Diagrammatik der Architektur

Ist das ›unruhige Enzephalogramm‹, mit dem James Graham Ballard 1975 in seinem architekturkritischen Klassiker ›High Rise‹ die Silhouette von London gleichsetzt, schon gelesen worden? Oder selbstkritischer gefragt: Warum kann das Diagramm einen wesentlichen Aspekt zeitgenössischer Bildtheorie darstellen, während diese Kategorie im architektonischen Diskurs immer noch von den komplexen, letztlich aber instrumentell ausgerichteten Ansätzen der 1990er Jahre bestimmt wird? Auf einer Kölner Tagung im Januar 2011 wurde die Diagrammatik der Baukunst unter Berücksichtigung aktueller Ansätze der Bild- und Kulturtheorien neu bewertet. Die in diesem Band publizierten Beiträge aus unterschiedlichen Disziplinen – Architektur, Pädagogik, Kunstgeschichte, Informatik – zu Themenbereichen vom Mittelalter bis zur Gegenwart belegen, dass diagrammatische Darstellungen und Denkmuster in allen Bereichen der Architektur wichtig werden können, sei es für Lehre, Entwurf, Ausführung, Vermittlung oder Analyse. Ihre Fähigkeit, Momente der Operationalität, der Evidenz und der Spur zu vereinen, lassen sie zu einer Gelenkstelle zwischen verschiedenen zeitlichen und räumlichen Manifestationen von Architektur und ihren Medien werden

Experiments with a First Prototype of a Spatial Model of Cultural Meaning through Natural-Language Human-Robot Interaction

When using assistive systems, the consideration of individual and cultural meaning is crucial for the utility and acceptance of technology. Orientation, communication and interaction are rooted in perception and therefore always happen in material space. We understand that a major problem lies in the difference between human and technical perception of space. Cultural policies are based on meanings including their spatial situation and their rich relationships. Therefore, we have developed an approach where the different perception systems share a hybrid spatial model that is generated by artificial intelligence—a joint effort by humans and assistive systems. The aim of our project is to create a spatial model of cultural meaning based on interaction between humans and robots. We define the role of humanoid robots as becoming our companions. This calls for technical systems to include still inconceivable human and cultural agendas for the perception of space. In two experiments, we tested a first prototype of the communication module that allows a humanoid to learn cultural meanings through a machine learning system. Interaction is achieved by non-verbal and natural-language communication between humanoids and test persons. This helps us to better understand how a spatial model of cultural meaning can be developed

Experiments with a First Prototype of a Spatial Model of Cultural Meaning through Natural-Language Human-Robot Interaction

When using assistive systems, the consideration of individual and cultural meaning is crucial for the utility and acceptance of technology. Orientation, communication and interaction are rooted in perception and therefore always happen in material space. We understand that a major problem lies in the difference between human and technical perception of space. Cultural policies are based on meanings including their spatial situation and their rich relationships. Therefore, we have developed an approach where the different perception systems share a hybrid spatial model that is generated by artificial intelligence—a joint effort by humans and assistive systems. The aim of our project is to create a spatial model of cultural meaning based on interaction between humans and robots. We define the role of humanoid robots as becoming our companions. This calls for technical systems to include still inconceivable human and cultural agendas for the perception of space. In two experiments, we tested a first prototype of the communication module that allows a humanoid to learn cultural meanings through a machine learning system. Interaction is achieved by non-verbal and natural-language communication between humanoids and test persons. This helps us to better understand how a spatial model of cultural meaning can be developed.© 2018 by the author