2022
www.academia.edu/104617434/The_Artificial_Waiting_Room
The work is structured in three parts. In the first chapter, we look at the definition of AI by reviewing not only its public sentiment as a cautionary tale
through the story of Frankenstein, but also its historical and theoretical base and its transition to Machine Learning. It is accompanied with a collective timeline of events from the AI-contributing disciplines that aims to show the flexibility of assimilating machinic architecture in the history of Machine Learning.
In the second chapter, we engage with the hypothesis of a historical continuity of Machines and Architecture and study a selection of recent books/atlases that place the machine as a connector of architectural examples. The case studies range from Claude-Nicolas Ledoux to Nicholas Negroponte. In each case, parallels to ML examples are drawn in an attempt to bridge them with the theoretical frame and historical timeline of AI that was reviewed in the first chapter.
Finally, the approach shifts from a case-by-case study to the images of AI Architecture. Having identified machinic architecture as unfitting to critique itself, three cultural flagships are chosen as facilitators of this computationally spatial practice. The AI room is built upon the significance of computational models, three-dimensionality, and playfulness, transforming along expectations and aesthetics. The appearance of the AI room as a known, vernacular, mere object, makes it an obvious and wanted object. Beyond the technological shortcomings of architecture, and with the theoretical arguments of Brian O‘Doherty and Arthur C. Danto, the AI room is compared to the contemporary gallery to observe its persistent deification.
Research, Thesis, University of Innsbruck, AI, Architecture Theory