The InstaBooth: Making common ground for media architectural design

Media architecture has emerged from and relies upon a range of different disciplinary traditions and areas of expertise. As this field develops, it is timely to reflect upon the ways in which designers of different disciplinary stripes can be brought together to collaborate in a design process. What are the means by which design teams can establish a ‘common ground’ where design work can take place while recognizing the diversity of ways of working those different disciplines bring to the process? A co-design approach has been the fundamental backbone of the InstaBooth project, which has brought together a multidisciplinary design team of academics and practitioners. The intention of this project has been to explore the combination of digital and physical interactions within a small media architecture installation to intervene with urban environments and public places for the purposes of community engagement. It is by exploring the design process of the InstaBooth project that we highlight the value of multi-disciplinary collaborations, the lessons that can be learned, and the struggles and hurdles along the way. This paper highlights the iterative process of design, the materials and physical prototypes that were employed to ultimately create a working version of the InstaBooth, a media architecture that evolves as users push its boundaries and take ownership of the installation. The concept of the InstaBooth continues to develop not only as more data are collected on its mechanics and potentials through observations, interviews and workshops, but also as more and more users engage with the installation in their individual ways.

Idiosyncratic psychological aspects in entrepreneurship

Entrepreneurship is having the courage to transform an idea in reality and with it achieve personal, financial and recognition satisfaction. The psychological ability to handle failure has proven essential in success. Goal: Analyse the importance of idiosyncratic psychological aspects in the success of entrepreneurs. Method: Observational study, using a case study, a group of 20 entrepreneurs from the idea presentation phase to company incorporation during a period of two months. Results: During the observation period 4 distinct psychological phases of the entrepreneurs were observed, being it possible to describe them as follows: absorption of information and knowledge; application of the gathered knowledge to their specific cases; frustration generated by criticism, namely from investors who don’t recognize the value of their projects; realism and implementation of the project. Having passed more than 6 months after the analysis period, one can verify the entrepreneurs who have travelled the 4 phases and specially reached the realism of Phase 4, are today developing their projects being that the remaining ones, majority of which weren’t able to overcome Phase 3, are in a similar situation as at the end of the initial two months. Conclusion: The ability to cope with frustration and rejection is a determinant factor in the success of the entrepreneur. The ability to learn from rejection, more than resilience help the entrepreneur to proceed. Therefore, based on the observations, entrepreneurship has a lot to gain if besides technical assistance also coaching assistance is provided.

Sensing Spaces:A Body-oriented Architectural Design Education

The contemporary dominance of visuality has turned our understanding of space into a mode of unidirectional experience that externalizes other sensual capacities of the body while perceiving the built environment. This affects not only architectural practice but also architectural education when an introduction to the concept of space is often challenging, especially for the students who have limited spatial and sensual training. Considering that an architectural work is not perceived as a series of retinal pictures but as a repeated multi-sensory experience, the problem definitions in the design studio need to be disengaged from the dominance of a ‘focused vision’ and be re-constructed in a holistic manner. A method to address this approach is to enable the students to refer to their own sensual experiences of the built environment as a part of their design processes. This paper focuses on a particular approach to the second year architectural design teaching which has been followed in the Department of Architecture at Izmir University of Economics for the last three years. The very first architectural project of the studio and the program, entitled ‘Sensing Spaces’, is conducted as a multi-staged design process including ‘sense games, analyses of organs and their interpretations into space’. The objectives of this four-week project are to explore the sense of space through the design of a three-dimensional assembly, to create an awareness of the significance of the senses in the design process and to experiment with re-interpreted forms of bodily parts. Hence, the students are encouraged to explore architectural space through their ‘tactile, olfactory, auditory, gustative and visual stimuli’. In this paper, based on a series of examples, architectural space is examined beyond its boundaries of structure, form and function, and spatial design is considered as an activity of re-constructing the built environment through the awareness of bodily senses.

Efficiently exploring architectural design spaces via predictive modeling

Architects use cycle-by-cycle simulation to evaluate design choices and understand tradeoffs and interactions among design parameters. Efficiently exploring exponential-size design spaces with many interacting parameters remains an open problem: the sheer number of experiments renders detailed simulation intractable. We attack this problem via an automated approach that builds accurate, confident predictive design-space models. We simulate sampled points, using the results to teach our models the function describing relationships among design parameters. The models produce highly accurate performance estimates for other points in the space, can be queried to predict performance impacts of architectural changes, and are very fast compared to simulation, enabling efficient discovery of tradeoffs among parameters in different regions. We validate our approach via sensitivity studies on memory hierarchy and CPU design spaces: our models generally predict IPC with only 1-2% error and reduce required simulation by two orders of magnitude. We also show the efficacy of our technique for exploring chip multiprocessor (CMP) design spaces: when trained on a 1% sample drawn from a CMP design space with 250K points and up to 55x performance swings among different system configurations, our models predict performance with only 4-5% error on average. Our approach combines with techniques to reduce time per simulation, achieving net time savings of three-four orders of magnitude. Copyright © 2006 ACM.

Efficient Architectural Design Space Exploration via Predictive Modeling

Efficiently exploring exponential-size architectural design spaces with many interacting parameters remains an open problem: the sheer number of experiments required renders detailed simulation intractable.We attack this via an automated approach that builds accurate predictive models. We simulate sampled points, using results to teach our models the function describing relationships among design parameters. The models can be queried and are very fast, enabling efficient design tradeoff discovery. We validate our approach via two uniprocessor sensitivity studies, predicting IPC with only 1–2% error. In an experimental study using the approach, training on 1% of a 250-K-point CMP design space allows our models to predict performance with only 4–5% error. Our predictive modeling combines well with techniques that reduce the time taken by each simulation experiment, achieving net time savings of three-four orders of magnitude.

An Ethical Production of Place:A Case for Economy in Architectural Design

Architects typically interpret Heidegger to mean that dwelling in the Black Forest, was more authentic than living in an industrialised society however we cannot turn back the clock so we are confronted with the reality of modernisation. Since the Second World War production has shifted from material to immaterial assets. Increasingly place is believed to offer resistance to this fluidity, but this belief can conversely be viewed as expressing a sublimated anxiety about our role in the world – the need to create buildings that are self-consciously contextual suggests that we may no longer be rooted in material places, but in immaterial relations.
This issue has been pondered by David Harvey in his paper From Place to Space and Back Again where he argues that the role of place in legitimising identity is ultimately a political process, as the interpretation of its meaning is dependent on whose interpretation it is. Doreen Massey has found that different classes of people are more or less mobile and that mobility is related to class and education rather than to nationality or geography. These thinkers point to a different set of questions than the usual space/place divide – how can we begin to address the economic mediation of spatial production to develop an ethical production of place? Part of the answer is provided by the French architectural practice Lacaton Vassal in their book Plus. They ask themselves how to produce more space for the same cost so that people can enjoy a better quality of life. Another French practitioner, Patrick Bouchain, has argued that architect’s fees should be inversely proportional to the amount of material resources that they consume. These approaches use economics as a starting point for generating architectural form and point to more ethical possibilities for architectural practice

Analysis of psychological aspects of Lovemarks formation

El presente trabajo es una revisión de literatura que busca contribuir al entendimiento de los procesos psicológicos subyacentes en la Teoría de Roberts sobre Lovemarks que, dentro del campo del marketing, ha buscado reemplazar la idea que se tiene sobre las marcas. La primera parte proporciona una introducción de lo que ha sido la evolución de las marcas desde una perspectiva psicológica y de mercadeo. En la segunda parte se explica la teoría de Lovemarks haciendo énfasis en sus componentes: el eje amor/respeto, las características de misterio, sensualidad e intimidad. Adicionalmente, se soporta esta teoría a través de literatura complementaria y casos de aplicación exitosos. La tercera parte, corresponde a la identificación y análisis de los procesos y aspectos psicológicos que explican la formación de un Lovemark: percepción, memoria, motivación individual y social y emoción. La cuarta y última parte contiene las conclusiones e implicaciones en la formación de la relación entre el consumidor y una marca.