针对社会健康的响应型技术（１）

UNStudio在北京2018国际媒体建筑双年展(MAB)发表了一篇由Ben van Berkel、Wael Batal及Filippo Lodi共同撰写的研究论文。这篇论文预测感知技术在城市建筑和基础设施中的整合。其目的是通过UNStudio的项目研究对于社会和建筑环境的潜力和影响，重点探索“健康”与建筑技术的交集，并区分“响应”与“智能”城市之间的差异。

该论文作为我们UNStudio知识平台持续进行的健康知识分享系列的一部份，讨论针对社会健康的响应型技术。

UNStudio presented research paper co-written by Ben van Berkel, Wael Batal and Filippo Lodi at the Media Architecture Biennale (MAB) 2018 in Beijing. This paper speculates on the integration of sensory technology in architecture and in the infrastructure of cities. The objective is to study the potentialities - and effects - of this on society and the built environment through projects at UNStudio. The focus will be to both explore the intersections between ‘health’ and technology in architecture, and to distinguish a difference between ‘responsive’ versus ‘smart’ cities.

It is part of our on-going knowledge sharing series on health by UNSKnowledge on the responsive technologies of social health.

 简介针对社会健康的响应型技术 

 An Introduction to the Responsive Technologies of Social Health 

随着如今技术创新和科学发展的步伐，在当今“第四次工业革命”中，塑造社会的各类条件比以往任何时候都更加多变而短暂。日内瓦世界经济论坛创始人兼执行主席克劳斯·施瓦布 在今年初提出了这一术语（“第四次工业革命”），让人们更容易理解当前面临的技术饱和的社会文化状况与以往蓬勃发展的不同技术创新阶段的联系。

全球化和数字化互联数据生态出现，持续渗透到人们的日常生活中，对消费、生产、治理和人际关系产生了巨大的影响。尽管其影响范围不断扩大、遍及全球，第四阶段与前三个阶段之间最显著的差异有以下两个个方面：科技领域极速发展，以及物理与数字、人类与人造、自然与人工以及真实与虚拟之间的界限日益模糊。 

With the current pace of technological innovation and scientific progress, the conditions that shape society are more fluid and ephemeral than ever before in today’s ‘Fourth Industrial Revolution’. The Founder and Executive Chairman of the World Economic Forum in Geneva, Klaus Schwab, offered the term earlier this year as a means to understand our present techno-saturated socio-cultural condition in relation to previous phases of booming technological innovation. 

The emergence of a global and digitally interconnected ecology of data continues to pervade daily life with tremendous impact on consumption, production, governance and the relations between people.  While its scale of impact is expansive and global, the most significant differences between the fourth phase and the prior three are twofold: the extreme speed of evolution in the tech spheres, and the increased blurring between the physical and the digital; man and man-made; natural and artificial; real and virtual. 

为应对当今挑战，建筑和城市规划正处于重新研发的痛苦挣扎之中。通过将感知技术无缝集成到建筑表面，并将机器视觉调动到其操作基础设施中，建筑现可与周围环境和居民实时互动感知。

通过这种方式，UNStudio 作为一种知识实践的主体，以崭新的视觉批判性地引导并积极塑造这种再研发。通过自主探索建筑嵌入式感知技术策略的同时，评估其对社会的影响，建筑领域可扩大其世界的影响力。这种影响首要考虑人们的身心健康，是我们集中精力开展工作的重心。

To meet the challenges of this phenomenon, architecture and city planning are in the throes of reinvention. Through the seamless integration of sensory technology into its surfaces and the mobilization of machine vision into its operational infrastructure, architecture can now interactively sense and engage with its surroundings and its inhabitants in real time.

Through this, UNStudio, as a knowledge practice, acquires new modes of vision to critically navigate and actively shape this reinvention. Through the simultaneous exploration of strategies for the implementation of embedded sensory technology in architecture, and the evaluation of their effects on society, the discipline of architecture can widen its performative impact on the world; the sort of impact that prioritizes Health and Well-Being is an essential lens through which to focus this effort.

▲UNStudio在北京2018国际媒体建筑双年展 (MAB)发表整篇研究论文。UNStudio presents the full paper at the Media Architecture Biennale 2018, Beijing.

一个“健康”社会的主要方面，也是经常被忽视的一点，是人们与聚集人们的环境之间的参与性互动，这种互动超越了社交媒体所带来的互动。对于麦克卢汉 (McLuhan) 这样的媒体理论家来说，这些环境体现在技术、媒体设备、以及观众的集成，培养社会内部运作的敏锐意识。“…是媒介塑造和控制了人类交往和行动的规模和形式。”

这种意识使媒体分成大家熟知的类别，比如“热门”——如电影、文章、广播等，其清晰度高、解释空间小、无需用户参与即可完成系统——或“冷门”——如电视或卡通动画，其清晰度低，因此解释空间足够大、参与度高。要使这种区别更具论述性，每种媒介都要有自己的特性，并坚持其独特性。但是，在互联网、数据挖掘、激光雷达扫描、移动超级计算和人工智能的时代，这类媒介的属性相互融合、相互流动，因此为非特定式媒介。

One of the primary, and frequently overlooked, aspects of a ‘Healthy’ society is the participatory interaction between the individual and the constructs that shape the collectivity to which the individual is a part of; beyond the interaction enabled by social media. For media theorists such as McLuhan, these constructs are made visible in the intersections of technologies, devices of media, and audience, andproduce an acute awareness of the inner workings of society. “… it is the medium that shapes and controls the scale and form of human association and action.”

This awareness allowed for his well-known distinction of media into categories, as either ‘hot’- such as film, text, radio, which is high definition, with low room for interpretation and does not require participation from the user to complete the system – or media that is ‘cool’ – such as television or cartoons, with low definition, therefore ample room for interpretation, and high participation. For this distinction to carry discursive weight, each medium had to maintain its specificity, and adhere toits own specific properties monolithically. However, in the age of the internet, data mining, LIDAR scanning, mobile supercomputing, and artificial intelligence, mediums such as these are categorically non-specific as their properties blend and flow into one another.

▲“......当我们认为它是中立的时候，我们会以最糟糕的方式交付它；对于它的这种概念，今天我们特别喜欢向它致敬，这使我们对技术的本质完全视而不见。“ – 海德格尔《关于技术的问题》 ； “无论你现在觉得一个新媒体的什么是奇怪的、丑陋的、令人不舒服和讨厌的，这什么肯定会成为它的标志。” – 拜仁伊劳 “…we are delivered over to it in the worst possible way when we regard it as something neutral; for this conception of it, to which today we particularly like to do homage, makes us utterly blind to the essence of technology.” – Heidegger, The Question Concerning Technology; “Whatever you now find weird, ugly uncomfortable and nasty about a new medium will surely become its signature.” – Brian Eno

以 2018 米兰设计周中，著名趋势预测家李爱德科特与谷歌共同制作的展品为例：作为李爱德科特 1998 年项目“Soft Wear”的延伸，科技运用到家居和工作场所内，探索如何将其融入日常生活。在多个房间里，谷歌设计的产品中穿插着爱德科特设计的常见物品，在二者共同策划的场景中，技术和日常生活都没有掩盖对方光彩或削弱彼此存在，而是共生。

通过在产品和物品的设计中加入纺织品和纤维织物，巧妙地呈现出这种共存效果，观众可以借由这种共同的基材或媒介同时接受两者。换个角度说，本次展会最重要的一方面是观众——或用户——他们处于舞台的中心，是被动的参与者。当人们感知并感受到展览织物产品和物品时，这些织物产品和物品也能感知并感受到观众。

Take, for example, the exhibition by Li Edelkoort, a prominent trend forecaster, in collaboration with Google for Milan Design Week in 2018. As an extension of Li’s 1998 project, Soft Wear, technology is deployed throughout the interior of the home and workplace to explore how it and can be absorbed into everyday life. Google designed products are interspersed with familiar objects designed by Edelkoort, in multiple rooms, curated together in a scene where neither technology nor the everyday, overshadows or diminishes the other; they simply coexist. 

This effect was brilliantly delivered through the use of textiles and fabrics in the design of both products and objects, which provided a common substrate - or medium - through which they could be simultaneously received by an audience.  Implicitly, the most essential aspect of the show is that the audience - or the user - is at center stage and is engaged as a passive participant. While people could sense and feel the fabric products and objects on display, the products and objects would also sense and feel the audience inreciprocation.

▲荷兰阿姆斯特丹 A10 复兴研究旨在融合连接 A10 公路两边区域，从而缓和因公路带来的物理和社会障碍。Lelylaan A10 Ring aims to connect the two sides of the A10 and to smooth over the physical and social barrier of the highway.

作为物质和社会互动组织媒介，建筑设计现已获得了类似的参与性手段。虽然人们积极地将管道、空调、供暖、通风、电缆、相机和烟雾探测器技术嵌入建筑的厚墙壁、地板和表面，但现在我们仍处于感官技术与机器学习软件相结合的早期阶段。机器学习软件能将这些元素连接成一个连贯、反应灵敏的生活网络，该网络对外开放，人们可以成为所在城市的演员、协同作者、联合组织者、编辑和观察员。

同样，随着科技不断无缝融入到我们的日常生活之中，友好共处并成为我们的生活背景，进入了集体无意识之中，社会将如何保持批判的文化意识，积极参与塑造我们周围的世界？从本质上讲，人们不能完全理解或熟悉技术。正是如此，技术能转变并适应社会，同时反映在社会的技术生产上。如果社会听不到吱吱作响的车轮声，那么它将永远无法修复、改变或适应。一旦技术被社会吸收和承认，那将成为一种工具，和锤子没有什么区别。

As a medium through which matter and social interaction are organized together through built form, architectural design today gains a similar participatory instrumentality. While architecture has actively embedded technologies of plumbing, air conditioning, heating, ventilation, electric cables, cameras, and smoke detectors, into the thickness of its walls, floors and skins, it is still in the early stages of integrating sensory technology and machine learning software that enables the interconnection of those elements into a coherent and responsive living network; a network that opens up and allows people to be actors, co-authors, co-organizers, editors and observers of their own city.

Still, as technology continues to blend seamlessly into our daily lives, appearing friendly and as background, slipping into our collective unconscious, how can society maintain a critical cultural awareness to actively participate in shaping theworld around us? Technology is by nature something that is not fully understood or familiar. That’s what allows it to transform and adapt to society, and for society to reflect back into the production of technology. If the sounds of the squeaky wheel cannot be heard by society, then it will never be fixed, changed or adapted. Once technology is absorbed and accepted into society, it becomes a tool indistinguishable from a hammer.

▲20年前在设计荷兰阿纳姆中央车站时考虑了城市中心、用户行为的转变、未来的经济发展、安全和通道等因素，制定灵活的车站设计。Designed 20 years ago, Arnhem Central Station planned for flexibility and considered the city center, shifts in user behavior, projected economic development, safety, and access.©Hufton+Crow

当今时代，语音启动智能家居设备、微型手机摄像头和麦克风、Alexa语音助手、地理位置跟踪、通过在线存储信息挖掘数据等各类技术盛行，技术的可见性几近渺无踪影，拉开了关注型与不关注型的社会参与者之间的差距。此外，据杰森·席尔瓦在阿姆斯特丹举行的 2018 网络大会上的发言，在不久的将来，纳米技术和生物技术的发展不仅会利用神经植入让人类意识实现数字提高，还能让我们以同样的方式（在数字宇宙中绘出了 1 和 0 的图案）“绘制出原子模型”（物质世界的组成部分）。物质本身将成为一种可设计的介质，正因如此，人造技术将渗入并消失在构成自然的隐藏结构之中。

从这个意义上讲，设计能加强这一趋势，具体表现在使用柔软的材料、弯曲悦人的形状、铜丝、硅片和纽扣制成的缠绕织物，让技术和媒体设备更加隐形、熟悉、不明显。而且，设计还须避免与功能主义表达的坚固性或实用性的方向背道而驰，不考虑乐趣，如包豪斯风格或国际风格。

In the era of voice active smart home devices, miniaturized phone cameras and microphones, Alexa, geo-location tracking, data mining through stored online information, the visibility of technology decreases to a point of near invisibility; widening the gap between attentive social participants and non-attentive. Further, in the near future, advances in nanotechnology and biotech will not only allow neuro-implanted digital augmentation of human consciousness, but will also allow us to “pattern atoms – the building blocks of the physical world – in the same way that we patterned 1s and 0s in the digital universe”, according to Jason Silva in The Next Web 2018 Conference in Amsterdam. Matter itself will become a programmable medium, and as such, man-made technology will bleed into – and disappear within - the hidden structures that constitute nature.

In this sense, design can do much more than to reinforce this trend by making technology and devices of media more invisible, familiar and unnoticeable through soft materials, curved pleasing forms, intertwining strands of fabric with copper wires, silicon boards and buttons. Design must also avoid a retrograde swing in the opposite direction towards the functionalist expression of either firmness or utility, without regard for delight; as in the Bauhaus or International Style.

▲RESET由一系列的迷你房组成，通过改变墙上的投影、声音、音调和音乐来测量并反应人们的压力水平，让人们从紧张的工作环境中得到放松。RESET is a series of pods to measure and react to individual’s stresslevels by changing projections on the walls, sounds, tones and music, for individuals to have a relief from a stressfulworking environment.

通过嵌入式机器视觉技术，建筑能够观察、理解和适应其居住者的能力，因此能与居民互动，激发他们的意识，产生共鸣。用户可以积极参与环境建设，进而影响整个社会和技术的共同发展。对我们而言，这是响应型建筑的基础，能促进观众参与以及和产生共鸣的用户互动，是构成健康社会和弹性城市的基本因素。

在这个后媒介世界中，建筑对于协调这种响应担当什么样的角色？建筑如何将技术集成到其表面，且不完全隐形和被人熟悉？我们将通过以下主题和我们的一些项目来研究这些问题：

• 健康与技术

• 通过弹性实现响应性

As architecture has the capacity to see, understand and adapt to its inhabitants through embedded machine vision technologies, it can interface within habitants, activating their consciousness and allow for empathic human engagement. The user can be an active participant in the construction of their environment and, further, can influence the co-evolution of society and technology at large. For us, this is the foundation of a responsive architecture; one that facilitates audience participation and empathic user engagement as essential factors in a healthy society and resilient cities.

What is architecture’s agency in mediating this responsiveness in a post-medium specific world? How can architecture integrate technology into its surfaces without making it totally invisible and familiar? We will explore these questions through the lens of the following topics and through some of our projects:

• Health and Technology

• Resiliency through Responsiveness

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