Abstract

This paper attempts to propose the characteristics of artificially intelligent architectural design through the case studies of the Festival Plaza (Japan World Exposition Osaka 1970), Center Pompidou and Sendai Mediatheque and studies the handling of information, communication and feedback processes in these suggestive cybernetic environments. First section of this paper analyzes Center Pompidou by researching the competition brief and the initial states of the winning entries presenting their preserved notions against the bureaucratic, political and budgetary constraints. Second section surveys the contemporary history behind the projection of a cultural center as a cybernetic or more precisely as information broadcasting entity by reviewing Geddes’s Index Museum, Malraux’s Le Musée Imaginaire (Museum Without Walls), etc. Finally, the third section summarizes the contributions of the Festival Plaza to the cybernetic (or information and communication) conception of the Center Pompidou, Archigram (or vice versa) and eventually represents Sendai Mediatheque as a suggestive apotheosis of this overlapping cybernetic discourse. This paper then concludes the characteristics of artificially intelligent architectural design by suggesting that the technology of artificial intelligence, acting invisibly as in the background of these cybernetic environments, autonomously collects, analyzes, interprets, disseminates, receives and feedbacks information.

摘要

本文试图通过节日广场（1970年大阪世界博览会），蓬皮杜中心和仙台媒体中心的案例研究来提出人工智能建筑设计的特征，并研究在这些暗示性控制论环境中信息，通信和反馈过程的处理方式。本文的第一部分通过研究竞争简介和获胜作品的初始状态来分析蓬皮杜中心，这些作品代表了针对官僚，政治和预算限制的保留观念。第二部分通过回顾Geddes的Index Museum，Malraux的LeMuséeImaginaire，Medraux的LeMuséeImaginaire来考察将文化中心投影为控制论或更准确的信息广播实体的当代历史（无墙博物馆）等。最后，第三部分总结了节庆广场对蓬皮杜文化中心，建筑学（反之亦然）的控制论（或信息和交流）构想的贡献，并最终代表了仙台Mediatheque作为暗示性的神化重叠的控制论话语。然后，本文通过建议人工智能技术（在这些控制论环境的背景下不可见地起作用）自主地收集，分析，解释，传播，接收和反馈信息来总结人工智能建筑设计的特征。