Introduction

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The term "media architecture" is at once the offset, and the etymological frame for this exploration. By regarding media architecture as a convergence of media and architecture, it becomes a reversed metaphorical figure for the movement from surface to space. Media architecture aims to alter our experience of public space through the use of digital media integrated within the built environment. While most current manifestations serve general commercial, artistic or entertaining purposes, we believe media architecture has the potential to become more socially and architecturally relevant. However, little is known on how media architecture becomes more contextually integrated, from academic disciplines including sociology (McQuire, Jewitt, Struppek), technology studies (Manovich, Huhtamo), aesthetics (Broeckmann, Cubitt), architectural perspective and many more. Hence, the arguments as an insight into general concerns for media architecture in the future.

4 arguments that support​

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1. Media architecture as Visual Architecture

Form and function are two elements that are present in the planning process of every project that Serene Ang takes on. It’s easy to build something pretty, but the real challenge lies in optimizing both the beauty and the functionality of newly designed structures. This service contributes to the overarching goal of the architect, who aims to improve lives through smart design.

2. Media architecture as Relational Architecture

Relational architecture can provide a social perspective to media architecture in the sense of describing the reception as a shared experience instead of an individual act. The artworks that exemplifies this kind of aesthetics are created from "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space." (op. cit., p. 113). This would make relational architecture a practice of facilitating shared experiences and intersubjective encounters defining, or defined by, a spatial context. The recent developments in display technology, building materials and interaction modalities resulted in new forms of hybrid architecture that have the ability to ‘interact’ with people and places. Relational architecture may result in what Scott McQuire (2008) calls "relational space", which may be interpreted as a space formed by social encounters in the public realm. Architecture in general has a strong focus on social aspects and media architecture may provide tools to enhance these aspects further.

3. Media architecture as creative expression

Many current applications of interactive technology are focused on stimulating people’s senses and promoting a positive emotional experience through interaction and expression (Bullivant, 2007).  Sculpture, displays, and other physical objects can employ a broad range of media including light, sound, and images that react to human behavior in an expressive and artistic way.  These objects allow participants to interact with elements of public art, architecture, spaces, and each other in new and exciting ways, potentially creating social interaction and collaboration.  Media architecture has the potential to elicit novel experiences onto our urban surroundings. [McCullough, 2004] Reactive, motion-activated media architecture may be one of the fastest growing trends because of the way it can enhance the natural energy of a space. When these digital activations are able to reflect the movement of humans in a space, they deliver striking and unexpected experiences to passersby, employees, and the public. Such as by offering playful experiences [Fischer and Hornecker, 2012], increasing awareness on socially relevant topics [Valkanova et al., 2013], or seeking public and cultural engagement [McQuire, 2010].

4. Data- Driven Media architecture

One of the most important and powerful applications of interactive technology is the sharing of information. Our society continues to grow and thrive on it, seeking knowledge about every topic, and trying to understand the people, systems, and world around us. Access of information is what allows us to be advised, connected, and prepared.  A digital display can project information as text, or it can also illustrate more abstract, visualized data.  Information can also be communicated by sound, either by spoken words or tones and beats.  By combining diagram and data-driven architecture, architects can move faster, offer more cost-efficient programs and most importantly track and measure success. Data-driven media architecture enables the activation to resonate with the behavior of an entire institution. This approach takes the abstract essence of a brand or property, from company transactions to local weather to the daily ebb and flow of a building’s visitors, and transforms it into captivating visual stories that connect to everyone in a space.

4 arguments that against

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1. Lack of control and participation of public in media

The arguments often point towards the lack of control and participation in media, which makes it authoritarian and non-democratic. The media as controlled by capitalist interests and does not serve the needs of the individual citizen. Commercial reasoning is still a major motivation behind most current media architecture installations [Struppek, 2010] and local authorities, outdoor media companies and corporate bodies still deploy media architecture with little to no involvement of citizens.

2. A risk that increased use of screen media in public space may support disengagement in public life.

Another issue is the private modes of reception that are dictated by modern media. The use of cell phones and laptop computers removes our attention from our immediate environment and makes the urban life less a matter of public social relations. Commercial advertising imposes authoritarian messages on the public space that allows no room for discussion or expressions of opposite opinions. A risk that increased use of screen media in public space may support disengagement in public life. If the phenomenon does not attain a sense of legitimacy in the public opinion, it could result in a collective opposition. Media architecture must therefore legitimize itself by some sort of relevance to the public.

3. Visual pollution

Visual pollution is an aesthetic issue and refers to the impacts of pollution that impair one's ability to enjoy a vista or view. Visual pollution disturbs the visual areas of people by creating harmful changes in the natural environment. Billboards, open storage of trash, antennas, electric wires, buildings, and automobiles are often considered visual pollution. Effects of exposure to visual pollution include: distraction, eye fatigue, decreases in opinion diversity, and loss of identity. It has also been shown to increase biological stress responses and impair balance.  In December 2006 the city of Sao Paulo decided to ban all outdoor advertising and thereby stripping the city of billboards, banners and electronic signs. The Clean City Law was a decision to clean the city in regards to water, sound, air, and most controversially: visual pollution. The decision shows an extreme case of how the politics of public space can lead to legislations on the visual expressions in public space. Media architecture could also be subjects to such political considerations of ownership and pollution of the visual environment.