SAPS, the Streaming Architecture Projective Space spatial media concepts merges physical space with media environments. The SAPS concepts is founded in the relationship between projected moving image and transformed physical space, supported by real-time Internet broadcast technology.

The physical and mediated aspects of SAPS dissolve the boundaries of its physical surroundings. The classical display case is inverted through the generated content displaced in multiple locations. The visual identity is continuously re-created through daily updates, in a process of responsive management over time.SAPS creates a space in constant motion, through real-time generated imagery distributed via Internet, satellite, and finally anamorphic projected. Real-time media can be merged with pre-recorded audio-visual material. The spatial concept can operated in different types of environments, ranging from new ways of exhibiting in museum context, public places to exhibition spaces and commercial venues.

Streaming Architecture Projective Space concept is developed thorugh series of prototypes in different media and scales. Parallel studies have explored real-time media technologies, transformation algorithms and the performance of SAPS in different spatial configurations.The prototypes have been both on a conceptual level, such as animated collages produced from digital 3D-models, as well as full-scale fully operational enviroments. Media content has consisted of real-time streaming media over Internet connection or via direct camera capture, Video Jockey real-time audio-visual editing as well as pre-recorded material.The prototypes have been developed in sequence, from SAPS.00 animated collages, through SAPS.01 scale physical models, SAPS.02 full-scale prototype, SAPS.03 proposal for a rebuilt cinema and the SAPS.04 proposed interventions in semi-public spaces.

Media, space and technology
The SAPS media content from different sources is simultaneously merged in the physical installation, but can also be clearly separated by the fragmented set-up of the physical interventions. Distortions of projected media are performed in real time, to allow adjustment due to different angles of projection surfaces. These distortions work through anamorphs, perspective distortions, and add another level of complexity to the classical principle, in that they can continuously shift.

SAPS uses broadband Internet and mpeg2/mpeg4 streaming. Television quality will be achieved in the images using public networks for communication and distribution. The technology allows integration of interactive use of mobile telephones. A spectator could take part in the creation of live images and set up a conversational contact with the installation. The international transmission is using a new multicast protocol, which enables the above proposal (and the work with the nonTVTVstation). Splintermind and TeliaSonera are developing this protocol.

The configuration of the physical space is distributed, and opens up the space to the outside, and simultaneously establishes different focus areas. Different spatial interventions both carry the projected media and create a differentiated terrain. Characteristics such as open/closed, light, sound or sightlines are gradually shifting throughout the area. The different spatial conditions together with the manipulable media content allow adaptation to changing activities during the day. Branding element can shift into artwork or curated mediated events such as presentations, VJ-sessions, fashion shows or ambient lounge mingles.

Commission
The SAPS spatial concept can be integrated into an existing environment, be part of a design in development or be established as a separate project. The development is typically initiated though a preliminary study, which defines requirements and suggests a potential design approach, often in collaboration with curators or branding consultants. During the project development phase the SAPS project team uses specially developed tools as a support for the design process, enabling complete control over the development of projection beams, spatial configuration and real-time media distortions.

SAPS.00 included studies through digital animated collages, testing different spaces and functions augmented by media production. The prototypes proposed new spaces for media galleries and commercial spaces, exploring the borders between art and commerce.

SAPS.00
concept development and animated collages:
Jonas Runberger, ssark medialab
concept development:
Ari Leinonen, ssark
concept development and media content:
Mikael Scherdin, Beeoff
concept development and management:
Björn Norberg, Beeoff

SAPS.01, featured a scale prototype with two integrated projectors and a real-time visual mixer. The prototype allowed for hands-on exploration of a series of scale models, while physical parts were subject to projected real-time media. During a workshop event, outside parties were invited to participate in these investigations.The prototype was used as a screen set for a series of show reels, including material for a potential automobile marketing event and initial studies for the SAPS.02 full-scale prototype.

SAPS.01
concept development and physical design:
Jonas Runberger, ssark medialab
concept development and media mixer:
Mikael Scherdin, Beeoff

The SAPS.02 full-scale prototype was designed for the specific gallery space of Art.platform, Stockholm. The spatial set-up featured three separate wall partitions, each with a linked projector. Real-time filters automatically adjusted projected media to be displayed correctly on the curving surfaces of the walls. The SAPS.02 prototype was tested as a show room, conference space, mock-up fashion store and as a video jockey venue with real-time audio-visual performances.

SAPS.02
concept development and physical design:
Jonas Runberger, ssark medialab
concept development and media content:
Mikael Scherdin, Beeoff
Streaming and transformation technologies:
Tomas Linell, Beeoff
The SAPS.02 prototype was developed in collaboration with and with support from research project Cross-disciplinary studies of Complexity and transformation.
The prototype was presented in the Art.platform gallery space in November 2004.
Special thanks to: Cheryl Akner Koler Carolina de la Fe Vidar Hertov Anton Ljungberg Senem Yazan

SAPS.03 is a proposal for a passage way between different levels of the classical Fountain cinema of Vällingby, Sweden. Joining the 1950’s entrance hall with new additions currently under construction, it takes advantage of the vistors’ horizontal and vertical movement as they progress inte the lower levels. The physical part of the installation distorts media when viewed from below, but gives a clear view from the top of the staricase. The media content can be operated through subscription, and adjusted continuously for different ambiences over the day, including material from current shows as well as material from the history of this classical cinema.

SAPS.03
concept development and physical design:
Jonas Runberger, ssark medialab
concept development:
Mikael Scherdin, Beeoff
media content:
Tomas Linell, Beeoff

SAPS.04 returns to the animated collage in a series of proposed additions to wxisting semi-public environemnts. The studies cover lounge situations, meeting rooms, bars and restaurants. Further refining techniques developed in SAPS.01, the animated collage provides valuable support in initial design development, using a combination of photograph, moving image, digital 3D model, image processing and media post-production.

SAPS.04
concept development, spatial design and post-production:
Jonas Runberger, ssark medialab
concept development:
Mikael Scherdin, Beeoff

www.streamingarchitecture.com

Communicative Spaces was first of a series of courses for the Media Technology department at the KTH, with the objective of merging technological skill and new approaches to design. Bringing in architectural aspects also fused spatial qualities with mediated environments.

The students were asked to conduct research into the fields where media and architecture meet. The practical task was to create media ‘environments’ for remote and local exchange, combining experience of interactive media with the presence of physical spaces. The result was a presentation of the working environment in principle, where each group demonstrated the technology, the ideas and speculated on the effects the installation might have on the interaction between people.

Hypersketch 3 / Communicative Spaces 1, KTH Media Technology, spring 2001
Tutors: Tobi Schneidler and Jonas Runberger

Communicative Spaces 2, KTH Media Technology, spring 2002
Tutors: Pablo Miranda, Daniel Norell Jonas Runberger and Adam Somlai-Fischer

Communicative Spaces , KTH Media Technology, fall 2002
Tutors: Pablo Miranda, Annika Nyström, Jonas Runberger, Maria Sigeman and Adam Somlai-Fischer

Hyper:Sketch was an architectural research platform and design studio at the KTH School  of Architecture, looking into the potential spaces between physical built, and virtually mediated environments.

The second Hyper:sketch project was set as a 6 week summer course and discussed a new notion of neighbourhood:
Physical as well as digital proximity. Contextual thinking is extremely important for any design task, it becomes evermore important when there is more than one reality influencing the project development.

1:Site exploration
Teams formed different cells to work on 16 sites in the urban area of Stockholm.
The first task was to analyse the site, and to produce digital documentation that communicated the character, infrastructure or atmosphere of the site. One local spot in each area became the site for the design intervention.

2:Neighbourhood negotiation
The next task was to recognise the cell position in the information chain.
-Each cell received information from the previous cell
-Each cell produced inormation about their site
-Each cell passed this information on to the next cell
The linked cell where not given adjecent areas, as seen on the map.

3:Functional analysis
The challenge was to construct a local pavillion, a vessel of contextual information. The physical scale should be that of a pavillion or urban furniture.
Certain issues were emphasised:
-What kind of information do you receive.
-How does it affect your site, Do you project it, create a sound environment or create a haptic interface?
-How does the pavillion interact with the local physical context.
Does it activly aquire contextual information. Does it surpress information?
-How does it forward information?
The pavillion could fulfill various function: It could be a remote communication tool, interresting for touristic applications, business meetings, cultural exchange or contemplation.

KTH School of Architecture summer studio
Tutors: Tobi Schneidler and Jonas Runberger
www.hypersketch.com

Hyper:Sketch was an architectural research platform and design studio at the KTH School of Architecture, looking into the potential spaces between physical built, and virtually mediated environments.

The designer today is increasingly asked to provide integrated solutions to a design task, spanning architectural, media and network design problems. The Experience Bandwidth offered by an architectural design will not be confined to its local organisation. The building will reach through the use of technology into networked spaces, enabled for example by tele presence and ambient media.

KTH School of Architecture 4th year design studio
Tutors: Tobi Schneidler, Jonas Runberger and Malin Zimm

www.hypersketch.com