This study employs Multiscale Entropy (MSE) to analyze 5020 binocular eye movement recordings from 407 college-aged participants, as part of the GazeBaseVR dataset, across various virtual reality (VR) tasks to understand the complexity of user interactions. By evaluating the vertical and horizontal components of eye movements across tasks such as vergence, smooth pursuit, video viewing, reading, and random saccade, collected at 250 Hz using an ET-enabled VR headset, this research provides insights into the predictability and complexity of gaze patterns. Participants were recorded up to six times over a 26-month period, offering a longitudinal perspective on eye movement behavior in VR. MSE’s application in this context aims to offer a deeper understanding of user behavior in VR, highlighting potential avenues for interface optimization and user experience enhancement. The results suggest that MSE can be a valuable tool in creating more intuitive and immersive VR environments by adapting to users’ gaze behaviors. This paper discusses the implications of these findings for the future of VR technology development, emphasizing the need for intuitive design and the potential for MSE to contribute to more personalized and comfortable VR experiences.

Across time and cultures, the built environment has been fundamentally shaped by forces of occupancy, obsolescence, and change. In an era of increasing political uncertainty and ecological decline, contemporary design practices must respond with critical actions that envision more collaborative and sustainable futures. The concept of critical spatial practice, introduced by architectural historian Jane Rendell, builds on Walter Benjamin and the late 20th century theories of Henri Lefebvre and Michel de Certeau to propose multi-disciplinary design practices that more effectively address contemporary spatial complexities. These theoretical frameworks operate through trans-scalar means to resituate the built environment as a nexus of flows, atmospheres, and narratives (Rendell, 2010). Assuming an analogous relationship to the contemporary city, critical spatial practices traverse space and time to engage issues of migration, informality, globalisation, heterotopia, and ecology. This essay documents an interdisciplinary academic design studio that employed critical spatial practices to study correspondences between Chinese and American cities. Here, the notions of urban and interior are relational. Urbanism and interior spaces are viewed as intertwined aspects in the historical development of Beijing hutongs and Cincinnati alleyways. These hybrid exterior-interior civic spaces create sheltered public worlds and socio-spatial conditions that nurture people and culture.

- matic lenses of technology, architecture, and design, scaling intelligence successfully narrows the gap between empirical observation, applied research

Intelligence resides between sensing and acting. Intelligence, through data-driven technology and virtual experimentation, drives capacity and catalyzes learning, understanding, and applying knowledge through tacit, explicit, haptic, visual, human, and artificial forms. Through this broad understanding, intelligence need not be future-focused. For instance, indigenous science, biomimetics, and the complex intelligence inherent to informal settlements can inform artificial intelligence (AI) through robotic-assisted manufacturing, machine manipulation, and iterative, modification-based approaches in design. While these processes relinquish some agency to machines, they can also establish creative synergy for designers, ultimately enabling more responsive and responsible built environments.

This paper presents a mixed-method research design investigation that integrates a Hybrid Digital-Analog Software-Hardware protocol referred to as the No Keyboard, No Mouse (NK-NM) platform. The NK-NM process uses both theoretical and applied research mechanisms to measure its influence on architectural design decision-making, knowledge exchange, student learning, aesthetics, and user experience in the context of an undergraduate architectural design studio. Observing a recognized gap in the current digital architectural design environments this paper details how the NK-NM protocol bridges this gap through an instructed hierarchical design process, customizable physical interface, and iterative simulation-based feedback loop.

This paper presents a comprehensive project-based research investigation that uses both drawing and modeling to challenge conventional design space. Situated at the University of Kentucky-College of Design Applied Computation Center (CoDACC) in Lexington, KY, this independent undergraduate research project reveals an immersive framework that develops, evaluates, and assesses both graphic and three-dimensional information at full scale. This research provides a framework that seamlessly negotiates analog and digital means of communication and prototyping. This paper outlines the micro-hybrid design process to frame topics germane to today's increasingly complex built environment. The paper also includes the micro-hybrid decision-making matrix and discusses the evaluation of the produced artifacts. The research demonstrates how the micro-hybrid process can reveal both the craft and consequences related to design experimentation and construction. Further, the micro-hybrid process has been shown to deepen a student's understanding of the composition of materials and a student's awareness of forces and structural loads, which in turn has produced a deeper appreciation for the principles of structures and an improved mastery of manufacturing jointing details.

This paper examines the application of innovative and interdisciplinary collaboration methods that emerged from the rapidly developing field of information technology and its intersection within the realm of design and architecture.These events, also referred to as hackathons, have risen in popularity in recent years (Artiles & Wallace, 2013) and stem from a design response for the increasing demand for accelerated design decisions within the field of architecture.This paper examines the potential of hackathons as a platform for rapid development of design ideas into prototypes within a time constraint of 24 hours.The paper explores the hackathon as a robust foundational element for pedagogical approaches rooted in interdisciplinary collaboration.Using a case-study research methodology, this paper probes the framework of the event, the outcomes, and the lessons learned.As this paper demonstrates, the hackathon required participants to identify and explore shifting territories through interdisciplinary teamwork to arrive at innovative solutions.In this setting, the format of the hackathon serves as a vibrant territory that enables a concrete theoretical contribution to design pedagogy, CAAD education, and collaborative professional practice.

Tacit cognitive structures have been explored by many disciplines (cognitive science, anthropology, psychology) under several names: frames, schemas, and scripts (D''Andrade, R., 1992; D''Andrade, R. and Strauss, C., 1992; Mandler, J., 1984). Although useful in automating routine repetitious activity, their tacit nature makes them problematic for disciplines that emphasize creative activity. Put another way, it''s difficult to think outside the box if the box is invisible. As Schön (1983) explains, such frames limit creativity because they determine our strategies of attention. Frames shape thought and also behavior but invisibly; practitioners 'do not attend to the ways in which they construct the reality in which they function; for them, it is simply the given reality.' Bijker (1989) has called such mental structures technological frames 'constructed from the concepts and techniques used by a community in its problem solving' -- defined broadly to include 'a combination of current theories, tacit knowledge, engineering practice (such as design methods and criteria)' etc. The more advanced the practitioner, the more tacit the knowledge, as Lindblom and Cohen (1979) put it: 'all expertise rests on a veritable iceberg of tacit, taken-for-granted knowledge.'

Architecture is not about the conditions of design, but about the design of

Various approaches of virtual and physical modeling have led to a synthetic form of making that is plastic and scalable in nature. This shift from traditional forms of representing and generating architecture now offers a better possibility of full-scale construction and fabrication processes and links transparently to industry. Architects are beginning to dynamically inform the visioning processes of assemblies and design through a range of precise subassemblies. Further to this end, the synthetic techniques and materials are opening up avenues for designers to investigate a range of fibers and fabrics that radically transform light and color renditions, and texture. Investigations in the realm of traditional materials such as stone, wood, and concrete continue to evolve, as do their associated methods of making. As a result of synthetic technologies, architects today have the possibility to work along side industry engineers and professionals to design castings, moldings, patterns, and tools that challenge not only the architectural work of art, but industrial and product design as well. This cultural shift from physical space to virtual space back to physical space and the combination of hand-, digital-, and robotic-making offers a unique juxtaposition of the built artifact to its manufacturing that challenges both spatial conventions and also the levels of precision and tolerance by which buildings are assembled. Traditional forms of documentation for example result typically in discrepancies between the drawn and the actualized which are now challenged by the level of precision and tolerance at the virtual level. It is within this context that leading-edge architects and designers operate today. Yet, how the profession and the academy respond to these opportunities remains an open line of inquiry and addressing these concerns opens up the rich potential enabled through synthetic making.

As the first design-build-fabricate-assemble experiment at our school, the intent of the studio was to design a framework from which to examine a “lived space” through digital-to-digital processes. Moving from digital models and physical stereo lithographic models to hand-fabrication and digital assembly allowed the students to move from creation to completion. As part of our holistic design process, the studio fabricated almost all components for the project. These elements include the wood flooring, the copper and wood skins, the building’s structural panels, and the two-story light vortex. This single-family, in-fill house is located within an historic downtown neighborhood and is subject to historic district zoning regulations, design guidelines, and Board of Architecture Review approvals. The project is analogous to design challenges presenting themselves in historic districts throughout the United States including the Savannah, Georgia site for the 2005 ACADIA Conference. The scale of the project relates well to the horizontal nature of this context and after a formal, televised review process with the local Board of Architecture Review, the project represents a dynamic, yet sympathetic architectural dialogue with the surrounding buildings. The project develops simultaneously from the exterior and interior resulting in two courtyards that mediate the urban “front door” and the private “terrace.” The students designed these areas through a series of twodimensional axonometric drawings, three-dimensional physical and digital models, and four-dimensional time-based animations. The building massing separates into two core elements: gabled copper volume and wood screen volume. These elements maintain their conceptual purity by using the same types of modulations on their skins. The copper form with its deep-cut reveals and proportionally placed light scoring patterns reflects the horizontal datum lines of the floor, sill, threshold, and ceiling. In contrast, the wood volume reflects these same lines as applied “shadow screens” which create depths that seamlessly tie together the side, rear, and front facades. The hinge point of the house is the light vortex. Designed in Rhino, translated in Catia, fabricated out of aluminum, and clad in stainless steel, this two-story sculptural element will literally wrap light around its surfaces. Like a sunflower, the light vortex, with its angel hair stainless steel finish, responds to the incremental differentiation of light throughout the day. Photosensitive floor-mounted lights designed to augment the volume of natural light will provide a continuous light rendition on the sculpture. The project, scheduled for completion at the end of the 2005 summer session, is at the time of this submission about 60% complete.

This paper presentation presents an interdisciplinary research project conducted by a design team comprised of faculty from the Colleges of Architecture, Engineering, and Astrophysics. The title of the project, Deep-Time Probe, Investigations in Light-Architecture, explores the use of an optically active-SETI experiment that centers on the thematic of time, vision, and movement through space. The realm of architecture was the digital glue that united the varied disciplines. The core of the project is broken down into three intrinsically linked components—data representation—collection, storage, and modulation; the Project Mission Wall; and the resultant Light Architecture or Deep-Time Probe. A small team of architecture students under the direction of one architecture faculty member designed the Mission Wall while the Robotics Department provided CNC machinery to digitally mill and fabricate its components. This same team assembled the 40’x60’x15’ structure in one day. The site of the launch created an adequate interface for the public art structure at the scale of an urban park. The scale of the Mission Wall addressed a variety of places, paces, and scales that mediated between the laser, the context of the surrounding plaza, and pedestrian and vehicular circulation, all while concealing the laser from direct view. The Mission Wall served three functions. It provided a housing for the Deep-Time Probe laser. It created windows and scaffolding for lighting. Moreover, it established a series of “View Corridors” that provided the onlooker with multiple vantage points and thus multiple-readings of information as architecture. Nearly fifty “Time Probe Reporters” gathered information through oral interviews. In addition to messages linked to the interviews, the Deep-Time Probe contained verbal and graphic information, images depicting the design and fabrication processes. At the time of the launch, the design team digitized, specially formatted, converted, and modulated the data into a special high-powered laser that was “launched” into space. An advanced civilization in the universe could theoretically receive and decode this information. The Deep-Time Probe project visualized the strengths of each profession, fostered the creative aspects of each team member, and resulted in a unique and dynamic experience. The deep time probe is right now passing through the Oort Cloud, the debris left over from the formation of our Sun and planets, present as a halo surrounding our solar system . . . a distance of nearly 1.5 trillion miles.