Yehuda KalayYouda Kalay.
Yehuda Kalay's Architecture's New Media offers a comprehensive presentation of the principles, methods and practices that underlie architecture computing. William J. Mitchell.
Emeritus Professor of Architecture
Computers and telecommunications have become the new mediums of architectural work. It influences the way designers create a building, the building itself and even how it is used. I am trying to understand the effects of new medias on the process, the product and the occupation of the architectural world, to train the student as a professional who can work in this new setting, and to have a certain amount of directional control.
She is currently Dean of the Faculty of Architecture and Urban Planning at the Technion, Israel Institute of Technology. Kalay's research is focused on the development of digitized and cooperative designs. Colaborative Working Environments for Architectural design, mit Prof. Carrara von der Universität Rom, Italien (Palombi, 2009) ; New Heritage : Heritage and New Media (Routledge, 2008), mit Prof. Kvan von der University of Melbourne, Australien ; und Architecture's New Media (MIT, 2004).
Before taking over as Dean of the Technion, he was an 18-year professorship of architectural design at the University of California, Berkeley, where he co-founded and managed the Berkeley Center for New Media. Before Berkeley, Kalay spent 10 years teaching at the Faculty of Architectural Sciences at the State University of New York in Buffalo.
Prof. Kalay received his B.Arch and Master's degree in architecture from Tecnion and a Ph. D. from Carnegie Mellon University (Pittsburgh, USA). Kalay's research is focused on the development of digitized and cooperative designs. Colaborative Working Environments for Architectural design, mit Prof. Carrara von der Universität Rom, Italien (Palombi, 2009) ; New Heritage : Heritage and New Media (Routledge, 2008), mit Prof. Kvan von der University of Melbourne, Australien ; und Architecture's New Media (MIT, 2004).
E. Kalay (2004). New media in architecture.
We can logically believe that the design of places in cyber space can be shaped by the principals that have guided the creation of space for hundreds of years, for the ecological, societal and educational wealth..... However, this transformations is not only about imitating the actual shape in electronical surroundings.
It is not possible to "specialize" through the acquisition of bodily space metaphors: things and rooms that are functional and perceptionally "appropriate" in the bodily sphere become inappropriate in it. On the other side, we bring the expectation and the feeling of "adequacy" into cyber space, since we were conditioning ourselves from the moment of our delivery to the functioning and perception of the bodily state.
While it is not necessary, for example, to use a spreadsheet to store items in virtual space, we find it rather unpleasant when items just "float" in virtual space. While the absence of gravitational force allows us to go to the wall or ceilings (if they even exist), the feeling of such liberty is quite unreal (as the Netherlandish painter M. C. Escher so accurately illustrates; see Fig. 1.1).
At the same token, the world of the Internet provides possibilities for location that do not physically exists. Distance loses its meaningâ "they can be crossed in an instantâ "as well as spacial borders. It is also easy to manipulate time: we can go to towns that no longer or do not yet existed. The choice of the right equilibrium to create the required feeling of place without getting into the pitfalls of random "borrowing" from physics or rejecting everything we have learnt from it is the challenges for the creation of cyberspace.
The experiments can be divided into four different types of environment trays for the development of site-like environment in cyberspace: Abstract Realities within Psychic Cyberspaces. Virtually Rooms hyperrealism tries to imitate the realm of physics in every detail. Hyper-real environment benefits in location result from the wealth of expertise, intimacy and optical convenience they provide.
However, it never does rain in cyber space; therefore 3-D environments have no use for rooftops (although ceiling may form a border for spaces). There' s no gravitation, so no mass in cyber space, so no pillars and bars. There are 7 El Pais Virtual Art Museum. Abstract realities obey enough natural law to generate credibility, but do not try to establish a "perfect" world.
The object and texture are abstract, not perfect rendering, but an effort is made to prevent orientation loss or the unknown. Videogames like Myst and Riven are samples of digitally abstract worlds, similar to Disneyland in the real-life. In abstract realism there is much greater art liberty than in hyper-reality, which makes it possible to stretch or accentuate spatial quality such as measure and space.
The majority of today's Internet environment falls by standard into the abstract realm, and 3-D multi-tiser domain (MUD) are probably their best example. You use a powerful spacial analogue, with the express intention of enabling multi-user (i.e., social) interact. An 8th Sydney University Conference Centre. For example, the Sydney University Virtuelle Campus uses an architectonic, campus-like MUD (Fig. 24.8).
" However, it is a curious place that such an environment can create. This room can hold many more people than you can imagine because of its dimensions. In fact, abstract reality does not always show the place they pretend to create. Although the spacial utopia makes an important contribution to facilitate interactions and commitment, it is not enough.
In our local perception we are defined by the culture or community adequacy of behaviour and interactions, not only by the spacial metabolism. Hybride Internet space blends "real" and "virtual" experience at will. Much of the site's content may not be built in the actual state. For example, one could take the shape of a little crawler and just be sitting on a fungus the height of a human and smoke a long water pipe, as described in Lewis Carroll's classical tales Alice's Adventures in Wonderland and Through the Looking Glass (1862-1864).
Attendees can appear in the shape of real or unreal avatar, also in symbols, such as speaking chessmen or playing-maps. 19 ] Object can act unusually and change in shape, structure and dimensions over the years. Out of the four kinds of virtual space, hyper-virtuality seems to be the most fruitful in relation to the possibilities provided by the electronic media, but also the most extensive of "place" experience deriving from daily use.
There' s a possibility to broaden the range of sensorial experience by using the computer's capacity to organise one' s own times, dates and spaces, totally unlimited by the law of the environment. The hyper-virtuality, however, also looses the feeling of intimacy and the resulting societal and intercultural references through the complete rejection of the bodily metaphors of the room.
Boundless liberty of hyper-virtuality and a total refusal of the principle of locating make this kind of virtual space a kind of placeless work.