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Towards a responsive and systems-driven design process | Michal Orevi

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Towards a responsive and systems-driven design process | Michal Orevi

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The option to adapt and to change in different situations is quite rare for buildings and architecture. Although architecture is mostly built out of sturdy materials enabling any future change, the possibilities of new technologies are much more flexible. With the help of those technologies, buildings can change and adapt to the needs of their users and by that, they can better the user experience in those places.
In the future as our world progresses maybe we will be able to see much more flexible architecture - maybe even physically.

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Google Little Signals | Ambient Notifications

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WiFi Geographies: When Code Meets Place | Michal Orevi

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WiFi Geographies: When Code Meets Place | Michal Orevi

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The digital layer of our current environment has become a fundamental part of our daily lives. In the urban spaces where most people live, this digital "wi-fi" layer of technology and information is very noticeable and takes different forms and shapes - sometimes tangible and sometimes metaphysical. The idea of this new layer is to provide more information on top of existing spaces which provides more opportunities and ideas to humans.
Recently google suggested a new way for this layer to take place in our spaces. Instead of loud digital noise informing us of the existence of this layer - a new natural form of notification proposes a calmer and more natural option.

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במאמר הכותב מדבר על היחס בין האדם לבין הטבע, ובין הטבע לטכנולוגיה. הוא מדבר על ההשפעה של הטבע על האדם, ובעולמנו עם ההתפתחות של הטכנולוגיה, איפשר להיתעלם מהטבע, שניהם המשיכו להתפתח ולהשתמות זה עם זה.
דורין יעקוב

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במאמר זה הכותב טוען שהטכנולוגיה והמכונות, שלוקחים את מקומה של האדריכלות לא משאירים מקום להתפתחויות עתידיות. הוא טוען שבגלל מערכות אלה, אין צורך באדריכלות כי הבית יכול לעמוד בפני עצמו. הוא נותן פתרון שנקרא “environmental machinery”, שזה בעצם מארז נייד שבא במקומה של האדריכלות. בצורה זו האדריכלות לא תהיה כגבול אלה היא תהיה חלק מהטכנולוגיה הסביבתית.
דורין יעקוב.

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Augmented Reality inArchitecture and Design:Potentials and Challengesfor Application | Xiangyu Wang

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Augmented Reality inArchitecture and Design:Potentials and Challengesfor Application | Xiangyu Wang

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ההתקדמות האחרונה בממשק המחשב ובכוח החומרה בכל העולם הזה והכנסת האדם לתוכך עולם תלת מימדי וורטואלי ונצול ההתפתחות הזות בכל מני תחומים שונים כדי לקדם אותם יותר
התחום הזה מוסיף עוד רובד לתחום הארכיטקטורה והוא הופך להיות הכרחי לשימוש יעיל במידע דיגיטלי בימינו בתעשיות אדריכלות ועיצוב כפלטפורמת הדמיה מבטיחה
כסטודנטית שהתחילה לעסוק בתחום הזה ומנסה להתנסות בו אני חושבת שאנחנו הולכים ומתפתחים לעום חדש גאוני, זה משפיע עלינו לטובה ולרעה כך שאפשר ללמוד המון מהכלי החדש שבידינו וליצור המון חופשיות אך החופשיות הזות גורמת לנו להזניח עיקרונות חשובות וההשלכות יכולות להיות שליליות

סימא פאהום

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אנחנו חלק מהתפתחות הטבע והטבע חלק מהחיים והאמת שלנו, הפעלות שלנו משפיעות עליה כמו כל חיה ויְצוּר בעולם אם זה היה בבניה, בכל מיניפולציה טבעית או טכנולוגית אחרת מתקיימת. כל האבולוציה שלנו מתבססת על הטבע גם אם אנחנו רוצים להתקדם אנחנו חייבים לחזור אליה שוב.

סימא פאהום

Illustrations by Simon Prades Entangle Human Emotions with the Natural World

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"a house is nothing but a hollow shell ... a shell is all a house or any structure in which human beings live and work, really is. and most shells in nature are extraordinarily inefficient barriers to cold and heat.."

הוא אומר שלא צריך להסתמך על סביבה כדי לפתור את הבעיות האמיתיות שהיא אינו מגן ביעילות על אנשים מפני החום והקור. אלא להשתמש בדרכים טכנולוגים למצוא פתרונות.

סימא פאהום

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Enveloped by trailing vines and mosses, the dilapidated shelters that Paris-based artist Simon Laveuve crafts appear to emerge from a post-apocalyptic universe as eerie safe-havens. Often elevated aboveground, the miniature buildings feature vertical constructions with various platforms and stairs leading upward. "My pieces, for the most part, have this aspect of shelter... I like to work on the height and the inaccessible. Protection and surrender. Fallen icons and their symbolism. Resistance and insubordination," the artist says.

Marked with signage and advertisements plastered on the walls, the decaying dioramas showcase an alternate world now abandoned. Graffiti marks the siding, and thick vegetation cradles the remaining environments. Each sculpture displays the destructive qualities of humanity, while ultimately showing the natural world's ability to survive.

Laveuve's shelters are featured in Small Scale, Big World: The Culture of Mini Crafts, which is available from Bookshop. Explore more of the uncanny works on the artist's site and Instagram, where he also shares glimpses into his process.

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Graffiti-Laden Shelters Arise From an Uncanny Post-Apocalyptic Universe Crafted in Miniature

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Enveloped by trailing vines and mosses, the dilapidated shelters that Paris-based artist Simon Laveuve crafts appear to emerge from a post-apocalyptic universe as eerie safe-havens. Often elevated aboveground, the miniature buildings feature vertical constructions with various platforms and stairs l

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anthony dunne, Hertzian Tales: electronic products, aesthetic experience and critical design

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anthony dunne, Hertzian Tales: electronic products, aesthetic experience and critical design

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For me, the most scary thing about modern technology is that the human world is left behind. Everything can be virtual, and among the amazing opportunities that the VR world holds, lies a huge foreignness.

AR design spectacularly manages to temporarily (or, very soon, permanently?) change physical environments and still keep HUMAN in the center of things, not letting it disappear .

This fun project holds the possibility within

AR design to integrate both worlds: the real one and the invented one (not that we know what's real or not anymore) and  interlace a new layer upon the existing one in a way that creates a totally new spatial experience still keeping an anchor in reality and thus creates a much more complex statement.

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Dunne Hertzian tales : electronic products, aesthetic experience, and critical design

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Dunne Hertzian tales : electronic products, aesthetic experience, and critical design

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"Develop a design approach for producing conceptual electronic products that encourage complex and meaningful reflection, a form of social research to integrate critical aesthetic experience with everyday life "

"toolbox of concepts and ideas for developing
and communicating design proposals that explore fundamental issues about
how we live among electronic objects."

Music is currently consumed through streaming apps instead of
enjoyed, 'Tiles' is a music player promoting a more engaging listening experience by reintroducing the suspense of playing analogue music.

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With any song in the world just a click away, modern music listening has imperceptibly turned into thoughtless consumption, lacking excitement or eagerness in its process. A tangible interface that brings back the analogue process of experiencing music will foster not only a deeper engagement with our music collection but also the anticipation of putting on your favourite melodies. With an interdisciplinary team of interaction and industrial designers, Kay van den Aker, Oscar Olsson, Emile Chuffart and Tobias Ertel breathe life into their interactive sound design project 'Tiles' that brilliantly tackles this absence of character with a hands-on and experience-oriented prototyping focus. "Music is currently consumed instead of enjoyed, streaming apps lack the suspense of putting on a banger," says the design team "Tiles aspires to connect people to each other and to their digital music collection," they share.

From the process of building a record collection to the act of putting on a track, the analogue process of listening to music keeps the user immersed in the memorable experience. The digital experience's unequivocal convenience is both a boon and a bane, since it loses engagement and character due to it being too streamlined and efficient. "We wanted to explore how a tangible interface in combination with artificial sounds could convey the message of music listening as the sophisticated and social process it was intended to be," share the Sweden based designers.

Designed as a project for the Umeå Institute of Design, the minimal design is divided into two parts. The top half of the ensemble displays the user's music library, featuring an array of captivating cover art. The bottom half, on the other hand, is the player. By pressing down on the top display area, a song can be mechanically inserted into the lower portion of the device as you scroll through the playlist. The left part of the screen communicates the details of the current album using an E-Ink display whereas, the dial on the right allows adjustment of volume and other playback controls. Using the buttons on the top right corner, the user can conveniently filter between song, album, artist and playlist that build the playlist.

The black box in modern technology conceals away what goes on behind the interface and leaves no space for user interaction. The music design lays due emphasis on the albums, their artworks and details, contrary to what is seen in and consumed from contemporary music streaming apps. 'Tiles' reimagines the way people experience music with exemplary interaction design that changes the way a physical interface is perceived. Reinstating the analogue way, 'Tiles' urges the users to relish their music and not merely consume it.

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'Tiles' introduces a unique and engaging analogue music experience

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With any song in the world just a click away, modern music listening has imperceptibly turned into thoughtless consumption, lacking excitement or eagerness in its process. A tangible interface that brings back the analogue process of experiencing music will foster not only a deeper engagement with our music collection but also the anticipation of putting on your favourite melodies.

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עם התפתחות הטכנולוגיה הדיגיטלית המודרנית אנו מסוגלים כעת לתמרן את העולם הבנוי בכך שיגיב לגוף האדם והסביבה הסובבת. תפיסה זו יוצרת חללים שמתפתחים ומגיבים לצרכים המשתנים מאדם לאדם ובהתאם לפעולה אשר האדם עושה. ארכיטקטורה אינטראקטיבית מצליחה להשפיע על האדם וגם על המאפיינים הסביבתיים. באמצעותה ניתן לעצב מרחבים המגיבים לפעילות אנושית כמו קיר מתרחב ומתכווץ כשנוגעים בו או אפילו מתפתל כשרוח נושבת. נושא זה מעלה בי שאלה של איך אנחנו יכולים לשנות תפקודם ומאפיינים של אלמנטים מסוימים ובאותו זמן לשמור על זהותם?

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This piece began with an interest in challenging the typical notion of the parking structure as an unappreciated infrastructural typology by transforming the New Eskenazi Hospital parking structure into a sculpted, synthetic landscape. Just as the leaves of a tree define its volume and shape, this piece relies on approximately 7,000 multi-colored aluminum panels (12,500 s.f.) to define a soft, undulating volume on the south side of the structure. As in nature, the volume and shade offered by the piece shies away from harsh, geometric patterning – instead tending towards a gentle, dappled variability in form.

A field of 7,000 angled metal leaves in conjunction with an articulated east/west color strategy work together as brush strokes to create a dynamic façade that offers observers a different visual experience depending on their vantage point and the pace at which they are moving through the site.

Rob Ley  www.rob-ley.com

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In this book, Lupton gathered a range of insights about the narrative impact of design. One of them discuss the emotional impact of a certain space on its users. As an architecture student, I believe that this phase of planning is the most important and significant, once we start consider it more when planning, we will trigger different emotions and the message we want to convey is felt more deeply and will leave an enduring impression.
Cameelia Musleh

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WiFi Geographies: When Code Meets Place\cameelia musleh

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WiFi Geographies: When Code Meets Place\cameelia musleh

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הבתים, המשרדים, הערים והחללים שלנו מרובדים ברשתות מידע דיגיטליות. רשתות ה WIFI מצליחים להשפיע על דפוסי התנהגות האנשים, ולהגדיר מחדש מקומות ומידע במרחבים פיזיים. המאמר ממחיש כיצד רשת WIFI אינה ממפה על גבולות פיזיים או אדריכליים קיימים. במקום זאת, הוא מגדיר אותם מחדש במספר דרכים על ידי חדירת קירות, ולתוך חללים ציבוריים. ושבירת כמה מושגים מסורתיים של פרטיות ורכוש תוך חיזוק אחרים. תצורות מחודשות כאלה של אנשים, מקומות ומידע דורשות מסגור קונספטואלי חדש codescapes ; השילוב של רשתות דיגיטליות עם מרחב. עיצוב מחדש של צורות ארגון על מנת להבין את הדרכים שבהן ארגונים, ארכיטקטורה, מדיניות וטכנולוגיות עצמן מתעצבות מחדש. נשאלת השאלה איך רשתות דיגיטליות אלו משפיעות על תפיסתו המרחב הפיזי? ומה יקרה בעתיד כאשר רשתות אלו יתעצמו, האם ההגדרות של המרחב ישתנו?

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Augmented Reality inArchitecture and Design\ cameelia

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Augmented Reality inArchitecture and Design\ cameelia

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מציאות רבודה הינה שילוב של אשליה ומציאות. שיטה ויזואלית ואינטראקטיבית המציגה מידע דיגיטלי רלוונטי בהקשר של הסביבה הפיזית ונותנת עוד שכבת מידע על סביבה זו. השפעתה על חיינו ניכרת ומורגשת.  מציאות זו כבר מצליחה להחיות את המדומה ואפילו לחוות אותו. דוגמה על כך הינה חברת איקאה ואמזון: בעזרת השימוש במציאות הרבודה הן מספקות לקונים את היכולת לדמיין איך החיים שלהם ייראו עם מוצר מסוים.  טכנולוגיה זו יכולה לחולל מהפכה בעולם האדריכלות וההנדסה במיוחד כשיש לה את היכולת ליצר אינטראקציה דיגיטלית עם הפרויקטים ,לחוות את התכנון ולשפר אותו.

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IKEA - AR Concept

by Hyung Park

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Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design | Michal Orevi

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Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design | Michal Orevi

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As new technical developments alter the object and make it “intelligent,” they also set the object on a plane with no prior cultural references . . . although the physical aspects of these objects are still within the world of materials, their operation and their very state of being is well beyond the manipulation of matter and has more to do with information exchange than with form. —E. Manzini, THE MATERIAL OF INVENTION

Designed as everyday objects, new technologies such as AR and VR slip into our everyday life in an almost unnoticeable form. As goggles and smartphones are no longer a rare product, those technologies can be implemented in almost every aspect of our lives. Designers have been trying to better the human  interaction with these technologies both in the interactive interface part and also in the fields of product design both focusing on humans as the main subject. This combination can create new ways to interact with the world thus creating hyper realities. Those new realities must be well studied and well designed in every filed of human behavior to create a kind of "Hyper Human" in a non harmful and still human way.

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Hyper-Reality presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media.

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Augmented Reality in Architecture and Design

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Augmented Reality in Architecture and Design

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Augmented reality is changing architecture and design drastically, nowadays people can augment 3D models of their designed buildings in the real environment and see how the design interacts with its surroundings and what needs to be changed. This process can save a lot of money and time and is a more sustainable way to design complicated buildings and discover inaccuracies before the actual building of the design. And even during the construction phase, this tool can help with measuring and placing elements more accurately.

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moving toward Augmented realities means looking at architecture with new eyes. spaces will receive new layers from virtual reality and therefore it requires to be designed accordingly. a wall is no longer just a wall. it is also a screen that displays info. do we even need a TV unit anymore? if I can watch on the wall? will we need description stands in museums? price tags on clothes?
our spaces will become much more efficient.

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Augmented Reality in Architecture and Design | Dor Peled

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Augmented Reality in Architecture and Design | Dor Peled

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מתוך ההנחה כי המגבלות הטכנולוגיות של AR ייפתרו בהמשך, מאוד מעניין לחשוב על האפשרויות שטכנולוגיה זו פותחת בתחומי העיצוב והאדריכלות. נדמה שזה רק מתבקש שאדריכלות תהיה במוקד של פיתוחי AR כיוון שהיא תחום שמתמקד במרחב הפיזי. אחד הקשיים המהותיים בתכנון בדו-מימד (וגם בתלת מימד) הוא הבנה של קנה המידה של מושא התכנון. היכולת להלביש את המודל על העולם האמיתי בזמן אמת מאפשר לנו הבנה עמוקה יותר של קנה המידה. בנוסף, בשילוב מידע BIM במודל, ניתן לעקוב בזמן הבנייה אחר התקדמות הבניין בשטח ביחס לתכנון וכבר ישנן מספר חברות שעומלות על פיתוח תוכנות לצורך זה. דבר זה יאפשר לבחון תכנון בשטח ולהצביע על ליקויים וטעויות בזמן אמת.

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Spatial Augmented Reality Merging Real and Virtual Worlds | Oliver Bimber, Ramesh Raskar

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Spatial Augmented Reality Merging Real and Virtual Worlds | Oliver Bimber, Ramesh Raskar

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Augmented reality (AR) is a field in which artificial information is added to the real environment. In this field the real environment is not completely suppressed but is “improved” in a way that creates another level of reality in our world. Although it can be helpful in many different areas of our lives, I want to address the side of it that can also be dangerous and scary. In the book, the writers mention real time rendering as one of the obstacles in the development of AR.

“An ultimate goal could be to integrate graphical objects into the real environment in such a way that the observer can no longer distinguish between real and virtual.”

If we could no longer know what is real and what is virtual, what could we then call our reality? Where and when do we draw the line that separated these two worlds? or maybe I should can it - one world?

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The Coolest Examples of Projection Mapping

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Augmented Reality in Architecture and Design: Potentials and Challenges for Application, X. Wang | Leeor Levin-Hai

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Augmented Reality in Architecture and Design: Potentials and Challenges for Application, X. Wang | Leeor Levin-Hai

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"Augmented Reality also provides the unique opportunity to integrate the design into the real as-built environment. For example,AR could assist in quality assurance by comparing a as-built facility with its corresponding design as well as constructability review before the actual construction." Wang, p.319

שילוב מרחבים וירטואליים בפיסיים, מאפשרים יעילות, דיוק, מהירות והפחתת טעויות. מציאות רבודה מאפשרת למתכננים ולמבצעים יכולת אבחון תלת ממדית מוקדמת, איתור תקלות ומניעתן טרם הביצוע. אלו, תורמים לדיוק רב יותר בשלבי התכנון והביצוע, יעילות כלכלית וקיצור זמנים.

Holographic Fabrication of Woven Steel Structures; דוגמה לייצור מדוייק, יעיל וחסכוני יותר כתוצאה משימוש בטכנולוגיית מציאות מדומה.

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Holographic Fabrication of Woven Steel Structures

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Showreel from Fologram's workshop at CAADRIA, Tsinghua University, 2018. 

Workshop Team: 

Leaders: Cameron NEWNHAM, Gwyllim JAHN, Nicholas VAN DEN BERG
Assistants: Matthew BEANLAND, Yang YUQI
Participants: Shilong Zhu, Yong Tong, Yang Qingqing, Jingyi He, Guanqi ZHU, Han Bo, Yue Ren, Yumeng Wang, Yufan Xie, Chenjun Liu

Music by EVA (https://soundcloud.com/joshlis)

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Augmented Reality and interior design: the IKEA app

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Augmented Reality inArchitecture and Design:Potentials and Challengesfor Application Xiangyu Wang

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Augmented Reality inArchitecture and Design:Potentials and Challengesfor Application Xiangyu Wang

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בשונה ממציאות מדומה, במציאות רבודה אנחנו נחשפים לשילוב של אלמנטים וירטואליים במרחב הממשי והפיזי בו אנו נוכחים. בעזרת המציאות הרבודה נוכל להיחשף ולהבין טוב יותר כיצד האובייקט או התכנון מתפקד במרחב המיועד לו ונוכל לבצע שינויים תוך כדי התאמה מדויקת יותר למרחב. במאמר, מציג הכותב את המציאות הרבודה ככלי חדשני ויעיל עבור ארכיטקטורה ועיצוב. לצד היתרונות והחדשנות הטכנולוגית מוצגים גם האתגרים בהכנסת הטכנולוגיה לתחום הנ"ל.

על אף שהמציאות הרבודה והמדומה הכניסו לתחום חוויה חדשה שמאפשרת להבין את המרחב בצורה טובה ומוחשית יותר, עדיין קיימים פערים בחושים נוספים שאינם חוש הראייה. מעניין לראות האם ניתן לדמות את החוויה יחד עם הפעלת חושים נוספים, למשל מישוש, שיכול להשפיע ולהוסיף לחוויה המרחבית במסגרת המציאות הרבודה- למשל כפפות פידבק שיאפשרו את הרגשת האובייקט, הטקסטורה ועוד.

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Vox YouTube channel - How Snapchat's filters work 

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Augmented Reality in Architecture and Design, Xiangyu Wang | Fouad Salaime

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Augmented Reality in Architecture and Design, Xiangyu Wang | Fouad Salaime

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In this article, Xiangyu wang displays the augmented reality technologies that are being tested in architecture and design. while Wang was unfolding the challenges and the options of augmented reality in this field, I wondered about how and at what pace this complex technology will take place in our discipline? using AR requires complicated skills, even more than using computer software. taking into consideration the long phase of transition of the architecture practice to digital platforms let us rethink the efficiency of the new device invading our field.

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Apple is developing an augmented reality wearable headset called Apple Glass, according to rumours circulating online.

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Spatial Augmented Reality // Oliver Bimber and Ramesh Raskar

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Spatial Augmented Reality // Oliver Bimber and Ramesh Raskar

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As augmented reality and VR technologies continue to develops in an uncomprehending speed, there are great things that could be implemented into the world of design and architecture that would change forever the way we see the world - literally. We must begin understanding and studying the rules, boundaries, tools and terms in order to play the game. The knowledge of these technologies gives us the power to start breaking, changing and rethinking the rules and conventions of the physical augmented environment.
The big technology companies like Apple, are already working on the making of wearable objects that would merge the real reality with the virtual/augmented one, and that will in no time become an extension of our bodies just like their previous products that have become a fixed part of our immediate environment or even another body part (for us cyborgs). When these accessories are ready, we must be ready too, or at least not caught by surprise, to integrate these new abilities into our design and create spaces that have never been thought of before, or that could not be done.

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Wang_Augmented Reality in Architecture and Design: Potentials and Challenges for Application | Roni Arie

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Wang_Augmented Reality in Architecture and Design: Potentials and Challenges for Application | Roni Arie

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מציאות רבודה היא שילוב של מרחבים וירטואליים במרחבים פיזיים. אחד היתרונות הבולטים של אמצעי מציאות רבודה הוא חיזוי התאמה של תכנון או מוצר לסביבה קיימת. כלים אלו יכולים לשרת את האדריכל, המעצב או הצרכן במגוון תעשיות: ביגוד, ריהוט, בנייה וכדומה... באמצעי התכנון של ימינו כאשר הכלי הוא המחשב ולא הנייר והעיפרון אני סבורה כי בקרוב מאוד במקום להראות תוכניות ללקוח נוכל להעניק לו את החוויה בפרויקט באופן שמשלב מודל וירטואלי במציאות הפיזית. אם אפשר לבחון האם בגד או רהיט מתאים ללקוח, אין סיבה שלא נבחן בדרך זו גם תכנון אדריכלי. לטעמי טכנולוגיה זו טרם מפותחת בהשוואה לטנולוגיית המציאות המדומה שמעניקה פתרון מסוים להענקת החוויה המדוברת. אם כי, אני סבורה שהפן המציאותי של החוויה צריך להיות נוכח יותר.

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Augmented Reality inArchitecture and Design:Potentials and Challengesfor Application by Xiangyu Wang - יוסף עיאשה

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Augmented Reality inArchitecture and Design:Potentials and Challengesfor Application by Xiangyu Wang - יוסף עיאשה

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מציאות רבודה  AR  היא טכנולוגיה חדשה שמשלבת בין סביבות ואתרי בניה מהעלום האמיתי לבין מודלים דיגיטליים תלת ממדיים אשר מתווספים כרובד נוסף למציאות ויוצרים סביבה היברידית, וזה מאפשר למעצב ולבונה לבדוק כל מיני דברים כגון מערכות מכניות, אינסטלציה, רהיטים ועוד, בכל תהליך התכנון והבניה, דבר שמאפשר להם לחקור אופציות ולהשוות בין חלופות שונות ומייעל את התהליך.

אך טכנולוגית הAR- היא עוד לא מספיק מפותחת בשביל שתהיה שימושית עכב קשיים טכנולוגיים, ואם תהיה אז תצטרך מחשבים מאוד מפותחים וחזקים שלא קיימים היום. במקביל טכנולוגיית הVR- היא מאוד שימושית, נגישה וזולה ומספקת אפשרויות מתקדמות שבמקרים רבים מהוות תחליף לAR-.

איזה יתרון ה-AR יכול לספק לנו שיפצה על הפער האדיר במאמץ ובמחיר בינו לבין ה-VR?

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בימינו, בניינים ומרחבים עירוניים משלבים בנייה מלאכותית וצורות חדשות של אינטראקטיביות. ובכך, נוצר מגוון אירועים ואינטראקציות בין בני האדם  בתוך ועם הסביבות הבנויות. HBI הינו תחום מתפתח המקשר אינטראקציה בין אדם למחשב עם אדריכלות ועיצוב עירוני(סביבה). מטרתו לפתח כלים וטכנולוגיות חדשות  לשיפור עיצוב ותפעול הבניין ובמיוחד את הטכנולוגיה שלו על מנת לספק אינטראקציות אנושיות נוחות ויעילות יותר. תחום זה כבר מצליח להשפיע על חיינו. באמצעות טכנולוגיות חדשות כמו VR, AR וMR אנו יכולים לתכננן ולעצב את המרחבים בצורה מדויקת יותר ואף לחוות אותה. כיצד בניינים חכמים המסתמכים על טכנולוגיה בעלת תחולת חיים קצרה וזמנית יכולה לתאם את עצמה למבנה בעל תחולת חיים ארוכה?
כמיליה מוסלח

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Interaction Narratives for Responsive Architecture - Henri Achten

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Interaction Narratives for Responsive Architecture - Henri Achten

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It is important to design a building that can adapt itself to the changing and the various of interactions that can happened in the building, that is because of the connection between the building and us humans, and that’s how interactions happens. With technology the building can be more flexible and adapt itself to the changes in the behaviors of its users. The article claims that architecture and the buildings we design should always take into consideration the narrative and the story that could happen in  those buildings.
Dorin

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Augmented Reality in Architecture and Design: Potentials and Challenges for Applicatopn- Xiangyu wang 

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Augmented Reality in Architecture and Design: Potentials and Challenges for Applicatopn- Xiangyu wang 

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With the technology changing and the appearance of the virtual reality that gives the user to a whole new world that feels so real. Augmented reality based on the same thing, it is important in architecture to know how to take these developments to perceive and learn about the  interactions that can be in.
In the article they display three obstacles, that prove why augmented reality hasn’t yet been included in the world of architecture. These obstacles are extractions of industrial domain knowledge, preparation of reality model and technological limitations.
Dorin

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Augmented Reality in Architecture and Design: Potentials and Challenges for Application

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Augmented Reality in Architecture and Design: Potentials and Challenges for Application

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הופעתו הראשונה של המונח ״טכנולוגיית מציאות רבודה״ הייתה בשנות החמישים של המאה הקודמת בסרטי מדע בדיוני, ועד לאחרונה, טכנולוגיה זו נחשבה כטכנולוגיה לעתיד הרחוק, אך כעת היא הפכה למציאות ומשתמשים בה בתחומים רבים, ונראה שבקרוב הטכנולוגיה הזו תהיה חלק בלתי נפרד מחי היומיום של משתמשים רבים.

טכנולוגיית המחשב הקלה על ייצור תמונות תלת מימד החל מהממשקים הגרפיים הראשונים, ולמעשה, הכוח הפיזי של המחשב אפשר יצירת סביבות חזותיות מורכבות לכל היישומים, כגון משחקי וידאו, מערכות מידע גיאוגרפיות, וכן עיצוב אדריכלי. עם זאת, כדי להציג את הגרפיקה ה״תלת מימדית״ הזו למשתמש אנחנו תמיד צריכים ממשק מחשב, ולא משנה כמה הצורות האלה נראות לנו אמיתיות, הן תמיד דוחפות אותנו לעולם הוירטואלי.

- טכנולוגיית מציאות רבודה, זה המציאות או העולם הוירטואלי?

דרך תפיסה זו, החלה התפתחות של תפיסה שמקורה ביישומי העולם הווירטואלי בעולם האמיתי, באמצע שנות התשעים של המאה הקודמת, על ידי שילוב צורות ומרחבים וירטואליים עם תרחישים מציאותיים, וזה מה שאנו יודעים כיום, כמציאות רבודה, שהיא הטכנולוגיה המאפשרת לנו לתאר צורות תלת מימדיות באמצעות מכשירים מיוחדים כדי לייצר תמונות אמיתיות. לכן, מציאות רבודה (AR) קשורה קשר הדוק למציאות מדומה( VR), שבה המושג של מציאות רבודה התפתח כאבולוציה והרחבה של מציאות מדומה.
אסראא דיאב

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Smart cities use different technologies to collect various kinds of data from it’s citizens, and implement it towards improving operations across the city, making it more efficient.

If this is the front-end of smart cities, it really triggers the question  what expense do the citizens pay in exchange for this  sustainable efficient environment? What is privacy? And how much of it is in the hands of the goverment?

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The 1st Think Tank
on Urban AI

Call to Urbanize Technology

For years, the Smart City has been the ultimate form of urban progress. This concept can be defined as the use of information technologies to improve the quality of life of citizens while reducing the operating costs for cities and urban stakeholders...

Computer Vision for Urban Regeneration

Iacopo Testi, Advisor and Contributor of Urban AI, is an italian urban technologist and data scientist. His professional and academic interests revolve...

Meet Nuria Oliver (1/2)

Each week, Urban AI presents you one member of its Scientific Committee. For our second episode, we interviewed Nuria Oliver. Nuria is Co-Founder and Chief Scientific Advisor of ELLIS Unit Alicante…

The Science behind the 15-minute City

Jeremy Burke, Contributor and Advisor of Urban AI, is a Co-Founder and Managing partner of Aretian Urban Analytics and Design. As a City and Architectural Designer and Researcher interested in how…

Opportunities of AI for monitoring nature in cities

Urbanisation drives the conversion of natural to built environments and causes the destruction and fragmentation of habitats on which wildlife depend. Cities can also provide novel and diverse habitats which act as refuges for wildlife unable to persist in intensively managed agricultural landscapes...

URBAN AI Report

The Urban AI report condenses the findings and analyzes of a 6-month round-the-world trip. 6 months during which Hubert Béroche...

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URBAN AI - The 1st Think Tank on Urban AI

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Urban AI is a Think Tank that proposes ethical modes of governance and sustainable uses of urban AI.

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"Transactive intelligence to define architectural intelligence that not only interacts, but that transacts and transforms both the user and itself.

As people interact with architecture, they should not be thought of as "users" but instead as "participants."

This reminds me of the idea of architecture as a second skin.(architecture as an extension of our bodies)

If The main role of architecture is to serve the people and to respond to the users needs, and our daily life today is very different from a decade ago, why do buildings stay the same?

How can we take advantage of today’s  technologies and create adaptable and responsive spaces, that make us participants rather than users, merging us with our environment and forming a true connection?

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Studio INI's Greek Pavilion led by Nassia Inglessis for LondonDesignBiennale 2018 at Somerset House Courtyard, 4-23Sep

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Film by Matthew Miles Video, with additional footage by N. Inglessis, E.Brial. Edited for Studio INI LDB18 installation Teaser. A sneak peek behind the scenes

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Augmented Reality in Architecture and Design: Potentials and Challenges for Application - Xiangyu Wang | Karine Salameh

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Augmented Reality in Architecture and Design: Potentials and Challenges for Application - Xiangyu Wang | Karine Salameh

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Virtual reality is a technology that combines the real and virtual world. Augmented reality, based on this same concept, relates to presenting digital information and objects onto a real – existing place.
Despite the many obstacles this article displays, regarding the use of augmented reality in architecture practices, it also presents its possible contribution to the process of design.
We, as designers, always take into consideration the surroundings, and the bigger scale of our projects. We start by mapping the area and gathering information, to then modeling and designing a building that we see as suitable. Every step in our planning progress is sensitive to the location. Therefore, if we were to have a platform which could display our designs and ideas onto the real environment they are supposed to be built in, we could get a much better understanding of the compatibility of our designs. That is why augmented reality can be of great use in the field of architecture.

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"?Metaverse: A Fertile Ground for Architects"

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Augmented Reality in Architecture and Design: Potentials and Challenges for Application/ Xiangyu Wang

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Augmented Reality in Architecture and Design: Potentials and Challenges for Application/ Xiangyu Wang

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MR היא טכנולוגיה שקשורה למציאות מדומה (VR) ליצירת סביבות שבו אובייקטים מהעולם האמיתי והווירטואלי נפגשים. המונחים, מציאות מוגברת (AR) ווירטואליות מוגברת (AV) הן שתי תת-הקבוצות העיקריות הנמצאות בטווח ה-MR של רצף Reality Virtuality (RV) . באותם מרחבים וירטואליים המשתמשים מייצרים אינטראקציה עם תוכן דיגיטלי בתוך המרחב הפיזי שבו הם עובדים, מבקרים וחיים. על ידי ניצול המיומנויות החזותיות והמרחביות של אנשים, AR מביאה מידע וירטואלי לנגישות של המשתמש והאדריכל. בימינו החשיבות לשימוש בטכנולוגיות מתקדמות, כמו מציאות מדומה בזירת התכנון בארכיטקטורה, הופכת נחוצה יותר ויותר. ניתן להשתמש בה בשלבים הקונספטואליים, לחקור את המושג ביחס למרחבים השונים, ביחס לאור, לבנייה ולחומריות. כך שלא משנה כמה יפה יכולה להיות תמונה מעובדת ומודל מוקטן או עיבוד ויזואלי, קיים חוסר בשיטת התכנון הנוכחית שאינה יכולה להעביר באופן מלא את ההיקף והתחושה המרחבית של חווית החללים בשלב התכנון המקדים שמרחב ווירטואלי כן מספק. דריה בלחסן

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במאמר ריינר בנהם מציג איך אנשים רבים רואים את מהות הבית. הוא אינו מתמקד בצורת הבית- בטיפולוגיה או בסמל והסגנון האדריכלי, וגם לא באיכויות החומריות של הבניין. הוא מייצג את הבית כרגולטור בנוי של הסביבה המייצר סדר, מעין חבילת ניידת של רמת איכות חיים, שאיתה אנשים צריכים אדריכלות לשם יצירת גבול. אותו גבול מתבטא בניסיון של האדם להרחיק את הטבע באמצעות סגירות, אטימה ואף מיזוג, דברים שיכולים להוביל במקרים מסוימים לתכנון שלא מתחשב באקלים המקומי ובסביבה שמקיפה אותו. בדוגמה מתואר בית זכוכית עתידני שניתן להקמה מהירה וניידות מחוץ לרשת העירונית הצפופה, הוא משתלב בסביבה טבעית, חוסם 63% מקרינת השמש ונחשף לאור טבעי, כאשר ניתן לשלוט באמצעות מתג/ פלאפון באטימות של הזכוכית בהתאם לצורך ולפרטיות. - דריה בלחסן

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"How Singapore Showed Us That Nature And Technology Can Be Friends"- The Cloud Forest at Gardens By The Bay, Singapore

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במאמר הכותב מתאר את מורכבות יחסי הגומלין בין האדם, הטבע והטכנולוגיה, וטוען כי ההתפתחות של הטכנולוגיה מהווה מוקד המשפיע על המורכבות ביחסים אללו. מאמירותיו משתמעת ביקורת שקוראת לקדמה ולא להתרפקות על הטבע שהיה, המוכר והשמור מהעבר. הוא טוען כי קצב הגדילה וההתפתחות בידע ומשאבים טכנולוגיים הוא תמידי ולכך יש השפעה ישירה על האנושות. לפיכך, הוא מסביר כי בניגוד למחשבה הרווחת שהאנושות אינה תורמת ומקדמת את הטבע, הטבע הוא דבר משתנה ודינמי ולפיכך מקומו להתפתח לצד הטכנולוגיה והאנושות. עלינו כן להתערב ולא לעמוד מנגד מכיוון  שהאנושות מחזיקה בכלים חדשניים שיכולים ליצור שינוי וקידמה שתועיל בכל.- דריה בלחסן

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במאמר עניין אותי רעיון ה- Digital Twins והמחשבה על התפתחות תכנון הערים לצד התפתחות הטכנולוגיה בעתיד. השיטה המתוארת- בניית "תאום דיגיטלי" למרחב הפיזי הינה כלי יעיל באמצעותה ניתן לייצר מערכת מעודכנת שמשתנה בהתאם למצב הקיים באופן שוטף וזורם ומייצרת חיבור בין כל אנשי המקצוע הרלוונטיים לכדי פלטפורמה מונגשת וזמינה של מידע מעודכן בתחומים עירוניים. באופן הזה ניתן להשתמש בפלטפורמה ככלי תכנוני שעוזר לפתח ולשדרג העיר בשלל תחומי העיר- קיימות- בנייה ירוקה וחסכון באנרגיה, תנועה - תחבורה ציבורית וניידות, לתת מענה לתחומים חברתיים ותרבותיים וכדומה. בדרך הזאת מערכת העיר הופכת לנשלטת- אחריה יש מעקב. לפעולה יתרונות רבים אך גם חסרונות. מצד אחד ככל שאנחנו מכירים את הערים יותר טוב כך אנו יכולים לשלוט בהתפתחות שלהן באופן כדאי ונכון יותר, לייעל את התכנון שלהן ולפתור בעיות בשלב מקדים. מנגד, בדרך הזאת העולם שלנו יהפוך למתועד והשאלה היא היכן נכנסת החוויה האנושית והיצירתיות הלא מתוכננת? ומהם השינויים החברתיים שייווצרו בעקבות אותה המערכת?- דריה בלחסן

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"The Smart Cities Of The Future: 5 Ways Technology Is Transforming Our Cities".

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בעידן הנוכחי שכבות של מידע דיגיטלי ורשתות אלחוטיות מתרחבות ומרשתות את הערים במרחבים הפיזיים שלנו. כתוצאה מכך אורך החיים שאנו מנהלים והקדמה הטכנולוגית שלובים זה בזה וקיים קשר ישיר בין המרחב הפיזי שאנו חווים לבין הצורך והרצון שלנו במרחב דיגיטלי. ניתן לראות זאת, בצורך לנגישות באינטרנט אלחוטי שהולך וגובר במרחבים ציבוריים- בבתי קפה, בפארקים וכו'. גם אם הרשת האלחוטית כביכול אינה מוחשית ופיזית היא הופכת למשמעותית בבחירה של אנשים לשהות במקומות במרחבים הפיזיים של היום וכך למעשה היא מגדירה ומקטלגת. דריה בלחסן

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Cool Houses Reveal Their Unique Stories And Unexpected Designs"."

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"As a student, I felt that problem solving didn’t account for everything I wanted to know about design practice. Problem solving wasn’t enough. What about beauty, feeling, and sensation? What about humor, conflict, and interpretation?"

אני מסכימה עם דעותיו של הכותב בהקשר של ערך מוסף נרטיבי בעיצוב. בעיני ישנה חשיבות לסיפור שעומד מאחורי התכנון והעיצוב ובלעדיו לפרויקט אין חיים. ברגע שנקודת ההתחלה של האדריכל מתייחסת לקונספט התחלתי או סיפור רקע, כך כל חלל בתהליך קורם עור וגידים ומהווה בסופו של התכנון חוויה בלתי נשכחת עבור המשתמש שדרכה הוא יכול להרגיש ולחוש. בנוסף, ברגע שתכנון נובע מסיפור אישי כך כל פרויקט הופך לייחודי ונמנעים מרפטטיביות ושכפולים של מבנים גנריים. דריה בלחסן

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Interactive Architecture - intro |Fox&Kemp

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Interactive Architecture - intro |Fox&Kemp

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בכוחה של ארכיטקטורה אינטראקטיבית לייצר התאמה ויחסי גומלין בינה לבין המשתמש שנמצא בחלל שלה וכך לגרום לחוויה ייחודית במרחב. ע"י ארכיטקטורה קינטית שעושה שימוש בטכנולוגיה מתקדמת באופן דיגיטלי או בדרך חכמה אחרת שמגיבה באופן אוטומטי לפעולות של המשתמש היא יכולה להשתנות לפי צרכיו של המשתמש כתלות בזמן, מצב רוח, תחושות של המשתמשים, להתאים את עצמה לשינויי אקלים או להשתנות בהתאם לתנועה בחלל, לאור והצליל. במציאות הנוכחית, הצורך בשימוש באדריכלות אינטראקטיבית ככלי לפתרון בעיות מהותיות מתחיל לצבור תאוצה וזאת עקב השינויים החברתיים והעירוניים, הצפיפות שגוברת והתפתחות הטכנולוגיה בשילוב נושא הקיימות והסביבה.
דריה בלחסן

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Simulating multi-agent narratives for pre-occupancy evaluation of architectural designs/ Davide Schaumann , Nirit Putievsky Pilosof , Hadas Sopher , Jacob Yahav , Yehuda E. Kalay

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Simulating multi-agent narratives for pre-occupancy evaluation of architectural designs/ Davide Schaumann , Nirit Putievsky Pilosof , Hadas Sopher , Jacob Yahav , Yehuda E. Kalay

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לפי המאמר נראה כי סימולציה והערכת ההשפעה שתכנון בניין עשוי לייצר על המשתמשים בו בשלב מקדים זה העתיד בתכנון אדריכלי ביצירת סביבות חכמות שמיעלות את הפרוגרמה של הבניין ומייצרות חווית משתמש נכונה יותר. אני מסכימה עם כך, לאותה פעולה ישנה חשיבות רבה בבניינים בעלי אופי מורכב שבתוכם מתקיימים כמה סוגי פונקציות עבור בעלי צרכים שונים. לדוגמא- בבתי החולים, יש את אנשי הצוות, החולים והמבקרים. בית החולים הוא מגה סטרוקטורה שבמצב הקיים גורם לחוסר התמצאות במרחבו הפנימי. בתוכו המשתמשים נמצאים במערכת מעברים של טרטור סביב מומחים, דבר שגורם לתיוג, סיווג וניתוק. אפילו סימני הדרך והצבעים לא באמת עוזרים להתמצאות, כך על שטח גדול האדם קצת הולך לאיבוד. לכן בעת בדיקה והערכה מוקדמת המראה כיצד אנשים ישתמשו בבניין לאחר בנייתו ואכלוסו ע"י מפות של תנועה- מסלול של אנשים, מפות של צפיפות ורגעי אינטראקציה וכדומה, יבדקו יחסי הגומלין וכך בעת התכנון נוכל למקם את הפונקציות במיקומים יעילים יותר אשר ישרתו את המשתמשים, יחסכו בכסף וכמובן יגרמו לחוויית משתמש חיובית יותר.

דריה בלחסן

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The Future Hospital - Al Daayan Health District by OMA

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Smart cities of the future by M. Batty - יוסף עיאשה

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Smart cities of the future by M. Batty - יוסף עיאשה

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הרבה ממשלות בעולם מנסות להכניס יותר ויותר טכנולוגיות לערים שעוזרים בביצוע כל מיני פעולות שקשורות בהן כגון: תחבורה ציבורית, תברואה, פינוי אשפה... וזה עשוי לחסוך הרבה זמן ואנרגיה בעיר.

לדוגמה בברצלונה יש תכנון למערכת חכמה שמטרתה לספק לנהגים מידע על מקומות החניה, מיקומם והאם הם תפוסים או לא, דבר שחוסך הרבה זמן לנהגים, בסינגפור מפוזרות מצלמות במרחבים הציבוריים שיכולות לזהות מעשנים במקומות שאסור לעשן בהם, ובכך היא שומרת על החוק.

מצד שני היום בסין משתמשים בטכנולוגיות זיהוי פנים וטכנולוגיות מעקב שונות בשביל לזהות ולאתר אנשים, לדרג אותם לפי פעולותם, ולהעניש את הלא טובים בעיני המשטר הסיני. הלא טובים יכולים להיות אנשים שמתנגדים למשטר או שהם פשוט מוסלמים.

איך נוכל להשיג את התועלת של ערים וסביבות חכמות מבלי לפגוע בביטחון ובחופש של האנשים?

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Smart cities of the future, Batty M. | Roni Arie

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Smart cities of the future, Batty M. | Roni Arie

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אנו שואפים כיום לתכנון ערים חכמות כדי להתמודד עם בעיות גלובליות כגון: פיצוץ אוכלוסין, צפיפות, זיהום אוויר, אדמה והכחדת משאבים. כדי לשמור על עתיד כדור הארץ נדרש לתכנן ערים חכמות אשר באמצעות הטכנולוגיה והBIG DATA, היעילות של הערים נמצאת במגמת עלייה.

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Responsive Landscapes: Strategies for Responsive Technologies in Landscape Architecture, Cantrell and Holzman, Orr Kalati

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Responsive Landscapes: Strategies for Responsive Technologies in Landscape Architecture, Cantrell and Holzman, Orr Kalati

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At its simplest, I think Responsive Environment lies on the interconnections that are between human and the landscape it lives in; and the fact that human and nature are collided. The thing is to find the overlayering of different systems onto the fundamental layer of landscape and find further ways, using today's technological tools, not for humans to control natural systems but to have landscapes respond to constant changes of human and nature altogether

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While humans may have little direct access to certain environments, we are still within their sphere of influence '

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It is through this lens, that we decenter humanity and clarify that we are not separate from “nature” but instead that we are “nature.” '

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Landfill Reclaimation: Fresh Kills Park Develops as a Natural Coastal Buffer and Parkland for Staten Island

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Every natural disaster has an “aftershock” in which we realize the fragility of our planet and the vulnerability of w...

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SENTIENT CITIES | Mike Crang & Stephen Graham

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SENTIENT CITIES | Mike Crang & Stephen Graham

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היא עיר משובצת בטכנולוגיות אינטליגנטיות שחשות את הפעילות סביבן ובעיקר מגיבות אליה.

ומכיוון שהסמארטפון - אותה לבנה ניידת ומלאת חיישנים של אינטליגנציה המחוברת לאינטרנט - נמצא בכל מקום, לקח רק כעשור עד שהעיר הפכה לחושנית באמת.

איך זה ישנה את הדרך בה אנו חווים עיר

סימא פאהום

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Interaction Narratives for Responsive Architecture - Henri Achten | Karine Salameh

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Interaction Narratives for Responsive Architecture - Henri Achten | Karine Salameh

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"Much of the success of future responsive buildings will lie in an approach that combines events, spaces, and people".

Architects have recently started to realize the importance of interactive architecture. Our needs and surroundings are constantly changing. Thus, we need to design buildings that are able to adapt and correspond to these changes. When we think of flexible architecture, we generally think of dynamic facades, partitions, smart homes and technological advances that rely on sensors. However, this article suggests that in order for buildings to really succeed, architects need to understand how to design interactive and responsive architecture, meaning they need to understand the narrative. Architects should take into consideration every possible interaction, experience, and user activity that could possibly happen in the building they design.

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Welcome to Design Explorer!

Design Explorer is an open source tool for exploring multi-dimensional parametric studies!

Try one of following sample design sets or load your own data. (Tutorial)

Happy Exploring!

v2 (08/15/2019)

© CORE studio | Thornton Tomasetti | About | Services | Contact

Updated by Mingbo Peng

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בארכיטקטורה, סוגים של אינטראקציות מתבססים על חילוף של מידע ופעולות פיזיות בין בניין לאדם. הרעיון של ארכיטקטורה אינראקטיבית עמוק יותר מפיצקרים טכנולוגיים כפי שאנו מכירים היום והוא נחקר באמצעות היבטים חברתים, חווית משתמש, מיקום ותיאוריה שמבוססת על תקשורת ומגמת למידה. במאמר הם מדגישים את חשיבות הנרטיב להבנת המערכות האינראקטיביות והיכולת של שימוש בנרטיבים לספק התאמה טובה של הבניין והמשתמש וכך להעמיק את ההבנה של מערכות מסוג כזה. יש חשיבות רבה בהתבוננות על בניין במקביל להתבוננות על מהלך החיים של המשתמשים בו בטווחי זמן שונים. סדר יום, שבוע, עונות ושנים, הפעולות והצרכים המשתנים לאורך פרקי זמן אלה. בהתאם לכך חיזוק היכולת לפתח מסגרת שבה האינטרקציה היא חלק משולב בעת תכנון בניין.
תכנון של מרחב מחייה אשר מסוגל להסתגל ולהסתנכרן עם אורח חייו של המשתמש ולהעניק לו חוסן מפני שינויים גלובליים אשר משפיעים על היבטים סביבתיים, חברתיים. גישה כזו מקנה התאמה איכותית יותר לחוויית המשתמש כשהיא מקנה למרחב הפיזי את היכולת ללמוד ולהגיב למשתמש.
ועדיין יש חשש ותהייה בנוגע להסכמה להשתית את כל חיינו על הטכנולוגיה. התפתחות בתחומים אחרים לא פוסחת על האדריכלות. השיח האדריכלי מורכב ומעורב הרבה יותר וכולל מחקרים והבנה של תחומים נוספים המניבים ביצועים טובים יותר. כשמעצבים את קנה המידה של הפעולה.

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As a true car enthusiast, NVIDIA... - Mercedes-Benz Belgium| By Mercedes-Benz Belgium

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As a true car enthusiast, NVIDIA CEO Jensen Huang got super excited to experience the new S-Class. Join him for a ride and get an update on all the...

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Simulating multi-agent narratives for pre-occupancy evaluation of architectural designs | Davide Schaumann | Dona Obara

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Simulating multi-agent narratives for pre-occupancy evaluation of architectural designs | Davide Schaumann | Dona Obara

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Eric Rietveld of the institute of philosophy in the university of Amsterdam UMC, Department of Psychiatry, wrote:

“One particular recommendation for the didactics of vacancy studies is for designers to engage in traineeships with specialists outside their own field of expertise, an experience which can help them acquire new skills that could be translated to designs for temporary use”

Dr. Schaumann’s research exemplifies how architects can use tools from a completely different field, in this case Unity Engine, developed for video games, in their design. This cross-platform approach opens doors not only for different tools, but for different ways of thinking too.

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0:00 / 4:53•Watch full video

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Create immersive experiences for real-world applications at scale | Unity

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Interaction Narratives for Responsive Architecture | Michal Orevi

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Interaction Narratives for Responsive Architecture | Michal Orevi

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“A narrative, in other words, is a coherent story of the inhabitant, which needs to be supported by the activities or interactions of the building.”
As our world develops and progresses, things are changing rapidly and nothing stays the same for too long. Despite that, architecture is still a field that progresses slowly and in small steps.
The idea of flexible and changing architecture has been around for quite a while, but still mostly appears In the forms of sliding partitions and changing facades. Today, with a huge variation of technologies we can incorporate some of them into our architecture to create a more flexible and responsive architecture. For these technologies to best serve the user, we can create a narrative by which we can organize those technological systems. This narrative will focus on the user's storyline in everyday life, and by organizing the building and its system around the story, we can aim to create an advanced, more customized, and generally better relationship between architecture and its users.

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You are a cookie, a simulated brain full of code... "that console, that is for you to control the house".

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Interaction Narratives for Responsive Architecture | Henri Achten

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Interaction Narratives for Responsive Architecture | Henri Achten

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Change is inevitable, the world we live in, and the infinite universe our planet inhibits is busy with change, although it might not be sensed directly, the conventional ways of living in a designed space are long gone, and people are prone to adjust and change unintentionally with the vast transformations of lifestyles, thus, the way we perceive and build our environment must be adaptable and associated with advanced technologies that make buildings, and the facilities they offer, much more dynamic than the traditional notion of "changeable" and "innovative" buildings.
This article claims that the building systems should be based on a narrative, it should interact and perform a dialogue with the person who uses it, this storytelling, must include a meaningful exchange of
information between the user and the building.

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Responsive Landscapes, Bradley Cantrell and Justine Holzman | Fouad Salaime

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Responsive Landscapes, Bradley Cantrell and Justine Holzman | Fouad Salaime

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The term "smart cities" always have related only to the urban built city, and in this article, the writers revolve their discourse on the development of the smart cities, especially the technological aspect. As I see it technology is one aspect of many that make a city smart. For example, sustainability, efficiency, and safety could be achieved with proper planning and design.

Moreover, to the fact that the term "smart cities" does ignore that in each city there is context and surroundings, where the city is connected to other cities and towns as a part of a large scale urban network

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This article makes me wonder just how many things do we use regularly in our design and plans without fully understanding them and sometimes just insert them automatically without giving them any thought. An elevator, unlike stairs, is usually a tool, a part of a system with a specific functional purpose, we don’t give much thought about its design. Same goes by for the escalators and their performance vs. their aesthetics. Isn’t it time we start giving the “participants” in our project a thought and learning how they work? Just like plumbing, electricity, construction and so on, in order to break the rules we need to first know the rules.

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The A+Product Awards is open for entries, with a Main Entry Deadline of June 24th. Get started on your submission today!
Integral to accessing otherwise impossible parts of a building, elevators and escalators live at the very core of how we understand and interact with high-rise buildings today; life as we know it, would be impossible without them. Yet despite using them every day, their inner workings remain relatively unknown. In this guide, we go through tips and tricks for specifying elevators and escalators.

Elevators

Elevators have a wide range of applications but their basic specifications remain the same across many industries. While industrial, hospital, and freight type elevators are defined mainly by their dimensions, purpose, and capacity, commercial and residential elevators provide more freedom for design. Determining the car capacity and which type of elevator hoist mechanism to use is best left to the manufacturer. This gives the architect an opportunity to explore design options for the hall entrance, cab interior, and user interface controls.

Elevator Hoist Systems

Gearless Traction: Gearless traction systems use woven steel cables and counterweights to turn the hoisting sheave. With the ability to achieve very high speeds, these systems are common in very tall buildings.

Geared Traction: Geared traction systems use a worm-and-gear-type reduction unit to turn the hoisting sheave. These systems are slower than gearless systems but require a less robust motor.

Machine-Roomless: Machine-roomless systems can be either traction or hydraulic. The difference is that they feature much more compact hoisting sheaves and thus do not require a machine room to support the elevator.

Hydraulic: Usually used for buildings only up to six stories high, hydraulic systems do not require large overhead hoisting systems like geared and gearless systems. Instead, they are lifted by a piston below.

Elevator Dimensions

The following dimensions are details that architects should know, in order to properly inform manufacturers on the parameters of their building design.

Maximum Travel Distance: Knowing the total vertical distance that the elevator must travel helps manufacturers determine the correct type of system to employ. Hydraulic systems, for example, generally support no more than six floors while traction systems are appropriate for much taller hoistways.

Minimum Floor Height: This dimension represents the landing-to-landing distance, which will help manufacturers program the elevator's movement control and identify any limitations on the car's size.

Hoistway Dimensions: If the shaft structure is already in place, provide the manufacturer with the width, depth, and height of the hoistway. If not, and you are building from scratch, it is easiest to plan the structure so that it can accommodate a standard system.

Entrance Dimensions: The width, height and depth of the entrance will depend on the application of the elevator. For example, hospital elevator entrances are generally 4 to 5-feet wide and 7-feet tall to accommodate any medical equipment. Talk to your manufacturer about what the best entrance dimensions are for your typology and usages.

Car Dimensions: Much like the entrance, the car dimensions will depend on the application and the desired capacity, in addition to the landing-to-landing distance. For example, passenger elevators can range from 6 to 7-feet wide and 4 to 9-feet deep, representing a load capacity range of 2,000 to 5,000-pounds.

Elevator Aesthetics

Door Type: Elevator doors may be single, double or triple speed, which refers to the number of panels. In addition, doors may be single-slide from left to right or center-opening.

Jamb: The jamb refers to the sides of the entranceway, constituting the depth between the hallway and the car interior. The jamb can be different shapes, including squares, splayed and bullnose.

Interior Cab Design: Floor, wall and ceiling panels are available in a wide array of materials and styles including stainless steel, metallic laminate, colored laminate, wood laminate, wood, glass, enamel, vinyl, carpet and stone.

Car Operating Panel (COP): The COP is the navigational panel within the car. It can be customized with countless materials, finishes, button styles, and even LCD displays.

Elevator Performance

Speed: Gearless traction elevators can achieve speeds anywhere from 500-feet to 2,000-feet per minute, geared systems up to 500-feet per minute and hydraulic up to 200-feet per minute. Maximum travel distance can also influence the chosen speed of an elevator system, since 30 seconds is considered to be the maximum travel time between the bottom and top floors of any single building.

Capacity: Passenger elevators generally have capacities ranging from 1,000 to 6,000-pounds while freight elevators are classified by their load capabilities, and can handle up to 20,000-pounds.

Energy Consumption: On average, elevators consume about 5% of a building's overall electricity. Hydraulic units in low-rise buildings generally prove less efficient than traction elevators in mid to high-rise buildings. Energy saving methods such as intelligent software packages that respond to elevator traffic, green materials, and efficient lighting can significantly reduce the system's energy use.

Fire: It is important to state where your building is located so that manufacturers can ensure the elevator packages will meet local fire codes. Some elevators, for example, will have completely fire resistant doors.

Escalators

Escalators are fairly complicated pieces of machinery, but it doesn't take a mechanical engineer to specify them for your project. Manufacturers build, deliver and install them as complete units, and only a few components are completely customizable. The most complicated information you'll need to provide includes details on the dimensions and structural capacity of the installation space, as well how many people are expected to circulate through the building at any given time. Beyond that, think about the color and material you envision for the steps, handrails, balustrades and decking.

Escalator Aesthetics

Steps: Escalator steps are available in aluminum, steel and synthetic compounds as well as a wide range of finishes. The most common finishes are natural and powder coated. Common dimensions for escalator steps are 24, 36 or 40-inches. In addition, U.S. building codes stipulate that escalators may not exceed a 30-degree inclination angle.

Handrail: Escalator handrails are most commonly composed of a dark soft plastic or rubber, which can be specified in nearly any color.

Balustrade: Escalator balustrades are most commonly composed of glass, aluminum, bronze or steel. Balustrades are typically 36 to 40-inches tall and approximately ½-inch wide.

Inner and Outer Decking: The inner and outer decking refer to the aluminum or steel covering, which covers the juncture between the system's balustrade and steps. Powder-coating and other finishes allow for color and texture variation in this element of the escalator.

Lighting: LED lights are commonly added to the balustrade, the comb (the area between the top and bottom steps and the landing), the step gaps and skirts, either in spots or strips.

Escalator Performance

Circulation: State whether you have circulation requirements, including the estimated maximum number of people that will need to use the escalator during the busiest time of the day. This may affect the step width and speed of the specified machinery.

Speed: Escalator speed generally ranges from 75 to 100-feet per minute. Higher speeds are more difficult to achieve on longer escalators, while still maintaining low levels of vibration.

Energy Consumption: Escalators generally account for anywhere from 2-10% of a building's energy output; it is therefore very important to consider how much energy the escalators are going to consume during operation. Many manufacturers provide efficient drive systems, components that require less power and intelligent power management software.
The A+Product Awards is open for entries, with a Main Entry Deadline of June 24th. Get started on your submission today!

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An Architect's Guide To: Elevators and Escalators - Architizer Journal

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Integral to accessing otherwise impossible parts of a building, elevators and escalators live at the very core of how we understand high-rise buildings today; life as we know it, would be impossible without them. In this guide, we go through tips and tricks for specifying elevators and escalators.

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ENESS' sonic light bubble installation in Melbourne responds to human interaction

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Deconstructing Human-Building Interaction | Carol Talhami

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Deconstructing Human-Building Interaction | Carol Talhami

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Architects and interaction designers do not “meet” enough.

Artificial intelligence and digital technology are changing and reconstructing the normative human-building interaction, the text discusses the implications of incorporating digital elements into the building and urban design, and raises some important questions

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Mike Crang & Stephen Graham: SENTIENT CITIES Ambient intelligence and the politicsof urban space, Orr Kalati

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Mike Crang & Stephen Graham: SENTIENT CITIES Ambient intelligence and the politicsof urban space, Orr Kalati

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Informational landscapes holds a political baggage. China's survellience systems are a good casestudy for the way the computation of cities can act as a Catalisator of positive processes or be a Controversial control system.

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China's Garbage Bins are fitted with Facial recognition cameras | Immersive Leaks

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Tel Aviv traffic vs. the “Vehicle-to-Everything” (V2X) project of Singapore.

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Smart city’s goals as shown in the article of M. Batty are to improve the efficiency of its function, enhance the efficiency of its residence, have more sustainable environments, and provide new ways in which problems of urbanization might be addressed. By using new technologies and urban data to improve its infrastructures and communication.
Does this mean our cities might be “dumb cities”? why are we still having unreasonable traffic jams and impaired (and unsustainable) transportation systems in our most “developed” cities? though we’ve reached advanced stages of technology and collecting of data in other fields. such as in the matter of encouraging more consumption of products or in security matters.

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Smart cities of the future, Batty M. | Leeor Levin-Hai

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Smart cities of the future, Batty M. | Leeor Levin-Hai

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“… the idea of crowd-sourcing as key to many new data sets that will be useful to smart cities while noting that these types of interactive technologies can also be used to elicit preferences and to engage in social experimentation with respect to what we know and think about key urban problems.” Batty, p.488

טכנולוגיית ערים חכמות הוקמה לטובת ניהול יעיל יותר של העיר אך ניתן להשתמש במידע לטובת פיתוח ותכנון מרחב עירוני עדכני ונכון יותר, המתקשר עם הסביבה עצמה.

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College of Design and Innovation of Tongji University, Shanghai, and the MIT Media Lab's City Science group are co-developing a version of the MIT CityScope platform to support the urban decision making that promotes urban vibrancy and innovation potential.

The "NICE2035 LivingLine" project in Shanghai, China, is a design-driven, community-based urban innovation initiated by Professor Yongqi Lou, Dean of College of Design of Innovation. LivingLine is a crowdsourcing and co-creation project aiming at building an ecosystem of innovation and entrepreneurship on the internal street of a typical gated residential neighborhood. By introducing radical programs such as living labs, co-working space, and startup-incubators into underutilized storefront space, LivingLine's goal is to revitalize the urban space and to prototype diverse future lifestyles.

College of Design and Innovation of Tongji University, Shanghai, and the MIT Media Lab's City Science group are co-developing a version of the MIT CityScope platform to support the urban decision making that promotes urban vibrancy and innovation potential.

The "NICE2035 LivingLine" project in Shanghai, China, is a design-driven, community-based urban innovation initiated by Professor Yongqi Lou, Dean of College of Design of Innovation. LivingLine is a crowdsourcing and co-creation project aiming at building an ecosystem of innovation and entrepreneurship on the internal street of a typical gated residential neighborhood. By introducing radical programs such as living labs, co-working space, and startup-incubators into underutilized storefront space, LivingLine's goal is to revitalize the urban space and to prototype diverse future lifestyles.

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Project Overview ‹ CityScope LivingLine Shanghai - MIT Media Lab

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College of Design and Innovation of Tongji University, Shanghai, and the MIT Media Lab's City Science group are co-developing a version of the MIT CityScope platform to support the urban decision making that promotes urban vibrancy and innovation potential.

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SENTIENT CITIES Ambient intelligence and the politics of urban space -Mike Crang &Stephen Graham

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SENTIENT CITIES Ambient intelligence and the politics of urban space -Mike Crang &Stephen Graham

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"a world of ambient intelligence… where our environment is not a passive backdrop but an active agent in organizing daily lives"

We are living in a monitored environment where tracking and analyzing data is the norm, data is "floating in the air", and is being used by people, companies, and others to predict, or suggest our actions. where are the boundaries between the private and public, does the physical environment and architectural planning not have same values as it once did? Are we really in our private space when we are inside if our data is still being collected, used, and monitored?

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HYPER-REALITY

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Interactive Narratives for Responsive Architecture - Dor Peled

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Interactive Narratives for Responsive Architecture - Dor Peled

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אני מאמין כי למרות שאדריכלות היא תחום שמדבר על אלמנטים סטטיים, ישנה אפשרות כיום להפוך את הבניינים ליותר דינמיים במהות שלהם וכך גם רלוונטיים למציאות המשתנה בקצב הולך וגובר. המאמר מדבר על רוחב היריעה של "אדריכלות רספונסיבית" ומדגיש כמה באדריכלות היא הרבה מעבר למערכות פאסיביות של הצללה ומיזוג אוויר. המאמר העלה בי שאלות לגבי מה מקומה של האדריכלות הרספונסיבית בסביבה האנושית - האם כל בניין היה עדיף לו היה רספונסיבי? לאילו ייעודי בניינים היה עוזר לו היו בניינים רספונסיביים?

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Buildings should be able to adapt to their surroundings.
Interactive architecture combines both architecture and technology.
Meaning it doesn’t depend only on technological advances, such as smart homes and the digital features. But the main important aspect of future buildings is the ability of these same buildings to be able to change as a result of the changes in peoples need as well as being able to respond to changes in it’s surroundings.
Dorin Jaccov

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ResponsiveLandscapes | Bradley Cantrell andJustine Holzman

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ResponsiveLandscapes | Bradley Cantrell andJustine Holzman

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הספר ממסגר את הפרויקטים על ידי הבהרה, דחיסה, עקירה, חיבור, סביבה ושינוי כדי להציג ולבנות מסגרת פרגמטית לגשת לשילוב של טכנולוגיות תגובה באדריכלות נוף.
החישה, העיבוד וההדמיה שנמצאים כעת בפיתוח בתוך הסביבה משנים באומץ את האופן שבו העיצוב והתחזוקה של נופים נתפסים ומומשגים. נוף רספונסיבי ממסגר מבט מקיף של פרויקטי עיצוב תוך שימוש בטכנולוגיות רספונסיביות והקשר שלהם למרחב נוף וסביבתי.

סימא פאהום

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Deconstructing Human-Building Interaction - Hamed S. Alavi,  Elizabeth Churchill, David Kirk, Julien Nembrini, Denis Lalanne

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Deconstructing Human-Building Interaction - Hamed S. Alavi,  Elizabeth Churchill, David Kirk, Julien Nembrini, Denis Lalanne

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The article refers to the transient boundary between architecture and interaction design\HCI. There is mutual learning of the subjects but very little physical experimentation. As we gain more knowledge in the digital world as well as the architectural, we realize the opportunities in connecting these two worlds. The interaction between people and buildings can be studied and become automatized. Our environment can be completely interactive, from smart materials to automated doors\rooms\lighting\air conditioning and more. What if we could teach our environment\building what is it that we want it to do?

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designboom | architecture & design magazine

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inside venice's palazzo mora, cara lee and stephan mundwiler of leeMundwiler architects have installed 'CHiLL' - a 'breathing' structure that kinetically responds to human interaction. as part of the 'time - space - existence' exhibit - a collateral event of the venice architecture biennale 2016 - the studio has wrapped a four-by-two meter diameter volume in 250 independently motion-activated mylar 'flowers'. secured to 3D printed mechanic nerves, the sea of white and blue blooms are tethered to an aluminum spine and operated by a complex network of software. the installation has been created with newly-developed hardware and software programs that utilize open-sourced engineering and information technology.

the installation is housed inside venice's palazzo mora

as visitors enter the interior space of 'CHiLL', sensors detect the action of the person's movements and commands. collected data is then analyzed and interpreted, sending signals to the mechanism to slowly open and close the individual blooms in an undulating rhythm. a subtle noise follows, recalling sounds of nature - a breeze as it passes through leaves, or the crunching of fresh snow.

leeMundwiler's presentation in venice is physical embodiment of the studio's ongoing investigation into the concept of life in 'inorganic architecture'. 'what if architecture is no longer a static entity,' lee questions, 'rather, it is engineered to be an animated autonomy that self regulates its own destiny as a living organism thriving in a challenging environment, it endures and is adapted to ever-changing conditions by reacting to the external forces.'

the 'breathing' structure kinetically responds to human interaction

'CHiLL' interacts to form a game as one of the many gestures perceived in architecture as a distinctive vocabulary,' writes architect and professor thom stauffer about the installation. 'furthermore, it is a metaphor calling out the undercurrent issues of human existence. its broader purpose is for users and viewers to potentially contemplate the intricate, interconnected, technological, and mechanical applications employed outside of architecture. the intention here is to investigate how a system that is in opposition to a reciprocal design approach would disturb architectural principles of consent, the same consent breached by human intervention in a natural world.'

the installation forms part of the 'time - space - existence' exhibit at the 2016 venice architecture biennale

a four-by-two meter diameter volume is wrapped in 250 independently motion-activated mylar 'flowers'

the blooms are secured to 3D printed mechanic nerves

white and blue 'flowers' are tethered to an aluminum spine

the installation has been created with newly-developed hardware and software programs

as visitors enter 'CHiLL', sensors detect the action of the person's movements and commands

collected data is analyzed, sending signals to the mechanism to slowly move the flowers

individual blooms open and close in an undulating rhythm

a subtle noise recalls sounds of nature - a breeze as it passes through leaves, or the crunching of fresh snow

the presentation in venice is physical embodiment of the studio's ongoing studies in 'inorganic architecture'

'CHiLL' simultaneously acts as a metaphor for the undercurrent issues of human existence

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leeMundwiler's 'breathing' architecture in venice responds to human behavior

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inside venice's palazzo mora, cara lee and stephan mundwiler of leeMundwiler architects have installed 'CHiLL' - a 'breathing' structure that kinetically responds to human interaction. as part of the 'time - space - existence' exhibit - a collateral event of the venice architecture biennale 2016 - the studio has wrapped a four-by-two meter diameter volume in 250 independently motion-activated mylar 'flowers'.

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Henri Achten on Interactive Narratives for Responsive Architecture

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Henri Achten on Interactive Narratives for Responsive Architecture

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https://drive.google.com/file/d/12n0jg7u1QIBOEQVTujGnbmastLO348aC/view

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GMT20220428-054416_Recording_3200x1800.mp4

GMT20220428-054416_Recording_3200x1800.mp4

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Responsive Landscapes - Bradley Cantrell and Justine Holzman | Responsive Waterfront - Spiral pavilion / Viki Dranikov

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Responsive Landscapes - Bradley Cantrell and Justine Holzman | Responsive Waterfront - Spiral pavilion / Viki Dranikov

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"Landscape—a dynamic and temporal medium—is expressed through careful manipulation of vegetated, hydrological, and stratigraphic systems. Combining this shift with the increased accessibility of responsive technologies presents a new approach for challenging static design solutions. The ability to sense and respond to environmental phenomena invites new ways to understand, interpret, experience, and interact with the landscape."

התחברתי לציטוט זה שלדעתי מציג את המהות של ארכיטקטורה אינטראקטיבית. כנאמר בציטוט חללים  אינטראקטיבים מושתתים על שילוב של טכנולוגיה עם אדריכלות אבל הטכנולוגיה לאו דווקא צריכה להיות דיגיטלית, אלא להעניק למשתמש חוויה ייחודית שגורמת לו לבחון ולהרגיש את הנוף מפרספקטיבה חדשה.
הפרוייקט שעשיתי בסטודיו האחרון יכול להמחיש גישה זו, כיוון שהשתמשנו בחומרים די מוכרים ולא חדשניים במיוחד וניסינו לבחון כיצד ניתן ליישם אותם בחוויה המרחבית האדריכלית. החומר היה דיו שמחליף צבע או נעלם בטמפרטורות מסויימות. הדגש העיקרי בפרוייקט זה היה לייצר חוויה ייחודית רספונסיבית  שמגיבה באופן אינטראקטיבי גם לסביבה וגם לאנשים שבאים במגע עם האלמנטים הפיזיים בחלל.

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Interactive architecture is in many ways the combination between the modern technology of today and physical space and architecture. Understanding the role of humans as participants and not only as users changes the approach and the process of planning a project.
A few question that rise for me while reading the article is do we, today, really need to plan architecture that is permanent, that is here to stay and predict the needs of the future humankind? Why don’t we plan for temporary and flexible structures that could be recycled and rebuilt according to the new needs? Why do we have to have monumental architecture to have history or affinity to a place? What would cities of the future look like without them?

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Studio INI founder Nassia Inglessis on interactive architecture | Design for Life | Dezeen

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The Radius Transformation Pavilion | Michael Jantzen

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Interactive Architecture - Fox & kemp | Karine Salameh

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Interactive Architecture - Fox & kemp | Karine Salameh

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When we, as architects, design a building, we take into consideration not only the physical and aesthetic aspects, but also the needs of each person using the space. We think of their routines, needs, and the way in which they will use said space. It is no surprise though, that as time passes, the needs of every individual change. For that reason, architecture should be able to adapt to our constant changing needs. This is where interactive architecture comes in the picture. As this essay shows, interactive architecture allows us to design spaces that are dynamic. Spaces that instead of people having to fit into them, they can change, be adapted, and controlled by the user, according to their needs and characteristics. Only when this can be achieved, will future architecture truly succeed.

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Barton Sentience: Towards a responsive and systems driven design process | Linor Gorelik

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Barton Sentience: Towards a responsive and systems driven design process | Linor Gorelik

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“…the enabled mediation between matter and the environment through fabrication appears to be as powerful as the ethos of craft itself.”

Today, new innovative design processes are developed. Ones that look into the future of 50-100 years from now, trying to imagine what our life would be like at that time. The author writes about the importance of integrating computation with architecture and the numerus design possibilities that will come from this. Experimentation in materials, technologies and fabrication methods is crucial in creating new designs and theories. Other industries such as the automobile or aeronautical industries have employed innovative technologies long ago, while architecture has stayed behind.

Projects like Neri Oxmans Silk Pavilion in 2013 (and others that she lead) are succeeding in integrating Design, Biology, Material Science, Engineering and Computer Science into an environmentally aware design that might eliminate the use of plastics forever. Finding inspiration in nature could lead to an entirely different approach to building construction.
What if our buildings were grown, not built?

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"to create spaces and objects that can meet changing needs with respect to evolving individual, social and environmental demands."  (Fox & Kemp)
Soft Pneumatic Pavilion is an IA experiment that combines EEG and materials' features in order to create interaction between the pavilion (thereby the space) and its users. Interaction is done by using technology that detects and translates our brain waves (thoughts) to transform the shapes of soft silicone material.
this way of responsive architecture which lets space interact with its users' thoughts, can evolve into a space that meets the users' needs and adapt itself to various environmental conditions.

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This project was developed on the Masters Programme of the Interactive Architecture Lab @ University College London http://interactivearchitecture.org/dfpi

The domain of soft robotics is forming as a new frontier of kinetic designing. Not only creating many new possibilities for robotics but also in architecture. Challenging conventional design thinking about adaptive architecture the experiments outlined in this research suggest approaches to building soft responsive architecture.

“Furl” combines Electroencephalography (EEG) with advances in soft silicone casting of “air muscles”. The introduction of soft robotics replaces the mechanical principles in interactive architecture through a biological paradigm. EEG allows sensing of human brain functioning so that our environments begin moving and responding to our very thoughts. The designed components have a wide palette of deformation patterns of inflation. Through combination of soft and hard architectural elements, “Furl” creates a new platform for a kinetic responsive architecture which can let space interact with users needs and adapt itself to environmental conditions.

Principle Researchers: Francois Mangion & Bijing Zhang
Supervisors: Ruairi Glynn and Dr Christopher Leung with William Bondin

Interactive Architecture Lab
The Interactive Architecture Lab is a multi-disciplinary research group and Masters Programme at the Bartlett School of Architecture, University College London.  Interested in the Behaviour and Interaction of Things, Environments and their Inhabitants, their focus includes Kinetic Design and Robotics, Multi-Sensory Interfaces, the Internet of Things and the design of public interactive installations. 

www.interactivearchitecture.org

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With the advancement of technology architecture must adapt and react accordingly, with technology we see new possibilities that haven't been explored yet. How can we utilize the technologies at hand and AI to design new spaces that can respond better to our needs, adaptive architecture can lower energy expenditure, changing spaces can utilize land and smart design can make the whole design process more efficient?

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Studio INI founder Nassia Inglessis on interactive architecture | Design for Life | Dezeen

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ResponsiveLandscapes STRATEGIES FOR RESPONSIVE TECHNOLOGIESIN LANDSCAPE ARCHITECTURE | Bradley Cantrell and Justine Holzman | Dona Obara

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ResponsiveLandscapes STRATEGIES FOR RESPONSIVE TECHNOLOGIESIN LANDSCAPE ARCHITECTURE | Bradley Cantrell and Justine Holzman | Dona Obara

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The idea of responsive environments is not a new one. The Japanese architectural philosophy of metabolism has toyed with this idea 50 years ago, as it attempted to see a building, or even a whole city, as a living organism that changes and grows based on the needs of its’ inhabitants. However, unlike then, our modern technology provides even more opportunities for a smart, responsive environment. With sensor technology we have developed the ‘smart house’, which can automatically adjust levels of light, temperature and more based on pre-determined preferences. Our houses can “know” us and be more personally configured than ever before. In public spaces, these technologies can give us more autonomy over our activities there, like for example having a computer terminal in the doctor’s office streamlines the process and gives us control over the needed information, rather than be dependent on the staff. Having this kind of technological bond with our surroundings can make us feel less alienated and more connected with our surroundings.

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Interactive Architecture intro | Fox & Kemp | Carol Talhami

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Interactive Architecture intro | Fox & Kemp | Carol Talhami

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Cedric Price: “what if a building or space could be constantly generated and regenerated?”

The future of architecture will utilize unexplored technologies and applications that address dynamic, flexible, and constantly evolving activities. As it is mentioned in the book, the driving force to create adaptable and responsive spaces is derived from the technologically influenced and changing patterns of human interaction with the built environment.

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Interactive Architecture - intro |Fox&Kemp

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Interactive Architecture - intro |Fox&Kemp

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ארכיטקטורה אינטראקטיבית היא ארכיטקטורה שבזמן אמת מייצרת התאמה בינה לבין המשתמש הנמצא בחלל שלה. זה יכול להתבצע באופן דיגיטלי או דרך חכמה אחרת כאשר הנתונים נקלטים, מעובדים ומשתנים כדי לספק מידע חדש שנאסף בהתאם לצרכים הנדרשים. בשנות ה-90, הארכיטקטורה האינטראקטיבית החלה להשיג דריסת רגל חזקה יותר כרעיונות שהביאו להישגים טכנולוגיים וכלכליים כאחד. אך כיום, השינויים החברתיים והעירוניים המשמעותיים בשילוב נושא הקיימות מעלים את הדרישה לפתרונות אדריכליים אינטראקטיביים.

במהלך המאמר מוזכר כי קשה לצפות באיזו מהירות יאומצו באופן נרחב סוגי המערכות האדריכליות האינטראקטיביות המתוארות בספר זה, אך לא קשה לראות שהן חלק בלתי נמנע ובלתי נפרד לחלוטין מהאופן שבו ניצור מבנים בעתיד. בסוף, הדבר מעלה את השאלה מי יוכל להשתמש בארכיטקטורה האינטרקטיבית? והאם באמת יש לנו צורך בכך או שנוכל מראש לתכנן בצורה שתתאים לנו באופן כללי יותר ולהסתפק בכך?

The Dancing Pavilion is temporary Interactive Architecture created for the Olympic Park 2016. Scattered sensors inside of the dance oor capture the beat of the music and the movement of people dancing, which activates the motors of the mirrors on the façade of the building. The result is a kinetic architecture that hypnotizes people, and transforms the space into the most exciting dance club of the 2016 Olympics.

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100 Architects - The Nest, Chongqing, China, 2021 

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Responsive Landscapes, Bradley Cantrell and Justine Holzman | Fouad Salaime

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Responsive Landscapes, Bradley Cantrell and Justine Holzman | Fouad Salaime

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Landscape Architecture has always been about creating interactive spaces. According to Cantrell and Holzman, the landscape is a dynamic medium that is in constant transformation, and nowadays where there is high accessibility to responsive technologies, it could be a great chance to rethink the static design approach. Similar to the changing nature systems we as designers should create a set of dynamic design conditions that can interact and respond to its environment appropriately.

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תרגיל 06 - רוני אריה

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Interactive Architecture / Michael Fox and Miles Kemp - יוסף עיאשה

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Interactive Architecture / Michael Fox and Miles Kemp - יוסף עיאשה

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ארכיטקטורה אינטראקטיבית היא ארכיטקטורה קיניטית שמסוגלת להכיל הרבה פונקציות ולשנות את עצמה בהתאם לצרכיו של המשתמש בה אשר הם משתנים עקב שינוי זמן, מצב רוח, תחושות וכו... וזה בעזרת טכנולוגיה מתקדמת וחכמה שיכולה להגיב באופן אוטומטי לפעולות של המשתמש או להשתנות בהכוונה ממנו.

אבל נשאל מי יהיה הלקוח של הארכיטקטורה האינטראקטיבית? האם זה עניים, עישרים או כולם? אם נקח לדוגמה שולחן חכם שיכול להשתנות ולהתאים למספר שימושים, למה שאני אקנה את השולחן אם יש לי מספיק שטח ומספיק רהיטים בבית או במשרד שעונים על צרכיי?, ואם השטח שאני חי בו קטן מאוד ודורש רהיט משתנה האם ביכולתי לרכוש רהיט חכם? ועד כמה זה נוח עבור המשתמש לעשות מספר פעולות שונות באותו מקום ספיציפי?

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Experience Design | HILARY MCLELLAN, M.Env.Sci., Ph.D. | Leen Bsul 

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Experience Design | HILARY MCLELLAN, M.Env.Sci., Ph.D. | Leen Bsul 

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Experience and design as a branch of virtual reality and Artificial Intelligence development protest how emerging design could shape and enhance the learning experience of people in general and students in particular during online courses. The article discusses the difference between buying a product, and buying an experience, for it the experience is what counts as something tangible, it becomes a part of our being and the way we exist and function in this world, engaging in a personal way is what makes a product more efficient and applicable. There lies the importance of designing a product with a purpose, for educational needs, for example, it becomes fundamental for the experiences students go through in online courses.

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The history and future of Augmented reality

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Sentience: Towards a responsive and system driven design process, Barton J. | Leeor Levin-Hai

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Sentience: Towards a responsive and system driven design process, Barton J. | Leeor Levin-Hai

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“Looking to the future of computation within architecture, we must now imagine our tools with new “curiosities and sensibilities of authorship, signature, and with a new spectrum of artificial intelligence and autonomy (Gerber and Ibanez et al.2014, p.10)”. In doing so there is the potential for great innovation and the production of a renewed Architecture (Lorenzo-Eiroa and Sprecher et al.2013)” Barton, p.63

קיימת מערכת יחסים הדוקה בין עיצוב ותכנון לטכנולוגיה כאשר בשנים האחרונות השתנתה נקודת המבט, כך שהטכנולוגיה הפכה מאמצעי לביצוע בלבד אל חלק מרכזי בתהליך התכנון החל משלב הרעיון ועד לשלב הסופי. יחד עם זאת, עקב השינויים התכופים בהתפתחות הטכנולוגיה, קיים צורך לייצר סביבות משתנות המהוות חלק אינטגרלי מהעולם הטבעי, עולם המבוסס על מערכת אקולוגית יציבה.

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This article was originally published in Domus 950, September 2011

Watchthe video by Pedro Kok.

Joseph Grima: In recent years, architecture appears to occupy an increasingly prominent position in your output, and recently your latest-and possibly most ambitious-architectural intervention, a collaboration with Henning Larsen Architects for the Harpa Concert Hall, was inaugurated in Reykjavík. Can you tell us about this project? It's obviously irrelevant to attempt categorical distinctions between architecture and art in a project like this, but to what extent do you perceive building and artwork as a unicum?
Olafur Eliasson: I agree that it's not interesting to make distinctions in this case between architecture and artwork. I have a lot of respect for architectural languages because with them you can say things that you can't say with art and vice versa. When we became involved in Reykjavík's Harpa project, the structure of the concert hall had already been defined, but quite early on I suggested that whatever I did, I wanted it to be aesthetically and functionally integrated into the building- for me it was very important not to attach something purely decorative onto something structural. I sat down with my team and we decided that we wanted to create a great facade while also solving the obscuring problem of having columns throughout the thing. We came up with what appears to be a space-filling grid principle, but it is also structurally active. This created a fertile ground for integrating art into the architecture, so that a certain sort of seamlessness started to develop between the two. It isn't always easy to create this close relationship where art and architecture achieve such a degree of integration. It is not seamless simply in terms of where the metal bars meet each other-it's more of an ideological seamlessness.

Tell us about the quasi-brick, the basic element of the Harpa facade. This geometric form has been a recurring presence in your work for a number of years now.
For several years I had been looking into stacking principles and whole space-filling concepts. I was also engaged in more basic polyhedron research, investigating what shapes would geometrically perform, as well as what kind of surfaces and what kind of systems. The original quasi-brick derives from a proportional geometric system related to one big dodecahedron, and this is vaguely visible on the quasi-brick when you see it. In Iceland we had the chance to test it for the first time on the landscape. I envisaged the building as two big blocks of something driven onto land by a big wave. One could almost imagine some kind of rock or other material that, on the south facade, seems to have been broken off from a larger mass. It is here that we see its molecular structure. So the initial idea was more or less for a homogeneous facade system, except on the south facade where it has been sheared.
The evolution of the quasi-brick owes a huge amount to the more fundamental work of Einar Thorsteinn, an Icelandic engineer who is also a mathematician, an artist and a thinker. He studied with Frei Otto and moved to Germany during the building of the Munich stadium before returning to Iceland. When he came back to Germany I was lucky enough to hire him, and he has been here quite consistently since then. He had done a number of experiments, studies and basic work on both polyhedrons Buckminster Fuller's principles. Perhaps most importantly he also worked on crystallographic principles, something he is very devoted to. But he is also involved with idealistic thinking, the more structural and purely engineering principles.

How exactly do the blocks perform structurally?
I have worked over the years in the studio on different geometrical principles to develop a new type of brick for construction, an alternative to the curtain-wall facade. The polyhedral brick contains all the necessary functions of a façade within a stackable system and offers a variety of possible geometric structures. The bricks and the way they are connected form a three-dimensional load-bearing structure, which is then refined to optimise the use of material. By saving on material we compensated for a lot of the additional cost of recalculation and redrawing on a number of occasions. The task of working this and into the architecture of the building without compromising the project's ethical message fell to the studio team and the team leader, Sebastian Behmann. This principle was then applied to the building by the architects.

When you refer to Einar's "ethical message", I assume you're referring to his ongoing interest in the work of utopian designers like Fuller and Otto and their belief in architecture's transformative potential.
Fuller was less ideological. He was obsessed with efficiency and making the same for everyone-a modern utopia. What fascinates me about people like Fuller, but also essentially about the early works of Frei Otto and even people like Paolo Soleri in Italy, is that they performed a critique of the modern, even while modern was still highly modern. I wouldn't really call them utopian people in that way, but it interested me how the reinvention of some of the space principles from that time allows us today, or me in the '90s, to come up with spatial geometrical solutions, answers, proposals or even debates which would carry a critique of modern spaces in the spatial performance.

For many of these architects, particularly Otto and Fuller, the ethical dimension entered the picture in so far as "lightweight" was seen as synonymous with high efficiency and low cost. The aesthetic or decorative dimension of geometry was arguably less of interest to them, and to some extent purely consequential.
I actually think the issue of low cost really became more urgent later, especially when the low cost was combined with climate efficiency. Having grown up in Denmark, I never really viewed the issue of low cost as an ideological vehicle. In the '90s, like many others I was interested in the critique of the modern, which was very much the spirit of the times. Post-modern had passed and the cynical critique that emerged was quite apocalyptic. French figures such as Jean-Luc Nancy influenced my school a great deal. At that time I was interested in the Crystal Chain of Bruno Taut and I looked into expressionistic German architects, into the kaleidoscopic cities of the '20s and the semi-esoteric ones of Rudolf Steiner. I even researched the Russian constructivists, Konstantin Melnikov and people like that. Basically, for me the '90s represented a period of discovery of all these more or less vital people. Einar very much fits into this scheme even though he is different, and today he has a unique standing, as he represents his own people.

How does this attempt to transcend modernism interface with the reality of the architectural production in your work?
I guess it's best expressed by the concept of theGesamtkunstwerk. The building and the artwork form a whole that goes beyond the constrained and dogmatic rigour of modernism and the almost apocalyptic fervour of post-modernism.

You're now working on the headquarters for Kirk Kapital in Denmark, a project being developed entirely by your office, as opposed to a collaboration like Harpa. Is this your debut as a full-fledged architecture practice?
Everything we have been doing for the last ten years is somehow related to architecture. The studio's working method is more like a laboratory: we work theoretically but also empirically. We also work specifically with the body, the limbs, how we move, how we dance, how we stand, how we lie down, how we lean, and, funnily enough, these are exercises or experiments that are closely related to art but also closely related to architecture. I guess one can say that there is an overlap between the two; they have different ways of developing permanencies and different relationships to the regulations and codes. The challenge is how to compare and transfer the language from one field to another. There are architects who do address this issue and I certainly think there are many artists who do the same. I have to say-from the bottom of my heart-I don't think the building for Kirk Kapital is not a work of art; it is a big work of art and it just happens to have a form that needs architecture.

Artist: Olafur Eliasson, Studio Olafur Eliasson
Facade Design Team: Sebastian Behmann, Ben Allen, Einar Thorsteinn
Architects: Henning Larsen Architects A/S, Batteriid Architects Ltd.
Henning Larsen Architects Team: Peer Teglgaard Jeppesen, Ósbjørn Jacobsen, Klavs Holm Madsen, Steen Elsted, Ingela Larsson
Owner and Operator: Harpa, Portus Group, AGO, TotusContractor: IAV hf., Iceland Prime Contractor Ltd.
Acoustic Design Consultant: Artec Consultants Inc.
Landscape Architects: Landslag efh., Lisbeth Westergaard
Engineers: Artec Consultants, Mannvit Engineers, Hnit Consulting Engineers, Efla Engineers, ArtEngineering GmbH, Ramboll
Other Consultants: ASK Architects, Almenna Consulting Engineers, Verkis Consulting Engineers, Verkhönnun Engineers, Jasper Parrott (International Consultant), Vladimir Ashkenazy (Artistic Advisor)
Total Floor Area: 28,000 m2
Cost: approx. $150,000,000
Construction Phase: 2007-2011

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This article was originally published in Domus 950, September 2011 Watchthe video by Pedro Kok. Joseph Grima: In recent years, architecture appears to occupy an increasingly prominent position in your output, and recently your latest-and possibly most ambitious-architectural intervention, a collaboration with Henning Larsen Architects for the Harpa Concert Hall, was inaugurated in Reykjavík.

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Design Storytelling explores the psychology of visual perception from a narrative point of view. When people are in a physical space that projects a visual that they relate to or one that holds a meaning and reminds them of past memories, they feel many different emotions which in return makes them remember that space they were at physically in their emotional narrative.

The storytelling is usually general and based on a well-known concept, but each person interprets it to a meaningful event in their life, and because of that the space holds a psychologic deeper meaning. This concept relates to the psychology of design, approached from the perspective of storytelling.

Dorin Jaccov

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הספר מציג ה- storytelling ככלי ביטוי ויזואלי רחב לתחומי העיצוב וההבעה,
ומציע רעיונות שמוסיפים עוד רובד ומימד להעברת המסר ולעצוב החוויות בחלל.
אלין הציגה שלוש פעולות אקטיו, רגש, תחושה ודרכם היא מציגה כמה דוגמאות לביטוי ויזואלי כמו storyboard או the rule of threes..
למרות שבעולם הארכטקטורה הstorytelling לא מקבל את הערך שמגיע לו ובעיני הוא כלי מאוד חזק וחשוב לתכנון שלנו כך שהוא מקפיץ את המיתודולוגיה שהצענו או סדר התכנון והמחשבות למסמך קל לקריאה.

סימא פאהום

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An Internet vision: the invisible global infrastructure-Leonard Kleinrock 

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An Internet vision: the invisible global infrastructure-Leonard Kleinrock 

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In this article the writer discusses the term nomadicity which refers to the system support needed to provide a rich set of capabilities and services to the nomad as he moves from place to place in a transparent and convenient form. Also, he talks about traveling in our world of today, the globalization and technology which refers to the ability of the internet, we can travel from place to another.
Dorin jaccov

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DESIGN IS STORYTELLING | ELLEN LUPTON || Michal Orevi

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DESIGN IS STORYTELLING | ELLEN LUPTON || Michal Orevi

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"Designers today produce more than logos and cereal boxes; they create situations that stimulate the mind and body over time".
In today's fast and ever-changing world of economy, it's not enough to just have a pretty logo and a great general design. As the modern world evolves and consumers become more and more stimulated by different objects and attractions, each product has to stand out to catch the attention of the people. At that point great design and problem-solving take place. Designers today design and craft engaging stories for each product making it more appealing and relatable to the customers. They take into account the use, the place, and of course the user in every step of the design process. Great storytelling can make a product or a company much more than what they are meant for - it can make them represent culture, art, and much more.

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nituniyo + memosesmas' installation, valencia

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Design is storytelling : Ellen Lupton| Viki Dranikov

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Design is storytelling : Ellen Lupton| Viki Dranikov

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“Landscapes are defined by paths. When people inhabit a place, they cut across it on cleared roads, bodies of water or swaths of earth beaten down by people and other creatures.  ”

מרכיב חשוב בעיניי בעיצוב מוצר או מקום, שמייצר סיפור או חוויה מכוננת, מרומז בציטוט שהבאתי אך לא כתוב באופן מפורש בטקסט. המרכיב הזה הוא היכולת של המשתמש להשאיר חותם במקום מסויים, לנקוט בפעולה או לתת ביטוי עצמי במקום מסויים. לדעתי מקומות נחקקים יותר טוב בתודעה שלנו כשיש לנו איזשהי דריסת רגל במקום או סימון פיזי ממשי שמחבר אותנו למרחב, כזה שאם נחזור לאותו מקום נוכל לראות זכר לשהות שלנו בו ויציף לנו זכרונות ותחושת שייכות למקום. הקיר האינטראקטיבי שבתמונה לדוגמא, הוצב ברחוב והעוברים והזמין את העוברים והשבים לגעת בו וכך לעצב אותו כרצונם. חלק אפילו הביעו מסרים דרכו.

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Tony's Chocolonely claims to be made without slave labor. most of the cocoa beans, which are used to make chocolate, are grown by the use of poor people.

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The book of Lupton reminded me of the storytelling in the design of this chocolate bar. besides the unusual and "unformal" design of the outside package that tells the customer "I'm not like other chocolate bars you know". The internal side of the packaging is used to explain the idea behind this unique chocolate, by using a kind of a storyboard. The design of the chocolate bar itself tells the story of the broken chains \ broken grid of normal bars.
from the packaging to the shape of the product itself, its design is storytelling and emotion-stirring. the design was used to build empathy toward the main subject.

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הספר מדבר על ה-Storytelling ככלי לעיצוב, ועל החשיבות של הביסוס של 'נרטיב' בתהליך התכנון והייצור: העיצוב צריך לגרום לתגובות חופשיות, אישיות וספונטניות של אנשים/משתמשים. לא מספיק שעיצוב יהיה רציונאלי אלא שהוא צריך לעורר התרגשות ואינטראקציה.
ובהקשר של הטכנולוגיה והעיצוב, מעצבים הם בעצם ה- 'Magical Realists of Technology', מעצב צריך לחשוב על איך אנשים משתמשים בטכנולוגיה, ולחשוב על נרטיב של החוויה של אותם משתמשים עם טכנולוגיה זו.
פיתוח טכנולוגי ועיצוב מאפשרים חוויה אנושית משונה במרחב, הם מאפשרים מרחב יותר קריא ונגיש ומשנים את ההתייחסות של האדם לסביבתו.

Design is [Narrative] – Behind Every Good Design is a Story:

https://youtu.be/xPV76mhyr5M

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Wifi Geographics: When code meets place- Laura Forlano

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Wifi Geographics: When code meets place- Laura Forlano

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The article shows how digital and physical spaces are intertwined. How specifically Wi-Fi networks attract people to some spots, raising the question of how can software and physical architecture regulate human behavior?

“Being able to get work done in a pastoral setting” as in “picnic at the park” + “ a 9-5 in a fluorescent lit office”.

“people explicitly go to public spaces such as parks and cafés in order to do personal activities.”
It’s not so black and white, a change in the perception of what is public and what is private.

70% choose the location because of Wi-Fi “”

As much as they are merged into one another, they’re still very much disconnected. This network, and the way it regulates use, should effect the way we design a city.drastically. It can blur the lines that define spaces. What if there was no labels , What if the office itself was a pastoral setting?

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Balenciaga transforms it's London store,marking the launch of a new collection.

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Welcome to the experience economy- Joseph Pine and James H.Gilmore

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Welcome to the experience economy- Joseph Pine and James H.Gilmore

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Experiences have always been around, but consumers, businesses, and economists lumped them into the service sector along with such uneventful activities. When a person buys a service, he purchases a set of intangible activities carried out on his behalf. But when he buys an experience, he pays to spend time enjoying a series of memorable events

Staging experiences is not about entertaining customers; it’s about engaging them.

The sensory stimulants that accompany an experience should support and enhance its theme. The more effectively an experience engages the senses, the more memorable it will be.

Services turn into engaging experiences when layered with sensory phenomena

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In her book "Design is storytelling", Lupine says that it unfolds in three main acts, which sum up the process of designing. The first act is action, the second one is feeling, and the last one is sensations.

I think that her theory is logical if applied to certain designs, such as graphic design, where an image can tell a story and convey a message. However, I can not relate this theory to other design fields, such as furniture design. For an instant, what could be the story behind designing a chair except for serving a purpose?

Therefore, I reconstruct the process of design as storytelling by changing the order of the three acts. We start first with " the act" action, which could be explained as the need for something or to do something, for example, the chair is designed because of the need to sit, then we had the process of producing the design/ product that we customs by using our five senses which lead us to the second act, sensations. The last act is feelings after we saw a design, touch it, or even smell it we have a certain feeling toward this design, and by the time this feeling became normal, it makes us look for different designs and get us back to the first act.
Israa Diab

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Welcome to the Experience Economy // B. Joseph Pine II & James H. Gilmore

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Welcome to the Experience Economy // B. Joseph Pine II & James H. Gilmore

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Design is everything. User experience does not narrow down to the actual use of a product. It begins even before it has been bought, to the way it gets to the customer, up until it is unpacked, used and even after that. The design of the user experience takes under its umbrella many more terms and fields that are crucial to make the design just right. It involves psychology, sociology, finance, marketing, visual design, usability, and of course aesthetics. All these have a defined goal to create a smooth, intuitive and pleasant experience for the user. Today, companies from all fields with all kinds of products and services understand that this is an inseparable process of the product design in order to keep up with the economy and innovation of what the customers demand today.

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The New Experience Economy | Webinar by B. Joseph Pine II

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The New Experience Economy | Webinar by B. Joseph Pine II

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Apple Stores, Disney, LEGO, Starbucks. Do these names conjure up images of mere goods and services, or do they evoke something more-something visceral?

Welcome to the Experience Economy, where businesses must form unique connections in order to secure their customers' affections-and ensure their own economic vitality.

A concept first introduced by Joseph Pine and James Gilmore - the idea of the Experience Economy ushered in a completely new way of thinking about customer experiences. And although the world has changed since the idea was put forth, the way to a customer's heart has not.

The idea of staging experiences to leave a memorable-and lucrative-impression is now more relevant than ever.

On January 30, 2020, in a live, interactive Harvard Business Review webinar, Joe Pine, cofounder of Strategic Horizons and coauthor of The Experience Economy, will discuss:

Why experience is the missing link between a company and its potential audience

Updated insights into how companies have used these principles to great success

Fresh approaches to scripting and staging compelling experiences, while staying true to the economic conditions of the day

Detailed case studies from organizations in a range of industries

In describing the principles of The Experience Economy, Pine will show how offering distinctive customer experiences leads to increased customer allegiance and a more profitable bottom line.

Join Joe Pine and HBR on January 30, 2020 and learn how your organization can compete for customer time, attention, and money.

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Apple Stores, Disney, LEGO, Starbucks. Do these names conjure up images of mere goods and services, or do they evoke something more-something visceral? Welcome to the Experience Economy, where businesses must form unique connections in order to secure their customers' affections-and ensure their own economic vitality.

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Design is STORYTELLING : Ellen Lupton | Orr Kalati

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Design is STORYTELLING : Ellen Lupton | Orr Kalati

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That Louis Vuitton Show, a tribute to Fashion designer Virgil Abloh, for me holds the complete deal of experiencing anticipation,  conflict and sensation within an issue of art and design, as Lupton describes through the book. It tells the story of a narrator through a multiplication of characters, created by the objects of design, the curation, the settings, the path and the watching audience itself.

Watch the Full Show: https://www.thecut.com/2021/11/watch-the-louis-vuitton-mens-show-and-virgil-abloh-tribute.html

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 Apple experience design by Unboxing experience

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Experience Design | HILARY MCLELLAN, M.Env.Sci., Ph.D.

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Experience Design | HILARY MCLELLAN, M.Env.Sci., Ph.D.

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"Experience design is about creating this sweet spot for a particular goal and context—putting in place design features that support its purpose and eliminating or redesigning features that detract from its purpose."

חוויות משתמש קיימת כבר זמן רב, אנחנו מכירים אותו מטקסים, דרמה ואפילו אדריכלות. כל אלו עונים באופן מסוים על חוויה. אבל עיצוב החוויה הפך להיות משהו משמעותי יותר בשנים האחרונות, הדבר לוקח חלק בדיסציפלינות רבות בעיקר לאור המדיה המתפתחת. זאת בשאיפה לעצב חוויות המשרתות מטרה כלשהי – כמו מסחר, חינוך, בידור - בצורה משכנעת ובלתי נשכחת.  על פי כותבי המאמר,  תיאוריה חשובה העומדת בבסיס החוויה הינה כלכלה. עוד הם טוענים כי העולם עבר מכלכלת שירות לכלכלת חוויה. כפי שהקדימו ועשו וולט דיסני, דיסנילנד ודיסני וורלד - חוויות שערכן הכלכלי מבוסס על הנאה וזיכרון ולא על תפיסת השירות המסורתית שלנו. הכותבים מציגים את החינוך כחלק מתחום חשוב שעליו להתרחב בעניין עיצוב חווית המשתמש ובכך להעניק חוויה חינוכית מקוונת ומספקת. בנוסף, הם מציעים להשתמש בשאלות מסוימות שיכולות לעזור להבין ולחקור בצורה יצירתית את ההיבטים של כל תחום ובכך יכולים לעזור ולשפר את החוויה אותה רוצים להשיג.

https://www.youtube.com/watch?v=rtHi5sS6GpE

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המאמר מתאר בצורה מאוד יפה את התפתחות הכלכלה מסחורות לחוויות אך נדמה כי כיום ישנה התפתחות של כלכלת החוויות לז'אנר חדש- כלכלת הזכרונות. התפתחות הרשתות החברתיות והצילום גרמו לכך שהיום ישנה תופעת לוואי של מכירת חוויות והיא מכירת זכרונות. הזיכרון לא בהכרח נאמן למציאות, אך הוא צריך להצטלם טוב. אירועים ועסקים מתוכננים היום פעמים רבות כאשר מראש המקום או השירות שהוא מציע יידעו להצטלם בצורה מושכת (מה שנקרא לפעמים "Instaworthy" מלשון אינטסגרם). העיקר בעסקים מסוג אלה הוא אפילו לא אם נהנת מהשירות המוצע, אלא אם הוא השיג לך את תשומת הלב שרצית ברשתות החברתיות.

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Design is storytelling, Ellen Lupton | Fouad Salaime

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Design is storytelling, Ellen Lupton | Fouad Salaime

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"Design is a problem solving" with this statement Lupton opens her book, then immediately hasten to inflate the Design essence, by stating other intrinsic aspects – Beauty, feeling, humor, conflict & interpretation. She argues about the design definition and proposes her perception of design – design as storytelling. Lupton unfolds her idea by positioning three acts - action, emotion and sensation. In each act, she presents tools and concepts that could develop the reader's capacities in questioning the status Quo and plotting possible futures.

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"When a person buys a service, je purchases a set of intangible activities…. But when he buys an experience, he pays to spend time enjoying a series of memorable events…"

Designing experiences isn't new but lately people are paying more attention to it partly because of the internet, social media and online services. Ever since we people started to provide "services", sell products, build a media platform, or tell a story on the internet they realized that in order for them to be successful in a non- physical world is not just by the service they provide but with the help of designing an experience that people would enjoy, the experience for the user is a big deal, they will not choose to be on a website that is not user friendly when there are a lot of other competition that do provide a good experience.( for example: amazon provides the costumer with a simple online shopping experience that is very inclusive with delivery, customer service and more).
Layan Said

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Welcome to the Experience Economy | by B. Joseph Pine II and James H. Gilmore

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Welcome to the Experience Economy | by B. Joseph Pine II and James H. Gilmore

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Our economy and consumer habits have changes over the years. We now seek for more than just buying goods, we seek for an adventure, an experience. The article shows how a consumer experience can help strengthen a company’s economy. It is referred to as a “stage” that engages an individual customer and creates a memorable event. The event is distinctive to a certain company  and is designed according to the needs and essence of that company.

Today a selling experience is not reserved only for theaters and theme parks, but it is able to change the way we go grocery shopping or even take our mortgage loan.

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The Experience Economy, Pine and Gilmore | Leeor Levin-Hai

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The Experience Economy, Pine and Gilmore | Leeor Levin-Hai

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"While prior economic offerings-commodities, goods, and services are external to the buyer, experiences are inherently personal, existing only in the mind of an individual who has been engaged on an emotional, physical, intellectual, or even spiritual level. Thus, no two people can have the same experience, be cause each experience derives from the interaction between the staged event (like a theatrical play) and the individual's state of mind".  (Pine and Gilmore , pp.99)

עסקים רבים בעידן הטכנולוגי נמצאים במרוץ לחדשנות, ישנו שינוי בתפיסה בו קיימת חשיבות לסוג החוויה וייחודה יותר מהמוצר החומרי, מתבצע מעבר מעיסוק טכנולוגי לעיסוק באדם ובחברה. כיום, מכירת ה"חוויה" הינה בעלת ערך כלכלי רב וחשובה לא פחות ואולי אף יותר מהמוצר עצמו. יחד עם זאת, החוויה נותרת בגדר כלי שיווקי כיוון שאינה מוחשית ואינדיבידואלית לחווה. יתרה מכך, בעידן הרשתות החברתיות, פעמים רבות רואה המשתמש ערך רב יותר בשיתוף החוויה מאשר בחוויית החוויה עצמה.

תמונה מתוך התערוכה של האומנית היפנית יאיוי קוסאמה. בוצעה חשיבה על יצירת חוויה ייחודית למשתמש באמצעות חדרי אינסוף. בפועל, עקב תורים, הגבלת זמן והרצון לתיעוד מתפספסת החוויה עצמה.

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An example of "Experience Economy" | Walt Disney World

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Experience Design - Hilary Mclellan | Karine Salameh

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Experience Design - Hilary Mclellan | Karine Salameh

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Experience design, as this article suggests, should be implemented in online courses and education, in order to get a more functional, engaging and memorable online experience. Experience design is shaped by, and derived from, many different fields, and the richest experience is one combining a number of these fields.

The writer emphasizes an interesting point, that helps us understand the place of experience design in todays technological drived education. She relates to the field of economics, and states that the world is no longer focused on service economy, but on experience economy. Meaning, people nowadays prefer to buy an actual experience, one can go so far and call it a memory per se, instead of buying a service.

When it comes to education, this theory is reflected in the role of educators and their students. Universities should look at online education as not merely a way to pass relevant information about a certain subject, but they should see themselves as the provider of a fuller educational experience.

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The Experience Economy By Joseph Pine II and James H. Gilmore - יוסף עיאשה

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The Experience Economy By Joseph Pine II and James H. Gilmore - יוסף עיאשה

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לפי הספר המוצר והשירות הם מאוד שכיחים ודומים במקומות השונים ונדרש ערך איקונומי נוסף שהוא הענקת חוויה טובה ומעניינת ללקוחות, אשר ישלמו עליה כסף נוסף מעבר לכסף של המוצר והשירות.
לדעתי ערך זה הוא מאוד חשוב ועשוי לעודד אנשים לקנות עוד בזכות החוויה ולקדם את הכלכלה, אך מצד שני זה עלול להקשות על אנשים שאין להם מספיק כסף ונדרשים לשלם עוד על אותו מוצר שהיה עולה פחות ללא החוויה. לכן נשאלת השאלה מה ה"מינון" הנכון לשימוש בכלכלה חוויתית?

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The Heart Attack Grill: Restaurant Promotes Harmfully Unhealthy Food | Nightline | ABC News

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תרגיל 05 - רוני אריה