Driver Less Vision by Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin

24/09/2017. Seoul Biennale of Architecture and Urbanism, 2017 [Seoul] South Korea
metalocus, INÉS LALUETA
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The Driver Less Vision exhibition, by Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin examines the tension and reality of AI and humans merging and diverging as they negotiate Seoul's unique urban landscape, at Seoul Biennale of Architecture and Urbanism, 2017.
Driver Less Vision by Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin
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The performance-project, Seoul Biennale of Architecture and Urbanism, reveals structures of control between artificial intelligence (AI) and humans and as they negotiate Seoul’s changing urban landscape with the arrival of autonomous vehicles. Driver Less Vision is the immersive experience of becoming an autonomous, self-driving vehicle.
 

Descripción del proyecto por Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin

Driver Less Vision examines the tension and reality of AI and humans merging and diverging as they negotiate Seoul's unique urban landscape—challenging us to consider how we can design cities for the future of autonomous vehicles.

Driver Less Vision aims to generate empathy between humans and non-humans, to construct the trust required for negotiations that will settle how we will live together. By overlapping human and machine’s perceptions, the installation helps to identify the areas of the city that will need to be redesigned in the immediate future.

Driver Less Vision is the immersive experience of becoming an autonomous, self-driving vehicle. It explores the untapped conflicts and disruptive effects on the built environment caused by the deployment of technologies for autonomous mobility. Currently, the visual stimuli that organizes traffic is designed for human perception. The arrival of driverless cars entails the emergence of a omnidirectional gaze that is required to negotiate existing visual codes. To assume that driverless cars will fully adapt to future conditions of the city, however, neglects the history of transformations in urban streetscapes associated with changes in vehicular technologies. Driver Less Vision is an attempt to understand how driverless cars will change the city by immersing the audience in an urban journey through the car’s point of view, seeing the streets of Seoul through overlapping and dissonant perceptions.

The project was produced for the Seoul Biennale of Architecture and Urbanism in 2017, utilizing an eight meter diameter dome with 360 visuals developed with the generous support of University of Technology Sydney, Rice University and Ocular Robotics.

Driver Less Vision by Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin
Driver Less Vision by Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin Driver Less Vision by Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin
Driver Less Vision by Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin
Driver Less Vision by Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin
Driver Less Vision by Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin
Driver Less Vision by Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin
Driver Less Vision by Urtzi Grau, Guillermo Fernández-Abascal, and Daniel Perlin
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More information

Concept and Design
Urtzi Grau, Guillermo Fernández-Abascal, Daniel Perlin
Filming / Sensing + Production
University of Technology Sydney and Rice University.- Urtzi Grau, Guillermo Fernández-Abascal, June Deng, Keegan Hebert, Evio Isaac, JP Jackson, Haley Koesters, Yu Kono, Sai Ma, Isabella Marcotulli, Natalia O’Neill Vega, Daria Piekos, Alina Plyusnina and David Seung Jun Lee.
Visual / Sound Design + Production
Perlin Studios.- Daniel Perlin, Principal and Creative Director; Max Lauter, Creative Producer and Designer; Robert Crabtree, 3D Design; Dan Taeyoung, Code and 3D Design; Gary Breslin, Motion Graphics and Animation.
Commissioned by
Seoul Biennale of Architecture and Urbanism, 2017
Thanks
The project was made possible thanks to the generous support from University of Technology Sydney, Rice University, and Ocular Robotics.

Urtzi Grau

Urtzi Grau is an architect, Director of the Master of Architectural Research at UTS and co-founder of Fake Industries Architectural Agonism—an architectural office of diffuse boundaries and questionable taste distributed between Sydney, New York and Barcelona that was shortlisted in the MoMA PS1 and Miami Design pavilions in 2014, finalist in Guggenheim Helsinki competition in 2015 and represented Australia in the Chicago Architecture Biennial.

Grau graduated from the School of Architecture of Barcelona in 2000, was awarded Master of Science in Advanced Architectural Design by the Graduate School of Architecture Planning and Preservation, Columbia University (GSAPP) in 2004, and is currently completing his Ph.D. at Princeton University School of Architecture on the 1970's urban renewal of Barcelona. Grau has previously taught Cooper Union, Princeton University, Columbia University, Cornell University and Rice University. His work and writings have been published in various international journals such as AV, Bawelt, Domus, Kerb, Log, Plot, Praxis, Spam, Volume or White Zinfadel and exhibited in the Chicago Architecture Biennial, la Bienal de Buenos Aires, P! Gallery, Shenzhen Biennale, Storefront, the Venice Biennale and 0047.

Guillermo Fernández-Abascal

Guillermo Fernández-Abascal is an architect, academic, and director of GFA2. He studied at the ETS of Architecture in Madrid, Tongji University and he is currently a MoRE candidate exploring driverless implementation in urban environments at UTS under La Caixa fellowship. In 2010 he joined FOA, where he worked in Birmingham New Street station.

Following FOA’s demerger, GFA became a member of AZPML, leading the London office in various projects and several winning entries in international competitions (Antonino and Cinia Foundation, Montreal Biodome, Austro Control Zentrale Wien, Kirchberg Housing Complex and Bellinzona Bridge). Since 2016, as director of GFA2 has lead various projects highlighting the shortlisted entry for a school in Madrid, a mixed-used development in Sydney, the 2016 Global Architecture Political Compass, co-authored with Zaera-Polo and the Story of the Pool (2017). Guillermo has taught at UTS and RICE University. His work and writings have been widely published in media sources such as El Croquis, ArchDaily, Afasia and exhibited in Reina Sofia Museum.

Daniel Perlin

Daniel Perlin is an artist and designer who believes in listening as a strategy for good design. Daniel got his start making work with things that make sound such as music, film, objects and sometimes spaces. After some years spent in Rio de Janeiro, where he worked in film and made work, he returned to New York where he attended NYU’s ITP program and the Whitney Independent Study program. During that time he started Perlin Studios, an experience and sound design studio in New York .

Daniel has had the privilege of making things that cross many disciplines including sounds, interactive designs, objects, installations and performances. Recent work has included a solo performance at MoMA for the Lygia Clark Exhibition, an installation for the Costa Rica Pavillion in the Venice Biennial of Architecture, interactive work for Toyota’s Hydrogen Fuel Cell Vehicle and a kinetic speaker in São Paulo.

He has worked with such people, places and things as Google, Vito Acconci, Maya Lin, Errol Morris, Todd Solondz, IBM, Toyota, Domus Magazine, Under-Armour, The Whitney Museum of American Art, PS1 the Cooper Hewitt and The New Museums. In 2015 Daniel was also an artist fellow at the Center for Transformative Media at Parsons, a graduate program in media and design.
Currently, Daniel is the Principal at Perlin Studios based in Brooklyn, New York, a mentor the New Museum’s incubator New Inc., and an adjunct professor at New York University

Max Lauter

Max Lauter creates and programs experiences of art, media, and design. Focusing on the relationship between technology and culture, he works to promote alternative spaces for public engagement and collaborative creation. Leading in the production of a full spectrum from original content and exhibition design to special events—installations to virtual reality hackathons—Max collaborates with artists, educators, and commercial clients to create unique yet accessible projects. As a curator, artist, and producer I have worked on projects at the Museum of Modern Art, the Guggenheim, the LUMA Foundation, the Seoul Biennale, and the Storefront for Art and Architecture, with projects featured in the New York Times, Wired, The Creators Project, Hypebeast, and more. As co-founder of Sonic Platforms, a sound-based media collective, he works to share and implement new applications of audiovisual technologies in the design of public art. Currently, max produce programs and manage the gallery at the Storefront for Art and Architecture where I works across physical and digital projects, exhibitions, and events. Max hold a B.S. in Philosophy, and a M.S. in Critical, Curatorial and Conceptual Practices in Architecture (CCCP) from Columbia University’s Graduate School of Architecture, Planning, and Preservation.
 
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