LIQUID ARCHITECTURE

Architecture is a machine to live in (Le Corbusier)

I WILL REVISE Le Corbusier

But(trans) Architecture is an algorithm to play in.And,
playfully, proclaim: Transarchitectures and revolutions.
(Marcus Novak)
 Liquid architecture is an architecture that
breathes, pulses, leaps as one form and lands as
another... it is an architecture without doors and
hallways, where the next room is always where I
need it to be and what I need it to be.
-Marcus Novak

transArchitecture, architecture beyond

architecture, is an architecture of heretofore
invisible scaffolds. It has a twofold character:
within cyberspace is exists as liquid architecture
that is transmitted across the global information
networks; within physical space it exists as an
invisible electronic double superimposed on our
material world.
Marcos Novak is a transarchitect, artist,
and theorist investigating the tectonics of
technologically augmented space. Widely
regarded as a pioneer of virtual architecture and as
the leading proponent of the idea that virtual
environments constitute an autonomous but fully
architectural space in a new, unprecedented non-
local public domain, he is the author of numerous
publications on the poetics of cyberspace and has
the originated the internationally recognized
concepts of 'transarchitectures', 'liquid
architectures', 'extreme intermedia' and others. His
work seeks to combine non-Euclidean conceptions
of space with aspects of algorithmic emergence
and morphogenesis. He lectures worldwide and is
Visiting Associate Professor of Architecture at UCLA.
Marcos Novak refers to his Virtual Reality art-works as "liquid
architecture and navigable music," and the eerie sense of
awe which pervades them lives up to the nifty adjectives. He
uses computer algorithms originally intended for music
composition to 'compose' architecture: four-dimensional
architecture which moves around in space, shifting color,
shifting form. And these weirdly fluid leviathan structures
play melodies all the while, melodies controlled by the
movements of whoever happens to be in there. At the Banff
Centre for the Arts he developed
We have moved," continues Novak, "from
specialization of disciplines to
multidisciplinarity, interdisciplinarity, and now
transdisciplinarity." "In a more tangible sense,"
says the architect, "transarchitectures have to
do with the full spectrum of what might be
called new tectonics:
algorithmic conception,
rapid prototyping,
robotic fabrication,
interactivehabitation,
telepresence and telecommunications, nano-
and giga- presence, and the link to and
through virtuality, creating a new continuum of
space: (local)physical-virtual-(non-
local)physical."
 IN SHELL-VIEW OF MODEL OF LIQUID ARCHITECTURE

Liquid architectures have a lot more to

do with immersion than with cyberspace, strictly speaking.
Immersion has actually been applied to
virtual reality rather than cyberspace itself.
Michael Heim identified seven qualities inherent
to virtual reality that can also be identified in
Novaks work. They are: immersion,
-full-body
- immersion,
- simulation,
-interaction,
-artificiality,
-telepresence,
-and networked communications.
As the digital world has expanded since the
end of the last century, we find our self re-
examine different aspects of the teaching
and the practice of architecture.

The architecture is moving towards a process of

transformation called dematerialisation in the cyber
space.

Cyberspace is architecture and cyberspace

contains architecture (Marcos Novak).
You can define the concept of cyberspace as a
fictitious digital space in which one we are
momentarily present.
 Cyberspace is accessible to everyone who are
capable to transport our presence inside this.
Our perception of the world is three dimensional

The cyberspace can contain 4 dimensions. The

virtual architecture is definitely semiotic,
consisting of codes that insinuate different
meanings where the simbology can be
infinite.

Liquid architecture makes liquid cities

where
visitors with different backgrounds see different
landmarks_Marcos Novak

The Trans-architecture as an element to reconsider the

deep relationship between man and space.
The term transArchitectures (Marcos Novak) stems
from a discussion between architects and designers.

Influenced by their experience with computer

technology during the design process they are
developing new concepts of
time, space, shape, structure, construction, etc.

It is about simultaneously practising architecture and

media, combining design and machine, and about
the shift from "form and space" to "process and field".
Marcus Novak is a visionary architect ,theorist,I ntermedia
artist ,who has actively developed strategies to address-
-how PHYSICAL SPACE has been Transformed by VIRTUAL
SPACE.

Interweaving non Euclidean space CONCEPTS of

algorithmically unfolding.

Meta -data visualization (MATHEMATICAL MODELLING OF

DATA SCAPE).

NAVIGABLE COMPUTUDIONAL &MUSICAL ENVIRONMENTS.

Novak is widely regarded as the leading proponent of

cyberspace as an autonomous architectural space.
Projects
Data driven-Forms

Variable data -Forms

Para-cube
 Paracube:

For this project (1997-98) a cuboids' was defined by six

parametric surfaces, Each with its own co-ordinate systems.
The parametric equation governing each surfaces were
arranged so that a variation on a Particular surface would
cause reactions or permutation on adjoining surfaces
effectively creating a topological cube.

The parametric cuboid was manupulated tocreate two

forms: SKETLETAL FRAME & SMOOTH SKIN.
Parameterization allowed the smoothness of each element
to be defined and manipulation through Computudunal
formulas.
The frames was derived from that same process, where the
skin was computed at high smoothness and
Skeleton at low smoothness

The skeleton was then mathematically extruding into the

fourth dimensions by adding a fourth co-ordinates to every
three dimensinal point.
Thus the point becomes lines.lines become
polygons,polygona become cubes and cubes become
hypercubes.
The resulting fourth -dimensional object was rotated about a
plane in fourth dimensional space according to the
appropriate matrix transformations.
The transformed object projected back into three
dimensionalspace,become a space frame of variant
dimensions. The skin was extruded into the fourth
dimension but instead rerampped to create o rippling,
non-homogeneous surface.
 - A responsive surface, at an
urban and architectural scale, that
can respond to electronic or
environmental stimuli.
- The surface is simple - metallic
and faceted penetrating from
exterior to interior as a gently
curving plane.

- The surface therefore embodies an act

of translation, a sort of synaesthetic
transfer device that cross wires the
senses.

- The surface is ultimately not designed: it

is generated by a random sampling and
electronic sensory-input senses.