The 38th International Conference of Architectural Science Association ANZAScA “Contexts of ”, Launceston, Tasmania, 10–12 November 2004

Building intelligence: mapping socio/spatial activity for ambient visualisation and sonification in sensate spaces

Kirsty Beilharz

Key Centre of Computing & Cognition: University of Sydney, Sydney, Australia

ABSTRACT: Building intelligence is the result of a responsive loop in which buildings have the capacity to sense information and transform that data into a meaningful representation for its users. Sensate spaces are responsive environments enabled by embedded sensor technologies. This paper explores the application of data from sensate spaces to generate ambient visualisation and sonification to create an informative display reflecting the social and spatial activities of its occupants. Much attention has been given to designing those innovative materials, embedded sensors and intelligent furnishings capable of capturing data derived from behaviours and interaction. This paper provides a strategy for representing the data gathered from sensors embedded in the fabric of buildings in a socially reflective and informative generative design. Preliminary discussion explains current sensate technologies and the ways in which building intelligence is augmented. Active (performative) and passive (embedded) sensor technologies are compared, regarding expediency for capturing data in buildings. Considerations are presented for mapping data to a representation that can be easily understood and aesthetically sustainable in human-centred building innovation and ambient displays.

Conference theme: Computers and architecture Keywords: building intelligence, sensate spaces, visualisation, sonification

INTRODUCTION 1. SENSATE TECHNOLOGIES AUGMENTING BUILDING INTELLIGENCE Data captured in buildings can be used for two purposes: intelligent responsive actions and automated processes, 1.1. Active and passive sensing (e.g. automatic doors, emergency and surveillance Active sensors require conscious, deliberate interaction. responses, adjusting lighting, etc.); and for monitoring These include bend, motion, gyroscopic and velocity and displaying an interpretation of the data. This paper sensors attached to limbs, pointer devices, 6-degree-of- investigates the potential for providing ambient displays freedom mice (computer mice or pointers that convey 3D (infotainment installations) informed by social and spatial directional movement, rotation and velocity), haptic (i.e. activity in a building. Social activities include clustering, tactile) interfaces, stereo 3D vision or gesture tracking. In flocking and interaction between people, indicating areas an installation context, these sensors are of flow and transition, interesting areas where clusters of performative interface devices. Performative sensors are people congregate and hubs for utilities. Spatial data often attached to a participant’s body for wireless refers to information about user locations, the number of communication and provide indications of deliberate people, and proximity to specific objects, walls or regions movement, indicative of individual activity. In contrast, of interest. A system of generating responsive inconspicuous, unobtrusive, embedded or passive information in real time invokes further user interaction sensing captures data without the user needing to and provides a recursive, reflexive system. Ambient change behaviour or consciously interact with the , displays, in this context, are intended to provide e.g. pressure sensitive floor mats, video tracking, infra- information feedback in an aesthetic and decorative way red sensors, temperature, proximity and ultra-sonic that augments and enhances both the visual and sonic sensors. Passive sensing is optimal for sensate interior of a space and our understanding of its intelligent buildings in which people should continue their functionality in social and spatial terms. This paper everyday tasks with the additional advantage of smart explores using a generative (growing and transforming) feedback, an environment capable of (with structural design process rather than a fixed, constant ) and reflexive ambient display. set of representational rules, in order to sustain interest Embedded sensors are optimal for capturing data about and engagement for an ongoing ambient display. Some groups of people such as flocking and the number of works by other artists/scientists are considered, both to users. analyse their mapping efficacy and approaches to sonifying/visualising abstract data for public spaces. 1.2. Hardware and software configuration This research uses pressure sensitive mats and simple, inexpensive light, proximity, temperature and other sensor devices. The information is transformed into ambient (auditory and visual) visualisation reflective of occupant behaviour using Max/MSP + Jitter (Software,

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2003), a visual interface for object oriented environment Architecture, University of Sydney) Sentient Lab. In programming to process sound and video (graphics) in addition, a Kroonde wireless receiver with 16-sensor kit real time (Fig.1). Mapping correlations between actions, allows sensors to be attached to people for performative representation and the generative design process are sonification evaluation. These sensors can detect flex, discussed in following sections. Max/MSP is used to orientation, gyroscopic rotation and speed, as well as control the input and generative output activated by pressure and position, adding sonification parameters users’ movements on pressure mats, via Teleo module involving motion and velocity in a space. interfaces (MakingThings, 2003) in the Key Centre of For experimental purposes, the following Max/MSP and Cognition (Faculty of patches have been developed:

Figure 1: Configuration of sensate system indicating input from digital pressure sensor mats (and other sensor devices triggered by user interaction – button, infra-red, piezo pressure detection, temperature, light-sensitive photocells, proximity, RFID tags) that provide data for the generative process.

Figure 2: Max/MSP main patch in which sensor input from pressure mats trigger colour alteration according to position, branching formation according to activity, distance, speed and generative Lindenmayer system for creating branching visualisation design.

Figure 3: L-system generator patch in Max MSP used to create branched visualisations on screen. Different behaviours modify the algorithmic process of design generation. The two examples (left) show the changed outcome achieved by using different variables to determine the length and shape of branches in the visualisation.

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• to transform colour according to position (pitch density interaction with the spatial system. The curiosity factor and frequency) provided by generative design can be applied to • ChangeColourSend patch for responding to each visualisation or sonification or both. Sonification has a pressure mat trigger powerful capacity to create/focus attention alongside • FloorSimulationMatrix patch to represent and simulate everyday activities, ideal for ambient display. Inadequate pressure mat activation during testing and construction consideration has been given to sonification mappings in of the generative process real time for representation in unlearned systems • the FootpadCounter patch which measures activity and especially compared with the vast field and relative can track events to sets of footsteps maturity of information visualisation. Ambient display • the FootpadDistance patch calculates the distance depends on relatively intuitive recognition and between concurrent footsteps – indicative of user comprehension of its communication and connection interactive energy and affected by the number and with interaction. position of users; the L-system patch produces an output string in response to a pressure mat input “bang” 2.2. Mapping (and a sub-patch to keep track of progress of the Mapping is the process of representing non-visual and generative system) abstract information (for example, the number of people • the L-systemGenerator patch, simplified to a few in a space, motion, temperature, light levels) in the generation functions due to the string processing power sonification and visualisation display. Mappings between of Max/MSP activities and their representation are critical to the • the TimerL-system patch measures the speed of understanding (comprehensibility) and social interest of footsteps the sonification/visualisation. This paper examines • the Turtle patch translates the L-system output into mappings of meaning and interaction to ambient display graphic visualisations on screen (visualisation or sonification). It considers the relations • the MainConnected patch sends input from pressure between spatial/social activities and visual and sonic sensors; and the Main patch (Fig. 2) that controls which (musical) representation. The correspondences between messages are sent to patches, and which embodies all levels of activity, spatial distribution of people, number of other patches. Implementation is seen in Figure 3. people, other social attributes and sonic characteristics (e.g. pitch, intensity, rapidity, pulse, harmony) and the 1.3. Augmenting building environment design correspondences with visual metaphors (Beilharz and Enabling buildings with responsive, “understanding” and Reffat, 2003) (colour, distribution in space, patterns and feedback capability facilitates flexibility and access to design growth) form the basis for connecting building environmental comfort, navigation for the visually intelligence with ambient display. The following table impaired, building awareness, gerontechnology (Table 1) maps a high- framework for (technologies assisting the elderly), and automated and correspondences between auditory and visual augmented tasks for the physically disabled. representation with the environmental conditions or Nanotechnologies embedding minute sensor activities that trigger the response. This table maps technologies in furnishings, surfaces and pre-fabricated broad correspondences between social/spatial activities building materials - facilitate localised sensate regions and using an algorithmic process for generative and unobtrusive (wireless) distributed networks for sonification. information collection. While beyond the scope of this paper, intelligence and learning capabilities also Table 1: Sonification schema of correspondences transform household and commercial products that we Sonification Visualisation Activity /Trigger use within our everyday spaces, contributing to the Pitch Length/scale/scope of graphic Distance between activities / picture of our increasingly responsive environment. An (frequency) display on screen motion example developed in the KCDC Sentient Lab Texture/ Density of events /number of Volume of activity, number of demonstrates an iterative, reflexive system of interaction density branches or iterations of users and social threshold in which motion, speed, number of users and position in generative (embeds a space (captured by pressure mats under the carpet) history by amount of activity) determine the growth of a visual design drawn with a Rhythm/ Proximity and rapidity of Speed of actions, punctuation Lindenmayer generative algorithm (L-system) (Fig. 3). tempo of display (animation) of triggering events, tied to The design provides both an informative monitor of events velocity of events social and spatial behaviour and invokes users to Intensity Heaviness and distinction of Intensity/magnitude of interact with their space to influence their artistic /dynamic onscreen drawing triggering events surrounds. A second example uses spatial sonification to loudness assist obstacle detection and navigation by visually Timbre (tone Colour and distribution on Region/spatialisation – impaired users. Changes in the auditory display colour) visual display (screen) topology, zoning communicate information such as proximity to objects Harmony Design artefact Multi-user manipulation and the relative hazard of obstacles in the room using a pressure sensitive floor mat detection system and The connections are intended to be semantically intuitive aesthetic sonification. Sensing technologies provide or metaphorically logical creating a system of clear potential for improving building accessibility. representation that is easily understood without learning complex relationships. Comprehensible representation is 2. MAPPING ENVIRONMENT AND BEHAVIOURAL consistent with the immediacy required to stimulate DATA TO AMBIENT RESPRESENTATIONS interaction. There is a natural inter-relationship between activities and sonification, for example, it is likely that 2.1 Motivation multiple users (compared to a single user) will likely In practice, real time responsive display is central to more spatial regions and activates an increased number designing interaction. Evolutionary (somewhat of triggers (speed and density). This overlapping or unpredictable) have the potential to trigger blurring of mappings (orthogonality) is a realistic mirror of emergent, novel design outcomes that further motivate the interactive experience.

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Responsive generative ambient auditory display spaces and patterns (exotic worlds of luxuriant plants, requires: an aesthetic framework that is sustainable and swarms of butterflies, microcosmic organisms, growing listenable; a generative approach that maintains interest ecologies) applied to installations. Jon McCormack’s and engagement – invoking interaction and ongoing Future Garden (McCormack, 2003) is an installation relevance; and a schema of correspondences between displaying patterns generated using the algorithmic social/spatial activity and sonification that lends technique, cellular automata, also utilised by immediacy and intuitive understanding and Cognition Studios sound , Dave Burraston (comprehensibility) through its network of mappings. (Burraston, 2003) to produce a continuous stream of permutations and evolving generative designs. 2.3. Mapping to a generative design process McCormack’s Universal Zoologies (Fig. 4) is an Most informative sonification models map data directly to interconnected series of autonomous, self-generating a fixed value in the display. A distinguishing feature in spaces. Eden -a networked self-generating sonic this approach is mapping time-based activities to a ecosystem environment, and Future Garden - an generative algorithm that will simultaneously represent electronic “garden” of Artificial Life as part of the actions and produce a growing, evolving design in order Federation Square development in Melbourne, represent to maintain a dynamic design display and interest over installations of generative processes in large-scale time. Not only does this approach embed a “memory” or publicly interactive spaces (Bandt, 2004; McCormack, “history” of the activity that led to the moment, but it 2003). Successive generations of artificial fauna tend to provides an auditory display that is sustainable due to its become more complex. Bernd Lintermann’s constantly changing state and curiosity. Ambient displays SonoMorphis (ZKM, Karlsruhe, 1999) involves user are intended to inform and enhance an environment. interaction to perpetuate the 3D mutation process. In Such installations require aesthetic “freshness” that will and architectural processes, generative be provided by generative design (Beilharz, 2004b; have been designed to provide multiple Beilharz, 2004c; Beilharz, 2004d). interpolations, i.e. for idea generation, e.g. Michael Rosenman and John Gero ‘Evolving Designs by 2.4. Relatedworks using generative design Generating Useful Complex Gene Structures’ (p.345- processes 364) (Bentley, 1999) for generating house shape designs The foundation for utilising generative processes in using different room configurations. responsive visualisation/sonification has been laid in the heritage of (art) installation works that use generative processes to create designs and in those that use generative and evolutionary (or genetic) algorithmic processes to respond directly to interaction. Algorithmic design includes many stochastic and serial methodologies as well as those algorithmic techniques pertaining to genetic transformations or other generative elaborative processes, such as the cellular automata (Johnson and Trick, 1996; Skiena, 2003). In the broadest sense, algorithmic generation incorporates all classes of solution-generating algorithms, including linear functions, network growth and fractal algorithms; those based on genetic (Kreveld, Overmars, Schwarzkopf et Figure 4: McCormack’s Universal Zoologies is an al., 1997; Skiena, 1997); and Stochastic processes, e.g. interconnected series of autonomous, self-generating, applied to musical composition and architecture by poetic spaces that are navigated by people experiencing Iannis Xenakis (Beilharz, 2003b; Xenakis, 1971). the work. The project aims to represent emotive, Algorithmic generative systems have been used by abstract, artificial life digi-scapes, each based around a and artists as diverse as Brian Eno, Francois thematic metaphor evoking the qualia of the natural Morellet, Simon Penny (Jalbert, 2003) and Marvin world (McCormack, 2003). Minsky (Minsky, 1981; Minsky, 2003). Contemporary media artists, Christa Sommerer and 2.5. Related sonification mapping Laurant Mignoneau (p.297) (Grau, 2003; Whitelaw, Following are some examples of designers who have 2004) build on the alliance between art, nature and sonified data for artistic installations and exhibitions technology using natural interfaces and Artificial Life (“A- (Beilharz, 2004a) (Table 2): Life”) (McCormack, 2003) and evolutionary imaging techniques. These allow people to interact with natural

Table 2: Sonification as art Fabio Cifariello Ciardi’s sMAX: A Multimodal Toolkit for Stock Market Data Sonification sonifies data from stock market environments, in which large numbers of changing variables and temporally complex information must be monitored simultaneously. The auditory system is very useful for task monitoring and analysis of multidimensional data (Fig. 4). MarketBuzz is another sonification of real-time financial data, in which the authors claim, “auditory display is more effective and consistent for monitoring the movement of volatile market indices” (Janata and Childs, 2004). This system requires user training and serves as an indicator more than an aesthetic ambient display. Andrea Polli – Atmospherics/Weather Works. A number of artists and scientists have sonified meteorological data. In Atmospherics/Weather Works, Polli uses sonification because it has the potential to convey temporal narrative and time-based experiential and emotional content that enhances perception (Fig. 5). Garth Paine’s responsive installation sonifications include Reeds – A Responsive Sound Installation and PlantA, an installation at the Sydney Opera House during the Sonify festival (part of ICAD: International Conference of Auditory Display 2004) using a weather station to capture dynamic non-visual data measurements. Wind velocity, direction, temperature and UV level from outside the installation space conveys that data wirelessly to Paine’s (art installation) sonification inside the building (Paine, 2004).

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and increasingly “intelligence” is integrated into building materials and devices. Designing the user experience is part of understanding the lifecycle of the environment, contributing to healthy workplaces, technical innovation and integration of building technologies. Scientific sonification or visualisation of abstract data is usually designed to illuminate or augment our understanding of abstract (usually non-visual) data. There are contexts in which sonification is more helpful than visualisation: utilising the human auditory capacity for detecting subtle changes and comprehending dense data; and to avoid overload on visual senses, e.g. during surgery, anaesthesiology, and aircraft control. These applications of visualisation and sonification contribute to our understanding of well-known issues, particularly in regard to sonification: "orthogonality (Ciardi, 2004; Figure 4: The composer/sonifier with the hardware Neuhoff, Kramer and Wayand, 2000) (i.e. changes in configuration and part of sMax visual display. one variable that may influence the perception of changes in another variable), reaction times in In contrast, the proposed methodology takes information multimodal presentation (Nesbitt and Barrass, 2002), that is current and relays its sonification in real time to appropriate mapping between data and sound features the environment that is both its source and its display (Walker and Kramer, 1996), and average user sensibility context. It is a unique integration of sensing technology for subtle musical changes (Vickers and Alty, 1998).” and the data it produces about social and spatial activity, This paper views visualisation and sonification as rather than material sourced from a disparate context, infotainment for monitoring and display in public spaces, location or time. designed to augment, enhance and contribute artistically (as well as informatively) to our experience of spaces, e.g. a foyer, sensate space, common room. Aesthetic representation and accessibility (comprehensibility) directly influences the perception and reception of a work. Granularity or magnification (pre-processing, scaling and density of mapping and data sonification) also affects our ability to comprehend the representation (Beilharz, 2004a). Thus ambient visualisation and sonification in buildings merges informative information display with entertainment (infotainment or informative art) bringing a new versatility and purposefulness to graphical and auditory art in our homes, work place and public spaces. This is where the established practice of installation art works meets domestic infotainment.

3.2. Musical inspirations for sonification To cite some sonifications developed for scientific informative purposes, (e.g. Interactive Sonification Toolkit for analysis of large general data sets tested with helicopter flight data (Hunt, 2004); sonifying EEG data (Hinterberger, Baier, Mellinger et al., 2004); sonification of geo-referenced data (Zhao, Plaisant, Shneiderman et al., 2004)) the mapping of data to sound is either a) immediately clear and literal or b) a complex new language/codification that must be learned in order to be able to interpret the system but, above all, c) not the

Figure 5: Sketch showing the approximate geographical quality and characteristics of that would be location of each of the model's data points. The floor plan desirable and sustainable within the framework of is superimposed over a map of the US East Coastal infotainment or ambient display, in which musical region hardest hit by the two storms. Each relative qualities of variation and interest are pertinent speaker location was mapped to a geographic point characteristics critical to social acceptance and the (Polli, 2004). additional aesthetic agenda of ambient display. (Sonifications can commonly consist of plain sound 3. AESTHETIC CONSIDERATIONS FOR samples, alerts, earcons, and digital amplification of graphical waves). While the constitution of sonically AMBIENT DISPLAY appealing, or simply acceptable, sonification remains

subjective and, to a degree, individual (just as for 3.1. Towards aesthetic and engaging ambient display visualisation), we can reasonably assume that interest Ambient displays serve several social functions: and variation concurrent with achieving the goal of entertainment and décor, relevant and dynamic artwork communicating information, enhances potential social for social public spaces and providing informative acceptance and ambient display sustainability. To this feedback to users. Interesting and useful applications of end, a generative system provides aspects of interest, building intelligence are increasingly relevant as sensors curiosity, novelty and change while retaining the rules of and smart surfaces become less expensive, ubiquitous sonification (codification) that embed meaning (see

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Table 1: Sonification schema of correspondences Burraston, D. (2003) Creativity and Cognition Studios above). Further, the quality of sound generation and (CCS) UTS Sydney sufficient complexity (representation of rich data across a http://www.creativityandcognition.com; number of parameters) are measures the sonifier can http://www.noyzelab.com/ 24/11/03. implement to position an ambient display more closely to Carrard, P., Engeli, M., Forster, K. W., Schmitt, G. and “music” or meaningful sonic communication than to Eidgenössische Technische Hochschule Zürich. (2001). “noise”. ETH World : conceptual competition : virtual and physical presence, gta Verlag], Zürich. CONCLUSION Ciardi, F. C. (2004). sMAX: A Multimodal Toolkit for Stock Market Data Sonification, in Proceedings of ICAD Ambient sonification and visualisation displays illuminate 04 -Tenth Meeting of the International Conference on social and spatial human-to-building symbiosis, Auditory Display, Sydney, Australia. heightening our awareness of flocking, emergent and Grau, O. (2003). Virtual Art : From Illusion to Immersion, interactive behaviour in an informative way. The MIT Press, Cambridge, MA, USA. infotainment aesthetic framework in which mapping Hinterberger, T., Baier, G., Mellinger, J. and Birbaumer, activity to a transforming digital generative design occurs N. (2004). Auditory Feedback of Human EEG for Direct creates live, iterative décor integration for sensate social Brain-Computer Communication, in International building spaces (e.g. foyers, cafes, meeting rooms). Conference of Auditory Display (ICAD), Sydney, Reflexive art contributes to our understanding of the Australia. buildings we inhabit while enhancing the immersion of Hunt, S. P. A. (2004). A Toolkit for Interactive the experience. The strategy of sensing, mapping and Sonification, in International Conference of Auditory responsiveness outlined in this paper expounds a latent Display (ICAD), Sydney, Australia. potential for innovative sensate technologies in Jalbert, G. (2003) Generative Art and Music: architectural environment design. Spontaneous Thoughts on Automatic Art www.imaja.com/change/tonecolor/genartmus.html 23/11/03. REFERENCES Janata, P. and Childs, E. (2004). Marketbuzz:

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