From November 19-22 in Aarhus, the media architecture Biennale 2014 held in presenting the world premiere of " City Senseable mapping, "an exhibition of the complete works of the now decade MIT SENSEable Cities Lab. The following essay was written by Matthew Claudel, a researcher at Senseable Cities Lab, in response to this collection, exploring what the future of media architecture, and imploring to explore ideas beyond "screens television for living in. "
The Powered cathedral
media architecture is categorically ambiguous. The sentence was stuck big on a dizzying array of projects and products. But beyond the vagueness, the architecture media is vexed by an inherent tension: media ,, systems are in immediate dynamic communications network that reach people widely while architecture is located, singular, and persistent in time. Reconciling the two evokes awkward associations with Times Square, displays, integrated LEDs, paparazzi, or more generally things that flash.
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the contemporary definition is flat, literally and figuratively, suggesting a "hybrid architecture ... Light Emitting diode (LED) displays integrated with the fabric of built structures allow foreground images to be integrated into the façade ... [with] important implications for the urban landscape and the urban environment; Topias film. "[1] Topias of Cinematic? If the media is the next evolution of architecture, will be the city of the 21st century consists of TV screens to live in?
the word "media" has been assigned (and impoverished) broadcasting and communications as part of their pervasion in the 20th century. as a new social phenomenon, the media (and its derivatives new media multi-media, media ) was eagerly studied by the emerging figure of the "media theorist." Marshall McLuhan, a pioneer in the field, has categorically rejected the content, focusing instead on the power network of the transmission system itself. Media, for McLuhan, was not about information but about the content delivery tools, intermediaries between suppliers and. [2] His reading points to a definition of the wider front media just as things-in-between, diplomatic structures, membranes negotiating two terms or entities.
In other words, the architecture.
The simplest definition of a building is "what mediates' between humans and their climatic and social environments. Separating the interior from the elements, creating a thermal envelope or fluid around the human body, is the most basic function of a building. Beyond shelter, architecture also involves a cultural dimension, as a device for communicating social relations -. For example, a palace mediation between the ruler and the subjects, or cathedral mediator between God and man
architecture negotiates spatial differences, environmental and social, creating unique conditions that influence human behavior . Entering a vaulted cathedral, for example, visitors shuffle on the outskirts, but still facing the altar, lower their voice, and restricting their movements, while glancing furtively up. Cathedrals mediate a complex set of socio-climatic conditions, creating an almost universal behavioral response.
operated dynamic architecture of tomorrow, with a heady transfusion of digital technology, has the ability to operate at the scale and pace of 21st century telecommunications networks. But if it is something more than the oversized television screens, (prey to economic trap of building-wide ad already familiar through the streets of Seoul, New York, Tokyo), it must engage the historical capacity the architecture of the environment, spatial and social haptic experience. In other words, treating the human body and its dimensional relationships. "Architecture articulates the experience of being-in-the-world and strengthens our sense of reality and self," says Pallasmaa, "it does not we inhabit worlds of simple fabrication and fantasy," [3] ... media architecture not least, despite the seduction of "fantasy worlds." moreover, the emotional negotiations between interior / exterior and public / private should be actively treated. Although the haptic experience of a cathedral is strongly internalized, dynamic sensory power of the media can be a sensitive architecture choreography external and internal. It will address the immediate area and global networks, which have a direct impact on the perception and human behavior.
Mapping Perception
This architecture will become more integrated technology is a given, and as he matures, operation and scope of the impact of digital elements can develop along different paths. At one point in the turning practice of media architects "are responsible for the articulation of the width of perceptual areas that their mediation-structures (buildings) discuss - whether visual or auditory tactile, or hydrology. Practitioners in the media architecture vanguard move along the same general vector to handling a wider range of environmental stimuli, the response of asset building, and integrated networks, but there a bifurcation problem regarding specific cases.
Among the projects that exist today - the Arab World Institute pioneer, Galleria Centercity of UNStudio, installation of NOVA by ETH in Zurich station, crystal adaptive area ARUP outfitting of the Council of Abu Dhabi Investment office Towers, and dozens of others - the vast majority of job offers made exclusively with light . A minority bit addresses a wider range of human parameters, haptic and environmental, and - no coincidence - this gap cards neatly on the fault line (long) between artistic and commercial application
Why the light? Quite simply, it is understood. The light is measurable and quantifiable effects, with direct economic consequences. lighting technologies and futuristic shading are marketable both in terms of green rhetoric and efficiency, and they can even integrate with existing HVAC systems. There is a clear choice in the private sector. For example - despite its promising name -. The Adaptive Building Initiative simply to "Controlling light levels, solar gain and thermal performance, adaptive ABI reduce energy consumption systems , improve comfort and increase the flexibility of the built environment "[4]
outside lighting strategies, struggles industry to bridge the difference between the aesthetic and commercial value. And spatially dynamic haptic architecture continues to progress slowly and randomly. Experimentation on the cutting edge starts to show opportunities from the real architecture of the media, but not implications . And this is where development is thwarted.
haptic experience is largely unexplored, in a scientific sense, but the widespread adoption of truly significant media architecture based on research and deeper understanding of spatial perception. We just do not know how humans respond to a variety of environmental stimuli such as Olafur Eliasson artists have a strange sense of it. - a sense that gives their projects visceral power - but scientists do not artistic projects. are speculative or random mutations, shots in the dark, often with interesting results but erratic. The nuclei of an emerging paradigm can be seen in projects such as Rolling Bridge Heatherwick Studio in offset Decoi Hyposurface of pixels, and the local warming of the City Lab Senseable. However, the burden now is on researchers to engage in scientific investigation process haptic response. Without a rigorous understanding of how humans perceive and experience in space technologies that meet this condition are at best an inexplicable success and at worst a critical failure.
At its most compelling, media architecture will provide behavioral changes of the order of a cathedral, but dynamic, immediate and reactive: fundamental associations between the human body, space and networks will be reconfigured. This reconfiguration involves four elements - human perception, human behavior, detection technologies, driven environments. Media Architecture True close the feedback loop between those, like people are actively involved in space. "It makes a difference if you have a body that feels a part of a space, rather than having a body which is just in front of a picture ... there is a sense of consequences." [5] For media architecture to gain traction and be implemented with confidence that "sense" should be understood. The elements of the dynamic spatial experience should be studied rigorously in isolation and as a system, to achieve a perceptual model - and then only media Architecture technology can be made in an informed manner. The challenge, as media architecture matures, will be to ignite the haptic effect in a meaningful and systematic way, beyond the artistic experiences or flickering images through the built environment.
Matthew Claudel is a researcher at Senseable City Lab at MIT, where he worked on a wide range of projects in the areas of design, writing, architecture, art and technology.
References
[1] mediaarchitecture.com
[2] McLuhan, Marshall. Understanding Media: Human extensions. 1964.
[3] Pallasmaa, Juhani. Eyes Skin: Architecture and the senses. 1996.
[4] Adaptive Building Initiative website
[5] TED Talk by Olafur Eliasson
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