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Smart Factories: New Production Spaces in Digital Transition

Digital developments have affected humanity in industry and many areas in recent years. The new revolution, defined as Industry 4.0, is planned to ensure remote and digital machine–human collaboration for a new working life. Thanks to internet technologies, communication can be achieved in a digital network with the machines and robots used in production and the employees who manage and supervise them. In this new order, the possibility of people participating in the system remotely, leaving physical production to robots, and using smart production systems leads to factories turning into smart factories. While smart factories require a digital environment between humans and machines, they also bring humans and machines together for different functions. As a result of the digital revolution, the transformation of factories into smart factories and innovations in the production space initiates a new discussion in industrial architecture. This study focuses on the spatial effects of the smart production model of the new factory revolution. The research aims to understand how digital production processes in smart factories change factory designs. For this reason, smart factory definitions were first researched in the literature, and future factory propositions were examined. Then, in this context, smart production spaces designed and built to produce new technologies since the day the new revolution was introduced were analysed. This study aims to present a projection for new production spaces with the morphological analyses performed. As a result, this study will form the basis for future studies as an architectural criticism of the transition process.

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Open Access
Cityscapes Transformed: Immersive Exploration at the Intersection of Culture, Computation, and Curatorial Practices

Designing a novel approach to existing art collections requires a shift in perspective. Computational approaches allow for an agnostic approach to cultural assets—akin to distant reading—,affording a capacity for embracing estrangement as a fertile design strategy. This paper investigates the potential convergence of these fields through the lens of machine curation and audience engagement, specifically examining the influence of contemporary machine learning models on curatorial methodologies. This investigation takes the form of a project conceived for the 2023 Helsinki Art Biennial and as a collaboration between the Centre for Digital Visual Studies (MPG, University of Zurich) and the media artist Yehwan Song, aptly titled Newly Formed City. Exploring the art collection of the Helsinki Art Museum (HAM), we seek to reinterpret the cityscape of Helsinki through a machine-oriented perspective. Utilising visual-textual models, we relocate unexhibited artworks to public locations, where, through the creation of context-based computer generated 360-degree panoramas, artworks are placed. Consequently, the outdoor sites are changed by the presence of the artworks, creating a new speculative geography where the city and its art collection are visually fused together. Interaction is achieved through a web interface, offering visitors the opportunity to move through an alternative version of the city and interact with its cultural heritage on a large scale, exploring the capacities for creativity located at the crossroads of a reflective exchange between vicinity and ignorance, machinic analytical prowess, and the uncanny and the unexpected.

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Open Access
Data and Knowledge Modelling as the Methodological Foundation of the Digital Humanities

Digital humanities is a multidisciplinary field that leverages digital technology and methodologies to explore and answer questions pertaining to the humanities. It is a dynamic intersection between the domains of computer science and the humanities, promoting innovation, collaboration, and research at the highest levels. However, as a relatively young field, the methodological foundations of the digital humanities are still being established. This paper seeks to explore the core methodologies that underpin digital humanities. The modelling of data, information, and knowledge can be considered one of the foundations of digital humanities. One of the arguments confirming this is that the development of digital humanities and the development of technologies in general are the development of ways to formalise and present data and knowledge. Science has come a long way from the modelling and computer representation of numbers to generating texts and art on the basis of prescribed inputs. With the advent of artificial intelligence, especially machine learning and deep learning techniques, the potential for more sophisticated and nuanced data modelling in the digital humanities has expanded significantly, linking computational capabilities with humanistic inquiries in unprecedented ways. The article considers the periodization, classification, and trends of approaches and methods for modelling data, information and knowledge in the humanities. The article provides an overview of existing examples and data models of different complexity from various humanities disciplines, including history, linguistics, literary criticism, and cultural studies.

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Designing the International Network of Tér és Forma, 1928–1939. A Hungarian Architectural Journal’s Data-Driven Analysis

Architectural periodicals were the major means of transferring textual and visual information about the current production, discourses, and problems of architecture during the interwar era. Illustrated magazines were widely available, and the immaterial sites of architectural publications became equally important as the construction site itself. In interwar Hungary, the architectural journal Tér és Forma (Space and Form) was the major organ of modern architecture under the editorship of the architect Virgil Bierbauer between 1928 and 1942. The periodical included the latest examples of modern architecture in Hungary and the current international scene covering most of Europe with an outlook on the USA, South America, and Japan. Bierbauer relied on his extensive international network of professional connections for transferring information and creating content for his journal. My paper focuses on the digital processing and analysis of Tér és Forma using the Croatian Artists Networks Information System (CAN_IS) as a digital network analysis tool. It allows the representation of the international relations of the journal based on its content, and the changes in editorial directions and its social network. My paper considers the methodology of organising the information extracted from the system and how this knowledge can be visualised. My paper also addresses the problems of legibility and distortion in data visualisations.

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Open Access