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Responsive/Interactive Architecture
Enriching Urban Spaces with Interactive/
Entertaining Lighting
Architecture as media:
the evolution
The prescribed
The responsive
The interactive
What is prescribed architecture?.
Ex: B...
Architecture as media:
the evolution
The prescribed
The responsive
The interactive
Ex: UN Studio’s La Defense
project in t...
Architecture as
media: the evolution
The prescribed
The responsive
The interactive
• It is a particular kind of pre-concei...
Architecture as
media: the evolution
The prescribed
The responsive
The interactive
Thomas Heatherwick’s sculptural Sitoote...
Architecture as
media: the evolution
The prescribed
The responsive
The interactive
Beijing National Aquatics Center
• ligh...
London’s Business Design Centre London’s EyeSteiermärkische Bank in Graz, Austria
General Definition:
The Sony Center in Berlin, Germany, is an international
commercial, communication, and cultural hub th...
DesignTarget:
“bringing the whole Sony Center to life”
• The team from solution provider Alexander Weckmer Licht und
Medie...
Architecture as
media: the evolution
The prescribed
The responsive
The interactive
• Responsive architecture is most simpl...
• LED lighting manufacturer Xilver delivered
5000 color changing LED lights
• The Galleria is completely covered by a
seri...
LED Lights
http://www.ledsmagazine.com/articles/2005/01/leds-transform-
department-store-in-seoul.html
urban architectural...
During the day the atmospheric and weather changes influence the degree
of reflection and absorption of light and color on...
Architecture as
media: the evolution
The prescribed
The responsive
The interactive
• Interactivity essentially means that ...
Architecture as
media: the evolution
The prescribed
The responsive
The interactive
• Creates environments facilitate inter...
Architecture as
media: the evolution
The prescribed
The responsive
The interactive
• Interactivity essentially means that ...
Architecture as
media: the evolution
The prescribed
The responsive
The interactive
Inspired by the Oscar ceremonies’ red c...
Architecture as media: the
evolution
The prescribed
The responsive
The interactive
large-scale public art project Under Sc...
• To explore themes of self-
representation, participants were filmed
for up to three minutes, freely
portraying themselve...
Architecture as media: the
evolution
The prescribed
The responsive
The interactive
Positioned dramatically in the center o...
Dune | Studio Roosegaarde
Architecture as media:
the evolution
The prescribed
The responsive
The interactive
• public inte...
Dune | Studio RoosegaardeArchitecture as media:
the evolution
The prescribed
The responsive
The interactive
• public inter...
Conclusion
• Various urban spaces can be transformed into interactive spaces
using low-cost, lightweight interactive light...
References
• http://rice.iuav.it/221/1/04_zarin-fallmann.pdf
• https://segd.org/interactive-architecture
• http://www.arti...
ThankYou
Responsive/Interactive ArchitectureEnriching Urban Spaces with Interactive/ Entertaining Lighting
Responsive/Interactive ArchitectureEnriching Urban Spaces with Interactive/ Entertaining Lighting
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Responsive/Interactive Architecture Enriching Urban Spaces with Interactive/ Entertaining Lighting

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Enriching Urban Spaces with Interactive/ Entertaining Lighting

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Responsive/Interactive Architecture Enriching Urban Spaces with Interactive/ Entertaining Lighting

  1. 1. Responsive/Interactive Architecture Enriching Urban Spaces with Interactive/ Entertaining Lighting
  2. 2. Architecture as media: the evolution The prescribed The responsive The interactive What is prescribed architecture?. Ex: Beijing National Aquatics Center (Lighting) Ex: UN Studio’s Galleria Department Store façade in Seoul (Lighting) What is responsive architecture?. Ex: Sony Center am Potsdamer Platz | Funkturm Berlin (Lighting) In the age of knowledge, architecture is the storyteller.
  3. 3. Architecture as media: the evolution The prescribed The responsive The interactive Ex: UN Studio’s La Defense project in the Netherlands (Lighting) What is interactive architecture?. Ex:Thomas Heatherwick’s Rolling Bridge Ex: Under Scan, artist Rafael Lozano-Hemmer (Lighting) Ex:Volume, a 2006 installation at London'sVictoria and Albert Museum (Lighting) Ex: Dune | Studio Roosegaarde, interactive landscape (Lighting)
  4. 4. Architecture as media: the evolution The prescribed The responsive The interactive • It is a particular kind of pre-conceived story, performance, or event unfolding over time.With a clear beginning and end that are made, packaged, and then received, it is entirely pre- scripted. Film GuildCinema created by architect Fredrick Kiesler • Ex. Film Guild Cinema created by architect Fredrick Kiesler • It no longer exists, but remains one of the most progressive film theater designs to this day. The film screen was a lens that functioned like the pupil of an eye, expanding and contracting to fit the different shapes and sizes of screens and eliminating the need for curtains • Synchronized with it was a multiple projection system that extended across the walls and ceiling
  5. 5. Architecture as media: the evolution The prescribed The responsive The interactive Thomas Heatherwick’s sculptural Sitooterie restaurant Beijing National Aquatics Center
  6. 6. Architecture as media: the evolution The prescribed The responsive The interactive Beijing National Aquatics Center • lighting designer Zhen Jianwei • Concept: visualize the energy flow of the Chinese people • The lighting system consists of a program that collects emoticons used every day by millions of users on the Chinese microblogging site Weibo (the Chinese counterpart toTwitter), and then interprets them to form an overview of the mood of the Chinese people. • These moods—anger, happiness, depression, excitement—are expressed in subtle gradients of colors. LEDs integrated into the pillow frames
  7. 7. London’s Business Design Centre London’s EyeSteiermärkische Bank in Graz, Austria
  8. 8. General Definition: The Sony Center in Berlin, Germany, is an international commercial, communication, and cultural hub that draws nearly 8.3 million visitors a year. Components: • The focal point of the complex is The Forum, a roofed public square. • Constructed of steel, glass, and cloth streamers, the Forum's roof is the Sony Center's most prominent architectural element. • At night, the roof comes alive with fascinating light shows • designed by Paris project artist Yann Kersale, in varying shades of cyan and magenta. Why new lighting system? The Forum's original incandescent lighting system had been in place for twelve years. After constant operation, it was reaching its maximum life expectancy and had become too costly to maintain. The Sony Center was looking for a replacement system that was long-lasting, energy-efficient, and low-maintenance, but that could still create color- changing light shows. Sony Center, Berlin, Germany
  9. 9. DesignTarget: “bringing the whole Sony Center to life” • The team from solution provider Alexander Weckmer Licht und Mediensysteme GmbH had to deliver a solution that could provide powerful and uniform illumination of the unique fan-like geometry of the roof. • Since each individual "sail" of the fan had varying dimensions, slope, and shape, each fixture would have to be individually positioned to achieve uniform illumination. • They installed Philips Color Kinetics ColorReach Powercore and ColorBlast Powercore LED floodlighting fixtures, which were powerful and flexible enough to achieve all of the project's goals. LightingTechnology: With the new full-color LED lighting fixtures and high-bandwidth digital control, the Sony Center can now choose from more than 16 million colors,can create new light shows for special events such as film opening nights and holidays — all while cutting energy consumption by 73% .
  10. 10. Architecture as media: the evolution The prescribed The responsive The interactive • Responsive architecture is most simply defined as a space that responds to its environment but has no agency • It absorbs information from its general environment and responds to it in some way but people cannot actively affect or change its behavior • sound and light sculptures absorbed data from their environment and translated it into kinetic performances. UN Studio’s Galleria Department Store façade in Seoul • Lighting Design: Arup Lighting, Rogier • skin made from 4,330 glass discs backed with a dichroic adhesive film. Digitally controlled LEDs behind each disc emit a changing landscape of color at night, driven by variables in the environment.Tabard Square’s barometer controlled beacon
  11. 11. • LED lighting manufacturer Xilver delivered 5000 color changing LED lights • The Galleria is completely covered by a series of 80 cm-diameter frosted glass discs which are backlit by LED lights • The LEDs change the color of each of the discs and thus enable the creation of a vivid play of colors and graphics to be displayed on the exterior of the store • Xilver developed a controller that can control up to 4 individual RGB LED lights called RainDrops.These RainDrops are individually addressable and thus controllable through any DMX-512 device (a standard for digital communication networks that are commonly used to control stage lighting and effects). • special software to automatically adjust the intensity and wavelength of each fixture related to the LEDs used from a particular binning
  12. 12. LED Lights http://www.ledsmagazine.com/articles/2005/01/leds-transform- department-store-in-seoul.html urban architectural design • Software provides DMX signals to the lights. • In normal cases, hardware could handle 16 DMX lines, while in this case we had to control 32 lines. In total something like 15,000 DMX channels are controlled by E:Cue's Programmer software and 8 E-Link Ethernet nodes. • Each lighting fixture of Xilver acts as a pixel of a video screen. • The E:Cue programmer software intelligently combines lighting control with the display of videos and bitmaps through the Xilver color changing LED lighting fixtures • All kind of effects can be added easily to these images (special occasions, and can be changed over time according to seasons, fashion events and artistic inspirations)
  13. 13. During the day the atmospheric and weather changes influence the degree of reflection and absorption of light and color on the glass circles, so that from different viewing points the appearance of each disc and the total surface changes constantly according to those external conditions that are beyond human control.
  14. 14. Architecture as media: the evolution The prescribed The responsive The interactive • Interactivity essentially means that both people and buildings have agency, enabling the creation of conversations between the two in real-time. • Interactive Architecture is a processes of creating dynamic spaces and objects capable of performing a range of pragmatic and humanistic functions. • These complex physical interactions are made possible by the creative fusion of embedded computation (intelligence) with a physical, tangible counterpart (kinetics). • A uniquely twenty-first century toolbox and skill set-virtual and physical modeling, sensor technology, CNC fabrication, prototyping, and robotics-necessitates collaboration across many diverse scientific and art-based communities. • Interactive Architecture includes contributions from the worlds of architecture, industrial design, computer programming, engineering, and physical computing. Computer Numerical Control (CNC)
  15. 15. Architecture as media: the evolution The prescribed The responsive The interactive • Creates environments facilitate interaction between people. • These space are able to reconfigure themselves in response to human stimuli-will literally change our worlds by addressing our ever-evolving individual, social, and environmental needs. • Allowing technology to evolve naturally, it replaces static forms that are set and stable with living, interactive spaces that can be many different things to many different people. • Instead of being just the venue for storytelling (whether in libraries, churches, theaters, offices, homes, or sports arenas), this intelligent, kinetic architecture itself becomes the storyteller.
  16. 16. Architecture as media: the evolution The prescribed The responsive The interactive • Interactivity essentially means that both people and buildings have agency, enabling the creation of conversations between the two in real-time. uses reflective material effects to create a heightened relationship between architecture and its environment. Coated in its entirety with a unique 3M-developed diachronic foil, the façade absorbs its environment and reflects it back through a spectrum of colors. UN Studio’s La Defense project in the Netherlands
  17. 17. Architecture as media: the evolution The prescribed The responsive The interactive Inspired by the Oscar ceremonies’ red carpet procession and operated by hydraulic ramps set in the handrails, the bridge rolls and unrolls. Here, using simple mechanics, the bridge responds to the needs of the city by either opening the water passage or creating a passage for people. Thomas Heatherwick’s Rolling Bridge
  18. 18. Architecture as media: the evolution The prescribed The responsive The interactive large-scale public art project Under Scan is an installation of thousands of video portraits projected into town squares in England.The portraits are camouflaged by floodlights and are revealed when people pass through the square.These digital portraits interact with the pedestrians, turning away as pedestrians lose interest and walk away. Under Scan embodies the ideas of interactive architecture: a space that, through intelligent exchanges, creates highly curated, personalized, and reactive responses.These blur the boundaries between the physical and the virtual, engaging the audience in endless conversations. Under Scan, artist Rafael Lozano-Hemmer
  19. 19. • To explore themes of self- representation, participants were filmed for up to three minutes, freely portraying themselves doing whatever they felt best represented them. • Passers-by were detected by a computerised tracking system, which activated the video portraits and projected them within their shadow. • The portraits 'woke up' and established eye contact with the viewer as soon as his or her shadow 'revealed' them. As the viewer walked away, the portraits reacted by looking away, and eventually disappeared if no-one activated them. • Every seven minutes the entire installation stopped and reset itself, revealing the tracking system in a brief sequence which projected all of the calibration grids used by the computerised surveillance system.
  20. 20. Architecture as media: the evolution The prescribed The responsive The interactive Positioned dramatically in the center of the museum’s garden, a field of light and sound sculptures responded to human movement, creating endless and everchanging audio-visual experiences for its visitors.This interactive piece created a kinetic narrative space that engaged both the environment and its users in active, real-time conversations. Volume, a 2006 installation at London'sVictoria and Albert Museum
  21. 21. Dune | Studio Roosegaarde Architecture as media: the evolution The prescribed The responsive The interactive • public interactive landscape that interacts with human behavior • This hybrid of nature and technology is composed of large amounts of fibers that brighten according to the sounds and motion of passing visitors • DUNE enhances social interactions in the public pedestrian Maastunnel
  22. 22. Dune | Studio RoosegaardeArchitecture as media: the evolution The prescribed The responsive The interactive • public interactive landscape that interacts with human behavior • utilizes fewer than 60 watts of energy. DUNE 4.2, situated alongside the Maas River in Rotterdam (NL)
  23. 23. Conclusion • Various urban spaces can be transformed into interactive spaces using low-cost, lightweight interactive lighting. • Most current design examples of interactive architecture, i.e. responsive digital environments, are large, rather expensive projects carried out and displayed in high-tech buildings and museums. • In carrying out this kind of projects in public spaces not originally designed for installations and events of this kind, a large number of practical concerns are encountered ; that need to be dealt with: 1. issues of access to the power grid, 2. changing weather condition, 3. stakeholders and gatekeepers with different perspectives 4. issues of safety and vandalization.
  24. 24. References • http://rice.iuav.it/221/1/04_zarin-fallmann.pdf • https://segd.org/interactive-architecture • http://www.artinamericamagazine.com/news-features/news/emoji-in-light-on-the-beijing-water-cube/ • http://www.ledsmagazine.com/articles/2005/01/leds-transform-department-store-in-seoul.html • https://www.google.com/search?q=Under+Scan&newwindow=1&biw=1280&bih=656&source=lnms&tbm=i sch&sa=X&ei=5h3uVLnOMInLPYLTgIAG&ved=0CAcQ_AUoATgK#imgdii=_&imgrc=- lpNzZc9jIStLM%253A%3BmNdKtlG7JTun4M%3Bhttp%253A%252F%252Fcdn.trendhunterstatic.com%252 Fthumbs%252Funder-scan-project-interactive-video- shadows.jpeg%3Bhttp%253A%252F%252Fwww.trendhunter.com%252Ftrends%252Funder-scan-project- interactive-video-shadows%3B300%3B470
  25. 25. ThankYou

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