statement by lab[au]:

"Is it valuable to use 'driving perception' as a point of view for designing the highway and its surroundings, or do more traditional methods of urban planning lead to better results?" "Driving perception" neither is a method nor does it exclude any traditional methods of urban planning. As its main intention seems to merge the extra parameter of speed to the usual set of parameters as location, views, etc. it proves itself as being already well implemented and tested as would such structures and programs as gas station, inter-modal exchange nodes, shopping malls, fast foods, varieties of signs and advertisement boards demonstrate. On a purely pragmatic level, "Speed-wise" structures are common, from the big blue box of Ikea, to the gigantic floating McDonalds sign or the train station of Frankfurt airport and its tail, in matter of perception and speed their sole intention is to be seen. Yet it shows that designing a building or an area is mainly about shaping information and its communication process, especially in "driving perception" concerns.

From Le Corbusier's "vers une architecture" to Venturi's analyses of modern architectural signforms, Kevin Lynch's landscape design in movement or recent projects of Neil Denari, the car-culture has taken its place in the theoretical and methodical discourse of modern architecture. The car as a cultural artifact is the myth and place of the contemporary man like it is expressed in modern culture from Russ Meyer's fantasies to Prodigies drilling sounds of high speed to modern architecture.

Thinking and experimenting on "driving perception" by the use of new design tools, like the computer, allowing real time visualizations and simulation and thus integrating the parameter of time or speed in the design, like one can see in the projects of Greg Lynn or Bernhard Franken, don't change anything in the general state: the car, the environment, the signs and the perception it shapes aren't all about speed (by extension time-shaping) but is much more integrated into the fundamental framing of man and technology issues.

Machines of sensations
The technological developments of the past thirty years are at the base of the shift from the industrial to the postindustrial information society. The notion of body, matter, space and time are increasingly defined by the unit of inFORMation, its structures, processes (computation and communication) and systems introducing new parameters of space and time - presence, such as immersion (real/virtual) and interaction (real-time/entropy), of materiality, such as nano technologies or smart memory materials, and of biological type such as gene technologies.

From sense (aesthesis) to sense (semiotics), perceptive and cognitive (meaning extraction) capacities (abilities) are enhanced by technology. In other words, technologies are not external or alien objects, but rather extensions that complement integrally our sensitive and cognitive apparatus. As media, they conditions not only communication modes but also the way we perceive and conceive our environment - the way we 'think about' and 'act in' space - impacting directly the architecture field. What architecture has to face nowadays is the same for design, an object or a space is less a shape, a shell and its matter as it is information completed by the processes and programs it includes which ones we have to design as well.

From mobility to connectivity
The car is the object of technological progress and its industry is among the most globalized of all; it is the object which expresses our contemporary technological and economical state. As car industry is proofing the design limits it reached in terms of speed, control, comfort, and safety, it is addressing less and less the issue of moving faster, cheaper, safer with a car but rather the purpose and efficiency of moving and the way we are dealing with it. With GPS and telecommunication networks, a car is not anymore this nowhere isolated box and its environment extends well further than the area defined by the road. Moving from A to B is defining a set of related information about A, about B and about anything that stands in between, cell phones annihilate distance and the transit state, leading to the conception of the car as a complete interactive machine, an interface and a tool for information access where the driver is an active person in the global networked space, on the so-called "info highways".

The days of cultural sightseeing and of popup ads are near, you will not ignore anymore that this city is known for porcelain manufacturing, that in this village has been shot some of the scenes of a Russ Meyer's movie, that this lovely chair is in promotion in the Ikea's blue box or that lovely house standing in the fields at some kilometers from the highway is to sale. Information will be everywhere, communication with your boss and your friends will be a constant, this defines the new state of mobility-connectivity.

In this manner the architect has to integrate in his design the technological state and thus the way we perceive space and act through technologies inside it. In summary it is quite obvious that according to the ongoing technological progress the architect has to find out new methods and concepts to deal with our technological state. To think about the car and the highway is just one, but an interesting example, of how we will perceive and conceive the mediated space we are popping through. How we will shape new spaces of connectivity, efficiency and most of all sens_ation.

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