This paper describes a design experiment aimed at prototyping and exploring a virtual media architecture. We describe how we developed a prototype of a continuous circulation space that allows grounded movement, visual continuity and transitions between modes of the reality-virtuality continuum using an HMD (head-mounted display) and a technique called Stencil Rendering. Our prototype, situated in an architectural environment and supported by a narrative that provides a direction and context of use, enables us to explore the logic of circulation from direct experience. Throughout this paper we identify and reflect on several principles of this logic and define the circulation space as a composite of actual and virtual that unfolds interactively as the visitor moves through it. Our approach shows a way to experiment with the notion of virtual media architecture and to speculate about its possible use.
The ambition of a transition to a sustainable society brings forth the dual challenge to preserve historical buildings and simultaneously improve the energy performance of our built environment. While engineers claim that a dramatic reduction of energy use in the built environment is feasible, it has proven to be a difficult and twisting road.In this paper we focus on historical buildings, where difficulties of energy reduction are paramount, as such buildings provide local identity and a connection to our past. It is a EU policy objective to conserve and redesign heritage buildings like prisons, military barracks, factories, stations, and schools. Such redesign should also ensure reduction of energy use without compromising historical identity. In this paper we conceptually and empirically investigate how the two conflicting aspirations unfold. In particular we elaborate the obduracy and scripts of buildings, to clarify how they resist change and invite a specific use. We analyse the tensions between identity and energy conservation in a case study of a restoration project in Franeker. This buildinghas recently undergone a restoration, with energy efficiency as one of its goals.Scripts and networks are traced by a combination of methods, such as studyinglayout, materials and building history, and qualitative interviews with restoration architects and users. We identified three types of strategies to conserve identity and energy: design strategies; identity strategies and network strategies. Such strategies are also relevant for other efforts where conservation and innovation have to be reconciled.
The ambition of a transition to a sustainable society brings forth the dual challenge to preserve historical buildings and simultaneously improve the energy performance of our built environment. While engineers claim that a dramatic reduction of energy use in the built environment is feasible, it has proven to be a difficult and twisting road.In this paper we focus on historical buildings, where difficulties of energy reduction are paramount, as such buildings provide local identity and a connection to our past. It is a EU policy objective to conserve and redesign heritage buildings like prisons, military barracks, factories, stations, and schools. Such redesign should also ensure reduction of energy use without compromising historical identity. In this paper we conceptually and empirically investigate how the two conflicting aspirations unfold. In particular we elaborate the obduracy and scripts of buildings, to clarify how they resist change and invite a specific use. We analyse the tensions between identity and energy conservation in a case study of a restoration project in Franeker. This buildinghas recently undergone a restoration, with energy efficiency as one of its goals.Scripts and networks are traced by a combination of methods, such as studyinglayout, materials and building history, and qualitative interviews with restoration architects and users. We identified three types of strategies to conserve identity and energy: design strategies; identity strategies and network strategies. Such strategies are also relevant for other efforts where conservation and innovation have to be reconciled.
Fashion has become inextricably linked with digital culture. Digital media have opened up new spaces of fashion consumption that are unprecedented in their levels of ubiquity, immersion, fluidity, and interactivity. The virtual realm continuously needs us to design and communicate our identity online. Unfortunately, the current landscape of digitised fashion practices seems to lack the type of self-governing attitude and urgency that is needed to move beyond commercially mandated platforms and systems that effectively diminish our digital agency. As transformative power seems to be the promise of the virtual, there is an inherent need to critically assess how digital representation of fashion manifests online, especially when these representations become key mediators within our collective and individual public construction of self. A number of collectives and practitioners that actively shape a counter movement, organized bottom up rather than through capital, are questioning this interdependence, applying inverted thinking and experimenting with alternative modes of engagement. Starting from the research question ‘How can critical fashion practitioners introduce and amplify digital agency within fashion’s virtual landscape through new strategies of aesthetic engagement?’, this project investigates the implications of fashion’s increasing shift towards the virtual realm and the ramifications created for digital agency. It centers on how identity is understood in the digital era, whether subjects have full agency while expected to construct multiple selves, and how online environments that enact as playgrounds for our identities might attribute to a distorted sense of self. By using the field of critical fashion as its site, and the rapidly expanding frontier of digital counter practices as a lens, the aim of this project is to contribute to larger changes within an increasingly global and digital society, such as new modes of consumerism, capital and cultural value.
