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<p>This article investigates the architectural implications of Experiments in Art and Technology (E.A.T.), the organization founded in 1967 by artists Robert Rauschenberg and Robert Whitman in collaboration with engineers Billy Klüver and Fred Waldhauer. While E.A.T. is primarily recognized for fostering collaborations between artists, scientists, and engineers, this study argues that its experimental methods articulated an expanded notion of architecture grounded in technical innovation, environmental impact, and collective authorship. The research elucidates how E.A.T.’s interdisciplinary processes anticipated forms of architecture that transcended disciplinary boundaries, redefining the relationship between artistic experimentation and environmental design. Methodologically, the study combines archival research, technical documentation, and spatial analysis, focusing on the <i>Pepsi Pavilion</i> in Osaka (1970) as a paradigmatic case. This approach enables a detailed examination of the <i>Pavilion</i>’s material systems, environmental apparatuses, and performative dynamics. The findings demonstrate that E.A.T. reframed the architectural field as a platform for systemic interaction between technology, environment, and human activity. Ultimately, E.A.T.’s explorations articulated design strategies that anticipate contemporary architectural debates on technical experimentation, urban integration, participatory authorship, and socially engaged design practice.</p>

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Pepsi Pavilion by Experiments in Art and Technology (1970): architectural, urban, and interdisciplinary impact

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  • 发表日期：

    2026年5月11日

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  • Angela Juarranz Serrano

摘要

This article investigates the architectural implications of Experiments in Art and Technology (E.A.T.), the organization founded in 1967 by artists Robert Rauschenberg and Robert Whitman in collaboration with engineers Billy Klüver and Fred Waldhauer. While E.A.T. is primarily recognized for fostering collaborations between artists, scientists, and engineers, this study argues that its experimental methods articulated an expanded notion of architecture grounded in technical innovation, environmental impact, and collective authorship. The research elucidates how E.A.T.’s interdisciplinary processes anticipated forms of architecture that transcended disciplinary boundaries, redefining the relationship between artistic experimentation and environmental design. Methodologically, the study combines archival research, technical documentation, and spatial analysis, focusing on the Pepsi Pavilion in Osaka (1970) as a paradigmatic case. This approach enables a detailed examination of the Pavilion’s material systems, environmental apparatuses, and performative dynamics. The findings demonstrate that E.A.T. reframed the architectural field as a platform for systemic interaction between technology, environment, and human activity. Ultimately, E.A.T.’s explorations articulated design strategies that anticipate contemporary architectural debates on technical experimentation, urban integration, participatory authorship, and socially engaged design practice.