Session: N.E.O. - New Esthetic Order
Session: P.U.S.H. - Public Urban Space Hub
Session: M.U.S.E. - Media Urbanism, Smart & Green
Session: Co.Co.On. - Construction, Content, Social Online-Interaction
Session: C.O.P.E. - Catwalk of Project Excellence
Workshop: The Making Of Yas
Workshop: Consumption, Commercialization, Tactics, and Tracking in Public Space
Workshop: Visualisation, Sensing, Simulation
Workshop: Design Challenges and Software Solutions Behind the Biennale Installations
Workshop: Content Development Strategies for Media Facades
Workshop: Global Energy and Techniques of Green Media Architecture
Workshop: Screening Interaction in Public Space
Workshop: 3D - Displays
Design Methods – engineering and artistic, Construction and Cooperation between Building Components, Users and Media Usability.
Media architecture and digital urbanism add a considerable amount of complexity to existing design and planning processes. Solutions need to be customized and require participation of the domains of construction, media content with economical targets to create public staging of architecture and media spectacle. Methodologies and processes for the transdisciplinary development of animated images, interaction and physical structure are yet to be defined.
Who owns which part in this new design process and has to communicate with whom? What are the most relevant technical challenges for design? What are the clients’ needs and visions and what do designers and planners want? Whats are the key concepts and goals to be able to manage various design disciplines in one design process?
Session Chair: Stefan Hofmann – Façade lighting projects in China – Lichtwerke GmbH, Cologne, Germany
Speakers: Stefan Mittlböck-Jungwirth-Fohringer – Ars Electronica Futurelab, Austria Daan Roosegaarde – Interactive Landscapes – artist, the Netherlands Marilena Skavara – Adaptive fa[CA]de – architect microhappy, UK Stephan Wittekind – Traxon Technologies, Germany
Sum-Up and Commentary Session 4: Co.Co.On. - Construction, Content, social Online interaction Chair: Stefan Hofmann (Text by Julia Steinbauer. Missing commentaries simple reflects the fact that Julia had no chance to attend the particular speech.)
In his work at the Ars Electronica Future Lab, Stefan Mittelböck focuses on user-sensitive information architecture at the nexus of man, media and machine. When developing a guidance system for SAP Germany, the Ars Electronica Future Lab created a water flow leading the visitor from a parking lot into the building, where it transforms into a data flow visualizing what is going on in the company. The user can interact with this system on several layers like touch screens or a heart rate interface, thus impacting both the flow of water and the data flow. At the Ars Electronica Center's facade a terminal was implemented, where people can hook up their mp3 players to control a 'light organ' on the facade. The User can additionally actuate the color, movement and illumination of the facade through a heart rate interface and a camera.
Artist Daan Roosegaarde and his team at studio roosegaarde design interactive landscapes that respond to sound and movement. With the goal to make things that engage people, they explore the dawn of a new nature evolving from technological innovations. During the implementation of his 'techno-poetry', Roosegaarde often encounters mundane problems like the availability of electricity in public space and who pays for it. Also vandalism is an issue, although studio roosegaarde creates sculptures that "you can destroy, if you want to", the acceptance of the neighbors seems to create a certain social control that often has the ability to prevent vandalism against the sculptures. Roosegaarde's tactile sculpture 'Dune' integrates the concepts of the active, interactive, reactive and the performative into one piece. Dune is an interactive landscape that reacts on the behavior of people. This hybrid of nature and technology consists of large amounts of fibers which are brightened according to the sounds and motion of passing visitors, thus mediating between and communicating with people on an instinctive and intuitive, playful level. Roosegarde tries to move away from what he calls "the horror of the ever-present LED grid" in his work, using high-tech materials like foils that change form or transparency due to heat or illuminating fibers as well as everyday items like ventilators. In combination with sensors and other electronic components a dynamic relation between user, space and technology evolves.
Stephan Wittekind joined the professional LED lighting solutions company Traxon Technologies in 2006. Since then, his professional knowledge regarding integrated media facades led Traxon to alliances with Haver & Boecker and Alucobond, empowering the launch of new media facade products like iMagic® weave and Alucobond Media®. iMagic® weave is a stainless steel wire mesh with clip-on LED lines, that promises easy maintenance and high quality. Alucobond Media combines the benefits of high-grade aluminum composite panels with miniature LED dots, thus creating a new building components offering dynamic power for otherwise static facades. Media art has changed significantly over time: a field that a couple of years ago was dominated by projections has become more and more tactile and interactive. With the rapid evolution of new and powerful LED technologies, we can observe a certain 'obsession with the grid', but a lot of creative approaches and the clever use and combination of material and technology seem to be setting trends towards sustainable esthetics and all new ways of what we find natural and beautiful.
Young architect Marilena Skavara presented her latest work and research project, 'Adaptive Fa[ca]de'. Hundreds of moveable panels form an adaptive building skin that continuously tries to provide optimum light levels to the interior. Using certain ‘Cellular Automata’ algorithms, which are not new to architecture, analog input from the environment is digitally converted into the again analog result of tilting panels, in using a minimum input from the environment, she achieves a maximum adaptability. As an advocate for the 'sustainable esthetics', Skavara claims that not only should form follow function, but out of a combination of form and function a building can be created that is in context to the environment and of high esthetic value. Context awareness - location and direction of a building - leads to local optima, additionally time awareness and the consideration of events that have taken place in the past can help the building to evolve and adapt through longtime change.
Sat | Oct 9 | 10:30 - 12:30
Session Chair: Stefan Hofmann
lichtwerke gmbH, cologne, germany
Title: façade lighting projects in china
Light as a complex phenomenon requires sites that trigger sensations far beyond mere visual perception. In view of the fabric of space and light I strive to reduce architecture in such a fashion that it takes a backseat and lea- ves the stage to light, making its volume and consistency, its effects accessible. The objective is to create architectural spaces where light can be displayed.
It is maybe useful to show light not only as a functional necessity. Instead, I would like to call attention to its inherent quality that demands to be experienced.