain bodies within architectural spaces?

8.     What potential theoretical frameworks can be employed to explore the symbolic, cultural, and political dimensions of the human body's presence within architectural compositions, considering aspects of identity, representation, and social agency?

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Boats and boating--Equipment and supplies

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Responding to'Salma's Pigeon' above, I am interested in my body in the city (Stoke on Trent, UK) in relation to pigeons (feral pigeons that make a mess where I cycle and walk, pigeons feeding on thrown away food, pigeon fanciers/racers, pigeons inhabiting abandoned factories, even pigeon roof tiles for a new community arts centre); I am writing about them with two colleagues (creative writing and a designer-maker); the pigeons have a visceral effect and presence on my body.

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Responding to'Salma's Pigeon' above, I am interested in my body in the city (Stoke on Trent, UK) in relation to pigeons (feral pigeons that make a mess where I cycle and walk, pigeons feeding on thrown away food, pigeon fanciers/racers, pigeons inhabiting abandoned factories, even pigeon roof tiles for a new community arts centre); I am writing about them with two colleagues (creative writing and a designer-maker); the pigeons have a visceral effect and presence on my body.

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‘When I see a form, any form, any shape at all, I am also seeing a body. (...) When we are confronted with an unfamiliar object – a blot, a funny smear, a strange configuration of paint, a mirage, a frightening apparition, a wild landscape, a brass microscope, a building made of brick and rock – we seek a body in it; we try to see something like ourselves, a reflection or another, a doppelganger or a twin, or even just part of us – a face, a hand, an eye, even a hair or a scrap of tissue.’

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In Barney’s eccentric universe, nothing can be construed as simply one thing or the other. He challenges our dualistic categories (male/female, entropy/order, motion/inertia) with new possibilities.

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Matthew Barney - The Cremaster Cycle | The Guggenheim Museums and Foundation

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The Cremaster cycle-a series of five nonsequential, visually extravagant films-mixes history, autobiography, and mythology.

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Matthew Barney, The Cremaster Cycle, 2002

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redefining concepts of beauty and harmony

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THE EXPERIENCE OF LIVING ARCHITECTURE
IT’S ONLY WORTH IT, IF YOU CAN ENJOY IT?

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outperform everyone and everything is it the right way to improve ?

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Beer ad #advertising It's only worth if you can #enjoy it ! Thanks Team !

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Synopsys The AR:VR:AI paradox. Looking for a new Bodyism in Architecture

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Synopsys The AR:VR:AI paradox. Looking for a new Bodyism in Architecture

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In September 1992, Rosenberg, Louis B. , researcher at Stanford University CA Center For Design Research, wrote in a report titled “The Use of Virtual Fixtures as Perceptual Overlays to Enhance Operator Performance in Remote Environments” describing the potential of virtual fixtures by implementing simple combinations of haptic surfaces and auditory sensations as virtual perceptual aids in a standardized telemanipulation task. He wrote “because such perceptual overlays are virtual constructions they can be diverse in modality, abstract in form, and custom tailored to individual situations”. He was writing the principles about how AR and VR can generate an alternative reality made for our specific issues. It's time to elaborate some thoughts about how this different realities can be related to belief of generating architecture just we live physically in a space.
AI artificial intelligence should give us some answers about all this. (?)

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Matthew Barney, The Cremaster Cycle, 2002

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The AR:VR:AI paradox. Looking for a new Bodyism in Architecture

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The AR:VR:AI paradox. Looking for a new Bodyism in Architecture

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Do We need a transfiguration of our physical bodies to get properly in Virtual Spaces?

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Liminalities: dynamic interweavings of spaces, times and places

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Liminalities: dynamic interweavings of spaces, times and places

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Might we already be inhabiting a new baroque supercharged by the digital, an interweaving of physical, digital, place, time, memory? The baroque is often read as a period, but can also be understood as a means of operating. As a spatial technique, the baroque offers us concepts of open narratives, of the hidden, and of layers of multiple possible interpretations folded into a single situation. Digital interfaces can however act as barriers, drawing us into an individual experience, placing our minds in another place. Might we instead find ways to expand from physicalmateriality into the digital?  Can we become participants, part of an ecology, bringing the situation into being? Through this might we begin to unveil opportunities for transparent interfaces that offer autonomy? If we take leave to understand the virtual as an historic spatial component, see the latest technological advances as just that, the latest update in an element that has always coexisted with us, might we begin to unveil alternative futures? Aligned with an embrace of our geographical natures might we begin to uncover routes towards digital spatial engagement that interweave and entwine rather than divide or simulate; a knowing engagement with a new baroque sculpted from the physical and digital, enhancing and extending spatial experience? By allowing our past to reclaim the virtual might we uncover new futures?

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Listen, I really think it’s going to be something quite extraordinary. Very spacious, bright, really well arranged, with no hidden corners, you know. There will be fine lighting, really brilliant, that will clearly show up all those disordered objects.

The fact is, everything will be simple, with no mysteries and nothing soul-disturbing, you know. Wonderful! Really very beautiful – very beautiful, and very large. Quite extraordinary! It will be cool in there too, with an immense silence.

My God, how can I describe to you the wonderful colours! You see many things are quite hard to describe, especially because they’ll be used in such a new way. And then, there’ll be glass, wood, linoleum, water, plants, vases, and many of those boxes they used to use, in wood or plastic, and all empty…

What’s really extraordinary about all this is that many of these things will be handmade, especially the largest ones. Of course, others will obviously be machinemade. The household equipment will be just perfect, in wonderful colours, neutral colours, I should say… All the rest will be bright, and there’ll be a big swing with room for two.

You see, there’ll be lots of marvellous things, and yet it will look almost empty, it will be so big and so beautiful… How fine it will be… just spending the whole day doing nothing, without working or anything… You know, just great… (And so, starting all over again at the beginning.)

What we use, then, in creating our environment is the least physical thing in the world, namely, words. Of course, that doesn’t at all mean that in postponing the physical realisation of this environment we have avoided picturing it. On the contrary, we have refused to complete a single image, our own, preferring instead that as many should be created as there are people listening to this tale, who will imagine this environment for themselves, quite beyond our control.

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You can imagine my astonishment being a student of architecture when reading this text by Archizoom. I found it published in the memorable Italy: The New Domestic Landscape (Ambasz, 1972), and it speaks about an infinity of utopias, as many as listeners, each of them belonging to a different culture. Body, reality, mind, imagination, fantasy,... soul?

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| Infinity of utopias in architecture

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A new message from Salma´s pigeon from the other side

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In the book Architecture and Embodiment (2013) Mallagrave wrote about the relationship between neuroscience and architecture. He argues that quality in architecture has "scientific" reasons and that it arises from the activation of precise areas of the brain. What I would like to propose to the discussion is:  if and how the construction of virtual worlds can represent a “new” starting point for a research aimed at investigating a different idea of "participatory planning" based on “scientific bases” more oriented on recording reactions of possible users rather than on soliciting oriented answers.

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Emotional involvement and space