Keynote speakers
Subjects of the lectures

Yehuda Kalay , Ph. D., UC Berkeley, USA
Ranulph Glanville , Ph. D., D.Sc., CybernEthics Research, Southsea, UK
Gale Moore , Ph. D., Univ. of Toronto, Canada




Yehuda Kalay

Department of Architecture
Digital Design Research Group
University of California, Berkeley
Berkeley, CA 94720-1800


kalay@berkeley.edu
web-page
Phone. (510) 642-2658
Fax. (510) 643-8879


Yehuda Kalay is professor of Architecture and former Director of the Center for New Media at UC Berkeley. He holds B.Arch (professional) and MSc (research) degrees in Architecture from the Technion, Israel Institute of Technology, and PhD in Architetcure from Carnegie Mellon University (Pittsburgh, PA). Prior to his tenure at Berkeley, Professor Kalay taught in the departments of architecture and computer science at the State University of New York at Buffalo, where he also served as co-director of the Department or Architecture. He is a founding member and past president of ACADIA (Association for Computer Aided Design In Architecture), and former Editor-in-Chief of Automation in Construction, an international refereed journal (Elsevier, UK). Kalay’s research focuses on digital and collaborative design. It has been sponsored by the National Science Foundation (NSF), the National Endowment for the Arts (NEA), the U.S. Army Corps of Engineers, the Italian National Council for Research (CNR), the Universities of California and New York, and corporation such as Boeing, Sun Microsystems, Hewlett Packard, Intel, Microsoft, CARTESIANA (Italy), Intelligence Artificielle (Switzerland), and Elsevier (UK). Professor Kalay has published over 100 scholarly papers and seven books, the most recent of which are New Heritage: Cultural Heritage and New Media (Routledge, 2008), and Architecture’s New Media (MIT, 2004).



Lecture:
The Impact of Information Technology on Architectural Design in the 21st Century

Architecture is a technology-intensive discipline. It uses technology—both in the process of designing and in its products—to achieve certain functional, cultural, social, economic, and other goals. In turn, technology transforms the discipline. The importance of technology to the discipline and to the practice of architecture has been demonstrated again and again throughout history. In the 21st century, the advent of computer-aided design, computer-assisted collaboration, construction automation, “intelligent” buildings, and “virtual” places, promise to have as much of an impact on architectural design processes and products as earlier technological advances have had. Like most other early adoptions of a technology, the first uses of computing in the service of architecture mimicked older methods: electronic drafting, modeling, and rendering. But this rather timid introduction is changing rapidly: new design and evaluation tools allow architects to imagine new building forms, more responsive (and environmentally more responsible) buildings, even radically new types of environments that blend physical with virtual space. Communication and collaboration tools allow architects, engineers, contractors, clients, and others to work much more closely than was possible before, resulting in more complex, more innovative, and more effective designs. Understanding and shaping this transformation are the basis of architectural design research and education in the 21st century.





Ranulph Glanville

CybernEthics Research
Southsea, UK
Ranulph Glanville works through CybernEthics Research, a private research and consultancy company. He studied architecture at the Architectural Association in London (spending most of his time making electronic and acoustic music and sound installations). He also became an authority of Finnish vernacular architecture, learning the language to inform his studies. After graduating from the AA, he studied with Gordon Pask for a PhD in cybernetics, and then a second in human learning. His main interest in these areas is circularity and second order cybernetics; and how we can account for a world where we all see differently yet believe we see the same. He sees these as closely related to designing, and how to research in design fields. In 2006 he was awarded a DSc (higher doctorate) in cybernetics and design, in recognition of this work. He has published extensively in all three fields—more than 300 papers. He is on the editorial board of seven journals and the conference committee of several international conferences. As an independent academic, he has taught in Universities around the world. He is Professor of Architecture and Cybernetics, The Bartlett, UCL London; Professor of Research, Industrial Design Engineering, RCA, London; Professor of Research Design, St Lucas, Brussels and Ghent; Professor of Design Research, School of Architecture + Design, RMIT University, Melbourne. He visits several other universities to advise them on post graduate research. He consults on a wide range of matters as well as education: including mental health, banking development, government and media.



Lecture:
Designing, Researching, Knowing, and a little Computing
The heart of my talk will revolve around the following (overly simple) points. Design is a decent subject, in its own right: it deserves to be treated as such, not as a field to be subject to alien disciplines. Design can be understood in the tripartite division proposed by Vitruvius, in regard to architecture: In Sir Henry Wootton’s translation, firmness (well builtness); commodotie (functionality); and delight. Of these, delight is perhaps the most important. It is certainly the most difficult and the most left out. There are different approaches to research that reflect different interests and intentions. We show this in the language we use. At the centre of (the creative act of) designing is the primitive and circular act of drawing (marking) and looking at that drawing, seeing it in a different way. This is a source of novelty. The circle defines a form of conversation with the self, through paper and pencil. One important difference in designing is the difference between a model of (something) and a model for (acting). Models for are conversational rather than illustrative, as models of are. Designers are not interested in repeatability, but want to change the world. They are looking for knowledge for (change) Scientists describe the world as they (think they) find it, aiming for repeatability and, in describing it, to change nothing. They are interested in knowledge of (what is). Technology attempts to bridge across the divide, turning knowledge of the world into knowledge for change. In the case of knowledge for, we are involved as actors: our role is to be involved. In the case of knowledge of, we are remote, we stand aside: the world is.




Gale Moore

Knowledge Media Design Institute
University of Toronto Bahen Centre for IT 40 St. George Street Toronto, Ontario Canada, M5S 2E4

gmoore@kmdi.utoronto.ca
http://kmdi.utoronto.ca/
Phone. (416) 978-4655
Fax. (416) 978-KMDI



Gale Moore is a sociologist and Director of the University of Toronto Knowledge Media Design Institute (KMDI) – an interdisciplinary research and teaching institute, and intellectual incubator – from 2003/04-2007/08. Moore ’s primary interests for the past 15 years have been the social impacts of information and communication technologies in everyday life, and in bringing an understanding of peoples’ experience into the design of technology and technology-mediated interactions. Gale Moore was head of social science research for the internationally renown Ontario Telepresence Project (OTP), an industry-university cross-disciplinary consortium on a pre-internet audio/video mediated communication environment generally known as media space. She is a co-inventor of KMDI’s ePresence Interactive Media, an interactive webcasting, archiving and media production system, the academic lead on Project Open Source |Open Access, and co-director of MediaGenerator, a student-led, faculty-supported initiative to imagine and create the student media of the future. Other research interests include the role of interdisciplinarity and distributed network models of organization in institutional innovation in the contemporary university, and epistemological questions about the nature of design research in trans-disciplinary environments.




Lecture:
Connected Spaces are Social Places: Supporting Collaboration Over Distance

Increasing access to high bandwidth services, advanced networks, mass storage, high-performance computing and other core technologies, combined with innovations in collaboration technologies and social software are enabling, in ways not previously imagined, new forms of collaboration over distance. But what do we really know about collaboration and communication practices of designers when they are co-located? And what new boundaries and cultures might designers negotiate when collaborating over distance? The key challenges are as likely to be social as technical. The talk explores why this is so drawing on examples from media space research in the 90s to present day research on Cyberinfrastructure.