As interactivity continues to be integrated into designed environments, it is important to explore how such interactivity can emerge into forming the behavioral character of a design. With each interaction between design element and building occupant, interactive architectural environments form impressions in the memory of their occupants.
With the latter seven examples of different ways to integrate shapeshifting into your design, you can begin to see that a morphing architecture can respond to just about anything. The key is for you as the designer to make its changeability meaningful for its site, context, and occupant.
With tools like augmented and virtual realities that are entering real world design, it is possible to incorporate nature in entirely new ways, where your architectural design can help to show its occupants nature as never before experienced.
As we are now in the midst of increasingly instantaneous and automatic lifestyles, you will find that the interactive will occur in more and more places within your building — and each of those places are becoming better equipped to handle a greater amount of functions.
It is time to give more meaning to the way building interaction designs help their occupants. The key is to find those unique moments within their daily narratives where it would help them to receive cues, visualizations and prompts — which could support them, teach them, inspire them, or even give them better options.
When we experience space by traveling through it, we interact with it affecting its acoustical behaviors in what can be unintentional ways — but what if an architectural design could make its occupants think more carefully about how they move through built space, where their movements yield more intentional acoustic behaviors?
While such a display seems quite fun (which I think it is), there can be many practical applications for such immersive displays which can work by engaging the human body to move and react to the physics which prompt it. Just as real water has its own set of physical and behavioral properties which dictate how it responds, so too can an interactive floor projection.
Much like a simple window screen that keeps certain elements out (insects), allows certain elements in (wind) and unveils a portal from the opposite site (for viewing), the water in Ratti’s Pavilion design gives life to a “moving wall” which bridges the exterior and interior in a real-time transient manner.
Sensory devices are being embedded in architecture to create interactive designs. Such ubiquitous computing arrangements will eventually propagate through our homes, offices and other building types. What remains fascinating is the advent when such architectural spaces will use technology to learn from its own experience.
As more neural devices come on the scene, architecture will ultimately be able to communicate through them — opening doors, adjusting light conditions and setting temperature. Architecture will speak to us in new ways and neural devices will be at the center of this revolution.
Personalizing certain aspects of architectural experience would make architectural design more intuitive for occupants. To make this work, architectural sensors could receive occupant information from everyday objects used by the occupant.
Schools need more than just flex space. Converting space from one use to another is good, but designers must pay particular attention to how each space influences students as they engage in different learning activities and methods.
The culture of a place has to do with how its occupants interrelate with each other, with their clients and with their daily work. As corporations grow their cultures evolve – as do the methods used to reflect or influence that culture from architectural space.
The creative process is like a spring. You wind-up the spring to prepare for its release. When creating, I absorb in the world and explore internally (my wind-up), and then I have creative emergence (my release). And as I delve into my creative practice, I go back and forth between the two. How do you "absorb" as you prepare to "release" your creativity within your design solution?
When analyzing the finished results between a hand-drawing versus a digital-drawing, the stylistic differences are easy to see. Both types of drawings can be very beautiful, if thoughtfully composed. Yet, a designer will think about what they are drawing very differently depending on which drawing process they use.
A design process definition can be explained as the creative and iterative methods one goes through in order to solve for a particular challenge, need, or goal. Within architectural design, one’s design process goes through various stages that begin with an initial creative vision that ultimately gets built as a building that occupants can use. The goal for architects is to optimize their design process in order to create the highest quality architectural design in the shortest amount of time, and within budget. The following is an architect's guide to design process.