The Continuous Reinvention

architectuul:

What connects Ljubljana, New York and Berlin? A modular, adaptive design system placed there. It is a Kiosk K67, designed by Saša Mächtig

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Kiosk K67 next to the seaside as a tobacco and newspaper stand. | Image © Museum of Architecture and Design MAO, Ljubljana

From 1968 to 1999 have been manufactured around 7,500 units of the K67 all around Yugoslavia. Some of them were also exported to Poland, Japan, New Zealand, Kenya, Iraq, the Soviet Union, and the United States. The system permitted unlimited configurations and variations, therefore is perfect for different types of adaptation and programs. You might find the Kiosk K67 in the collection of the Museum of Architecture and Design MAO in Ljubljana.

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The modularity of the K67 design offers different types of adaptations | Image © Museum of Architecture and Design MAO, Ljubljana

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Axonometric drawing of the second generation of the K67 from 1972. | Image © Museum of Architecture and Design MAO, Ljubljana

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System Kiosk K67, expansion options and combinations. | Image © Museum of Architecture and Design MAO, Ljubljana

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Kiosk K67 as beehive.  | Image © Museum of Architecture and Design MAO, Ljubljana

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Kiosk K67 as fruit and vegetable stand. | Image © Museum of Architecture and Design MAO, Ljubljana

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K67 as an installation by Marjetica Potrč in Modern Gallery Ljubljana. | Photo via Next Stop Kiosk 

Kiosk K67 was also adapted for different uses, from border patrol stations, ski lift ticket booths, flower shops, to retail and fast-food stands. And after more than 50 years it is still present and becoming popular in many cities.

The first K67, which became a part of the design collection of MoMA in 1970, was at the beginning set on the 53rd Street sidewalk. It got finally its place in the museum during the MoMA exhibition Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980 as an object of mass design. 

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The installation with K67 at the exhibition in MoMA. | © 2018 The Museum of Modern Art. Photo by Martin Seck

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The catalogue from the exhibition Systems, Structures, Strategies in the Museum of Architecture and Design MAO, Ljubljana.

Maja Vardjan, our of the curators of the exhibition Systems, Structures, Strategies in the Museum of Architecture and Design MAO, describes why the K67 is so persistent in many cities. She evaluates it as a piece that with “its position between architecture and industrial design, embeddedness in the framework of a modern city and society, the rituals of daily life, and, last but not least, its persistent capacity to reinvent itself.”

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The reinvention fo K67 in Berlin in 2018. | Photo by Marc Brinkmeier 

The ability to reinvent itself makes the kiosk fresh in many settings and configurations. Martin Ruge created a kioski in Berlin. He brought one of the K67 although the transportation was difficult and the connection with freshwater, sewage and electricity to the Mykita building took more effort than expected. But he thinks it was worth it. And freshwater, sewage and electricity shall become matter of the new design issues for K67 to solve in the future. 

The metamorphosis as a constant change of shape, idea, social and political reality shaped K67 to the point that is again in use. As Maja Vardjan said, a kiosk is phenomena, always alive and never the same.  

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Kiosk K67 used as kioski bar in Berlin. | Photo by Marc Brinkmeier

Kiosk

linguisticillustrations:

neurosciencestuff:

(Image caption: Vvive la différence. In this case the difference is the position of the lips when making the “oo” sound, as in goose, in English and in French. Credit: Masapollo et. al.)

Study reveals vision’s role in vowel perception

For all talkers, except perhaps the very best ventriloquists, the
production of speech is accompanied by visible facial movements. Because
speech is more than just sound, researchers set out to ascertain the
exact visual information people seek when distinguishing vowel sounds.

“An important and highly debated issue in our field concerns what is
it that we are attending to in speech  — what’s the object of
perception?” said lead author Matthew Masapollo, who conducted the
research as a postdoctoral scholar at Brown University and is a now at
Boston University. “Another question that’s debated is whether speech
processing is special and distinct from other kinds of auditory
processing since it is not purely an acoustic signal.”

Resolving these questions would improve the scientific understanding
of how we perceive speech, Masapollo said. That, in turn, could apply to
the design of more intelligible online avatars and physical robots, and
could even improve computer recognition of human speech and enhance
communication devices for the hearing impaired.

While scads of studies have investigated which audible features of
speech are important, Masapollo said, far fewer have looked at which
visual components are essential, despite evidence from phenomena as
intuitive as lip reading that the sights of speech matter, too.

Through a series of experiments at Brown and McGill University in Montreal reported in the Journal of Experimental Psychology: Human Perception and Performance,
Masapollo and colleagues found that when people perceive speech, they
closely watch the form and motion of the lips. If either of those cues
is missing, their ability to make subtle distinctions between vowel
sounds suffers measurably.

“The findings demonstrate that adults are sensitive to the observable
shape and movement patterns that occur when a person talks,” said
Masapollo, who did the work as a researcher in the lab of senior author
James Morgan, a Brown professor of cognitive, linguistic and
psychological sciences.

Exploiting differences in speech perception

Earlier this year, Masapollo set the table for the new study when he
and co-authors Linda Polka and Lucie Ménard showed in the journal
Cognition that people exhibit the same “directional asymmetry” in
visually perceiving vowels that they do when hearing vowels: They are
better at distinguishing between two versions of the “oo” sound, as in
the word “loose,” if the less extremely articulated version occurs first
and then the more extreme version second. If the order is switched,
they are much less likely to discriminate them — by sight or sound.
While these directional effects may seem like a quirky instinct, they
reflect a universal bias favoring vowels produced with extreme
articulatory maneuvers. Current research is focused on uncovering what
salient features or properties of extreme vowels give rise to these
perceptual asymmetries.

It turns out that this asymmetry plays out between French and
English, being manifest in the bilingual speech of many Canadians. When
speaking French, their articulation of “oo” is produced with more
visible lip protrusion and tongue positioning than when making the same
vowel sound in English.

For the new study, Masapollo realized that this asymmetry in vowel
production and perception provided a great opportunity to determine
which visual features matter in distinguishing subtle speech
differences. He devised and led five experiments to ferret out exactly
what visual information was pertinent to this asymmetry.

In the first, with help from Brown graduate student and co-author
Lauren Franklin, he employed eye-tracking technology to measure where
Brown student volunteers looked when watching videos of a bilingual
Canadian woman make “oo” sounds in both French and English.
Definitively, people watched the mouth, far more, for instance than the
eyes.

But what about the mouth mattered? To determine if motion, rather
than simply a particular position, was important, the next experiment
presented students with a still frame rather than video. In experiment
two, volunteers at McGill tried to distinguish “oo” speech using just
still images of the same speaker. Without the cue of motion, the results
showed, the asymmetry of French-English or English-French ordering no
longer occurred, suggesting that motion is a key component in this
instinct of vowel perception.

In the next three experiments, the team continued to investigate
which visual aspects of speech perception mattered among groups of Brown
or McGill student volunteers. In experiment three, the subjects saw not
a face, but an array of four dots in a diamond pattern that moved just
like the speaker’s lips did. When the speaker pursed her lips to make
the “oo,” the dots moved closer together, for example. Masapollo’s
hypothesis was that position and motion might matter together, even if
the face isn’t actually represented. In this experiment, people returned
to showing the asymmetry suggesting that he was on the right track.

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(Image caption: Many methods. Researchers employed many visual representations of lip motion to see which essential features really mattered. Credit: Masapollo et. al.)

Experiment four was exactly the same but the dot pattern was rotated
45 degrees clockwise, showing more of a square than a diamond. Here the
asymmetry didn’t occur, suggesting that the orientation of the dots to
represent a speech-making mouth matter. In experiment five, the motion
was represented by a sideways figure eight that would move in a manner
analogous to the speaker’s lips. There, too, without even an essential
form of a mouth, people didn’t show their instinctual asymmetry of vowel
perception. Mere motion, without the form and position of a mouth, was
not enough.

“Overall, the picture that emerges is that perceptual asymmetries
appear to be elicited by optical stimuli that depict both lip motion and
configural information,” the authors wrote.

To Masapollo, the results demonstrate that vision makes specific contributions to perceiving speech.

“The findings of the present research suggest that the information we
are attending to in speech is multimodal, and perhaps gestural, in
nature,” Masapollo said. “Our perceptual system appears to treat
auditory and visual speech information similarly.”

Masapollo, Matthew, Polka, Linda, Ménard, Lucie, Franklin, Lauren, Tiede, Mark, Morgan, James. Asymmetries in unimodal visual vowel perception: The roles of oral-facial kinematics, orientation, and configuration. Journal of Experimental Psychology: Human Perception and Performance, Vol 44(7), Jul 2018, 1103-1118.

Face and pronounciation