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. The 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. The 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（日本世界博览会大阪 1970）、蓬皮杜中心和仙台媒体中心的案例研究提出人工智能建筑设计的特点，并研究这些暗示性控制论环境中信息、沟通和反馈过程的处理。本文的第一部分通过研究竞赛简介和获奖作品的初始状态来分析蓬皮杜中心，这些作品展示了他们对官僚、政治和预算限制的保留概念。第二部分通过回顾 Geddes 的索引博物馆、马尔罗的Le Musée Imaginaire（无墙博物馆）等。最后，第三部分总结了节日广场对蓬皮杜中心、Archigram（或反之亦然）的控制论（或信息和通信）概念的贡献，并最终将仙台媒体中心表示为这种重叠的控制论话语的暗示性神化。然后，本文总结了人工智能建筑设计的特点，提出人工智能技术在这些控制论环境的背景下无形地行动，自主地收集、分析、解释、传播、接收和反馈信息。