tag:blogger.com,1999:blog-46079112843665360692024-02-18T21:49:14.547-08:00Tech- Architecture- Design- CityInspiring work and research about design, architecture, art and theoryHuiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.comBlogger340125tag:blogger.com,1999:blog-4607911284366536069.post-70595692913262411242010-02-02T10:31:00.000-08:002010-02-02T10:35:48.905-08:00“How can architects relate to digital media?” TMC keynote at the ‘Day of the Young Architect’<div style="text-align: justify;"><span class="Apple-style-span" style=" color: rgb(51, 51, 51); line-height: 19px; font-family:verdana, tahoma, arial, sans-serif;"><span class="Apple-style-span" style="font-size: medium;">(</span><a href="http://martijnsdepot.com/mobilecity/wp-content/uploads/091206_report_BNA-dag1.pdf" style="padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-decoration: none; color: rgb(38, 94, 21); border-bottom-color: rgb(153, 102, 51); border-bottom-width: 1px; border-bottom-style: dashed; "><span class="Apple-style-span" style="font-size: medium;">download as PDF >></span></a><span class="Apple-style-span" style="font-size: medium;">)</span></span></div><meta charset="utf-8"><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:verdana, tahoma, arial, sans-serif;color:#333333;"><span class="Apple-style-span" style=" line-height: 19px;"><span class="Apple-style-span" style="font-size: medium;">
<br /></span></span></span></div><div><span class="Apple-style-span" style="font-family:verdana, tahoma, arial, sans-serif;color:#333333;"><span class="Apple-style-span" style=" line-height: 19px;font-size:-webkit-xxx-large;"><span class="Apple-style-span" style=" ;font-size:12px;"><div class="entry" style="padding-top: 0px; padding-right: 1em; padding-bottom: 0px; padding-left: 0px; margin-top: 1em; margin-right: 0px; margin-bottom: 1em; margin-left: 0px; "><p style="text-align: justify;padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0.7em; margin-right: 0px; margin-bottom: 0.7em; margin-left: 0px; line-height: 1.6em; "><strong style="padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><span class="Apple-style-span" style="font-size: medium;">How can architects relate to digital media?</span></strong></p><p style="text-align: justify;padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0.7em; margin-right: 0px; margin-bottom: 0.7em; margin-left: 0px; line-height: 1.6em; "><span class="Apple-style-span" style="font-size: medium;">The Mobile City keynote at the ‘Day of the Young Architect’: outcomes and further thoughts</span></p><p style="text-align: justify;padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0.7em; margin-right: 0px; margin-bottom: 0.7em; margin-left: 0px; line-height: 1.6em; "><span class="Apple-style-span" style="font-size: medium;">written by Michiel de Lange & Martijn de Waal</span></p><p style="text-align: justify;padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0.7em; margin-right: 0px; margin-bottom: 0.7em; margin-left: 0px; line-height: 1.6em; "><b><a href="http://www.themobilecity.nl/2009/12/06/how-can-architects-relate-to-digital-media-tmc-keynote-at-the-%E2%80%98day-of-the-young-architect%E2%80%99/"><span class="Apple-style-span" style="font-size: medium;">Read more </span></a></b></p></div></span></span></span></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-23706046160869139412010-01-27T19:40:00.000-08:002010-01-27T19:46:04.488-08:00URBAN COMPUTING AND LOCATIVE MEDIA<div style="text-align: justify;">Anne Galloway, of Purse Lip Square Jaw, has published her PhD.</div><div style="text-align: justify;">“The dissertation builds on available sociological approaches to understanding everyday life in the networked city to show that emergent technologies reshape our experiences of spatiality, temporality and embodiment. It contributes to methodological innovation through the use of data bricolage and research blogging, which are presented through experimental and recombinant textual strategies; and it contributes to the field of science and technology studies by bringing together actor-network theory with the sociology of expectations in order to empirically evaluate an area of cutting-edge design.”</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><a href="http://www.purselipsquarejaw.org/dissertation.html">Read more </a></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-64471282440889117402009-12-20T21:10:00.000-08:002009-12-20T21:11:43.661-08:00Bio Mapping / Emotion Mapping<meta charset="utf-8"><span class="Apple-style-span" style=" -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family:Times;font-size:medium;"><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><a href="http://www.softhook.com/"><span class="Apple-style-span" style="font-size: small;">by Christian Nold</span></a><span class="Apple-style-span" style="font-size: small;">
<br /></span></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><span class="Apple-style-span" style="font-size: small;">2004 - ongoing</span></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><span class="Apple-style-span" style="font-size: small;">Bio Mapping is revolutionary methodology and tool for visualising people's reactions to the external world.</span></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><span class="Apple-style-span" style="font-size: small;">Over the last five years, over 2000 people have taken part in community mapping projects in over 25 cities across the globe. In structured workshops, participants re-explore their local area with the use of a unique device invented by Christian Nold which records the wearer's Galvanic Skin Response (GSR), which is a simple indicator of emotional arousal in conjunction with their geographical location. On their return, a map is created which visualises points of high and low arousal.</span></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><span class="Apple-style-span" style="font-size: small;">The unique methodology of this project involves working with groups of people to interpret and analyse the data and adding annotating onto these individual emotion tracks. Through this process communal Emotion Maps of lots of people's emotion data are constructed which are packed full of personal observations and highlight the issues that people feel strongly about.</span></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><span class="Apple-style-span" style="font-size: small;">Over the last years Christian Nold has used this unique methodology and tool in many diverse contexts from art, community development, science research, architectural planning and large scale political consultations. Please get in touch if you would like to set a similar project in your area.
<br /></span></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><span class="Apple-style-span" style="font-size: small;">When we become aware of our own and each others unique body reactions to the environment we can create a better world!</span></p><p class="style1" style="font-family: Verdana, Arial, Helvetica, sans-serif; "></p><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: small;">Read </span><a href="http://emotionalcartography.net/"><span class="Apple-style-span" style="font-size: small;">Emotional Cartography</span></a><span class="Apple-style-span" style="font-size: small;"> edited by Christian Nold - free PDF download</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: small;">
<br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: small;">Some examples:</span></div><p></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><a href="http://stockport.emotionmap.net/"><span class="Apple-style-span" style="font-size: small;">Stockport Emotion Map</span></a></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><a href="http://www.paris.emotionmap.net/"><span class="Apple-style-span" style="font-size: small;">East Paris Emotion Map</span></a></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><a href="http://www.sf.biomapping.net/"><span class="Apple-style-span" style="font-size: small;">San Francisco Emotion Map</span></a></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><a href="http://www.emotionmap.net/"><span class="Apple-style-span" style="font-size: small;">Greenwich Emotion Map</span></a></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><a href="http://www.publicbiopsy.net/"><span class="Apple-style-span" style="font-size: small;">Brentford Biopsy</span></a></p><p class="style1" style="font-family: Verdana, Arial, Helvetica, sans-serif; "> </p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><span class="Apple-style-span" style="font-size: small;">Swords > Ploughshares > Swords
<br /></span></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><span class="Apple-style-span" style="font-size: small;">Unfortunately, in recent years there have been so many people, companies and institutions who have tried to copy or imitate the Bio Mapping device and use it for banal, exploitative or anti-social purposes.</span></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><span class="Apple-style-span" style="font-size: small;">For this reason I would like to make it clear that the Bio Mapping device and Emotion Mapping concept are Copyrighted and Trademarked!</span></p><p class="style1" style="text-align: justify;font-family: Verdana, Arial, Helvetica, sans-serif; "><span class="Apple-style-span" style="font-size: small;">For other work and more information please look at:
<br /></span></p><p class="style1" style="font-family: Verdana, Arial, Helvetica, sans-serif; "></p><div style="text-align: justify;"><a href="http://www.softhook.com/"><span class="Apple-style-span" style="font-size: small;">www.softhook.com</span></a></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: small;">
<br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: small;">christian at softhook dot com</span></div><p></p></span>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-44533216942723987472009-12-18T23:20:00.000-08:002009-12-18T23:24:07.418-08:00ME++ The Cyborg Self and the Networked City<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=9,0,0,0" width="481" height="361" id="Main" align="middle"><param name="allowScriptAccess" value="always" /><param name="movie" value="http://mitworld.mit.edu/flash/player/Main.swf?host=cp58255.edgefcs.net&flv=mitw-00162-authors-mitchell-meplusplus-13nov2003&preview=http://mitworld.mit.edu//uploads/mitwstill-00162-authors-mitchell-meplusplus-13nov2003.jpg" /><param name="quality" value="high" /><param name="bgcolor" value="#000000" /><embed src="http://mitworld.mit.edu/flash/player/Main.swf?host=cp58255.edgefcs.net&flv=mitw-00162-authors-mitchell-meplusplus-13nov2003&preview=http://mitworld.mit.edu//uploads/mitwstill-00162-authors-mitchell-meplusplus-13nov2003.jpg" quality="high" bgcolor="#000000" width="481" height="361" name="Main" align="middle" allowScriptAccess="always" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer" /></object>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-6132235098860186012009-12-16T20:07:00.000-08:002009-12-16T20:10:18.105-08:00Sensing Space (Architecture Positioning) (Paperback)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJincWlkBlSp3Feqsb2VF1YwS59BFZSS-vviwpJiOLOY9RZPhlb0gA2mv5h4euDOHblIWI4J5_bwjmKkJX88b9X-r_aNLVMraXowLTXS__ZL_Trt7tYEWIhTwGiFJnZ6S2UIuIpc7FgaA/s1600-h/sensingspace_englisch.png"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJincWlkBlSp3Feqsb2VF1YwS59BFZSS-vviwpJiOLOY9RZPhlb0gA2mv5h4euDOHblIWI4J5_bwjmKkJX88b9X-r_aNLVMraXowLTXS__ZL_Trt7tYEWIhTwGiFJnZ6S2UIuIpc7FgaA/s400/sensingspace_englisch.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5416052254964156018" /></a>
<br /><meta charset="utf-8"><span class="Apple-style-span" style=" ;font-family:verdana, arial, helvetica, sans-serif;font-size:small;">The incorporation of new technology into architecture continues to define our everyday lives, whether it be tiny sensors woven almost invisibly into materials, buildings which communicate with their surroundings via the facades, or "intelligent" houses that adapt to fit their inhabitants. <i>Sensing Space</i> investigates the potential of interactive technologies as an integral component of contemporary architecture.</span><div><span class="Apple-style-span" style=" ;font-family:verdana, arial, helvetica, sans-serif;font-size:small;">
<br /></span></div><div><span class="Apple-style-span" style="font-family:verdana, arial, helvetica, sans-serif;font-size:small;"><a href="http://www.amazon.com/Sensing-Space-Architecture-Positioning-Heinich/dp/393963395X/ref=sr_1_16?ie=UTF8&s=books&qid=1261022781&sr=8-16">Amazon</a></span></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-36601581986714075092009-12-16T20:02:00.001-08:002009-12-16T20:02:40.346-08:00Appendix 3 - Sample of a Proposal for a Thesis or Dissertation<a href="http://www.fiu.edu/ugs/regulations_manual/Appendix3.htm">Link</a>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-22921289729143151062009-12-16T19:31:00.000-08:002009-12-16T19:34:04.378-08:00The Proposal Writing Guide: How to Write a Winning Thesis ProposalExcepts from an article about how to write a thesis proposal — written by Dr. Wendy Carter for FinishLine, the free monthly newsletter of TA-DA!™, which provides tips, tools, and techniques for completing a thesis or dissertation<br /><br /><a href="http://www.tadafinallyfinished.com/thesis-proposal.html">LINK</a>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-33058839164611735412009-12-11T16:24:00.000-08:002009-12-11T16:32:05.627-08:00Will ubiquitous wireless change the nature of urban spaces?<div style="text-align: justify;"><a href="http://www.muniwireless.com/2009/12/02/will-ubiquitous-wireless-change-the-nature-of-urban-spaces/">Link</a></div><div style="text-align: justify;"><span class="Apple-style-span" style=" color: rgb(153, 153, 153); line-height: 18px; font-family:'Trebuchet MS', 'Lucida Grande', Verdana, Arial, sans-serif;"><span class="Apple-style-span" style="font-size: medium;">December 2, 2009 at 10:05 AM by </span><a href="http://www.blogger.com/post-edit.g?blogID=4607911284366536069&postID=3305883916461173541" style="color: rgb(84, 92, 71); "><span class="Apple-style-span" style="font-size: medium;">Esme Vos</span></a></span></div><div style="text-align: justify;">I am attending the Supernova Conference in San Francisco where the theme is “Change Networks” or how pervasive connectivity has changed how we relate to one another. We usually think of pervasive connectivity in the online context, but how does pervasive connectivity alter physical space, in particular, cities and the human experience the city? That was the subject of an intriguing talk entitled “Public Objects — Connected Things and Civic Responsibilities in the Networked City” by Adam Greenfield (Nokia).</div><div style="text-align: justify;">Greenfield began his talk by pointing out that by the end of 2012, 20 percent of non-video Internet traffic will come from networked sensors, generating many of us call machine-to-machine communications, although these communications can also occur between buildings, bus shelters and other objects we do not usually refer to as machines.</div><div style="text-align: justify;">Greenfield’s thesis is that networked objects – be they machines, buildings or other urban structures – are changing the way humans experience the urban space and act against the way cities have evolved. The move towards object-to-object communications seems inevitable given that IPv6 provides a seemingly infinite number of IP addresses so that urban space will soon be “addressable, queryable and scriptable.”</div><div style="text-align: justify;">One example cited by Greenfield is London Tower Bridge which has its own Twitter account and tweets its status: if the bridge is open, closed, etc. Soon, every object will be alerting us, addressing us, and perhaps monitoring us as well. But where does this lead? Is this what are cities for?</div><div style="text-align: justify;">Cities have traditionally been havens of refuge for people escaping the cloying intimacy of small towns and villages. They have always been places where people took on another identity to build a new life and create better opportunities for themselves. They have also been sanctuaries by people called “revolutionaries” and hunted down by those wielding power. In cities it has been easy for these people to blend in and “disappear”. What happens when there’s no place to hide?</div><div style="text-align: justify;">But plausible deniability and anonymity are becoming more difficult, says Greenfield, and this is not what cities are for. Greenfield refers to Jane Jacobs’ “eyes on the street” philosophy of urban planning where people are around watching out for their neighborhood, but not delving too much into the lives of their neighbors. He cites a small building in New York where residents knew one another via informal greetings in hallways and elevators. They lived together quite peacefully in that fashion until someone in the building decided to set up a forum/social network for the residents. Suddenly, the neighbors began finding out more intimate details about their neighbors and within six months, many of the residents moved out. The turnover of residents in this building rose dramatically. The key to living together in close quarters with so many people lies in not knowing too much about them.</div><div style="text-align: justify;">Greenfield moved on to a more disturbing image of a city where the absence of anonymity infringes upon people’s rights to privacy and their ability to dissent from those who wield political and economic power. In a society where photos are indexable, taggable and uploaded to the Internet, your face can always be found and detected not just by humans, but by facial recognition software. This software is already being used in many cities’ wireless video surveillance projects. Greenfield argues that imposing the logic of networked sociality (e.g. of the Facebook and MySpace variety) onto a city destroys the urban experience.</div><div style="text-align: justify;">A question we must ask is this: Who benefits from all this data gathering? Greenfield says that it is those who wield political and economic power who gain from the data that we generate through our movements, our photographic imprints, our own activity on networks, both social and physical. He urges that this data not be monopolized by a few companies, but that they be available for all to use via open source/creative commons licenses. Data should inspire local grassroots control, not control of people by a few who benefit disproportionately at the expense of the public.</div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-1131547123226889482009-12-11T13:49:00.000-08:002009-12-11T13:50:16.473-08:00SlideShare: Augmenting the City<div style="width:425px;text-align:left" id="__ss_1393116"><a style="font:14px Helvetica,Arial,Sans-serif;display:block;margin:12px 0 3px 0;text-decoration:underline;" href="http://www.slideshare.net/ftemmerm/alessandro-aurigi-augmented-urban-spaces" title="Alessandro Aurigi: Augmented Urban Spaces">Alessandro Aurigi: Augmented Urban Spaces</a><object style="margin:0px" width="425" height="355"><param name="movie" value="http://static.slidesharecdn.com/swf/ssplayer2.swf?doc=aurigi-brussels2009-090506032929-phpapp01&stripped_title=alessandro-aurigi-augmented-urban-spaces"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://static.slidesharecdn.com/swf/ssplayer2.swf?doc=aurigi-brussels2009-090506032929-phpapp01&stripped_title=alessandro-aurigi-augmented-urban-spaces" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="355"></embed></object><div style="font-size:11px;font-family:tahoma,arial;height:26px;padding-top:2px;">View more <a style="text-decoration:underline;" href="http://www.slideshare.net/">presentations</a> from <a style="text-decoration:underline;" href="http://www.slideshare.net/ftemmerm">Frederik Temmermans</a>.</div></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-31779945827658104112009-12-05T23:42:00.000-08:002009-12-05T23:47:54.043-08:00bluetoothDesktop: Bluetooth Library for Processing<a href="http://www.extrapixel.ch">Link</a>: extrapixel.ch<div><br /></div><div><span class="Apple-style-span" style="font-family: Verdana, Geneva, Arial, Helvetica, sans-serif; font-size: 11px; "><h2 style="font-size: 15px; font-weight: normal; color: rgb(153, 102, 102); padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Reference</h2><br /><br /><em>bluetoothDesktop</em> allows Processing sketches to send and receive data via Bluetooth wireless networks. It is an adapted version of Mobile Processing bluetooth library, written by <a href="http://www.francisli.com/" style="color: rgb(221, 102, 0); font-size: 11px; background-color: transparent; ">Francis Li</a>. The code and documentation material (except the examples) are almost entirely his work. Classes and methods are almost the same as in <a href="http://mobile.processing.org/reference/libraries/bluetooth/" style="color: rgb(221, 102, 0); font-size: 11px; background-color: transparent; ">Mobile Processing Bluetooth library</a>.<br /><br /><em>bluetoothDesktop</em> works great together with mobile phones using Mobile Processing and its bluetooth library, but should be able to communicate with any other Bluetooth enabled device.<br /><br />Bluetooth is a radio standard for short-range "personal area networks." The standard includes communication protocols for discovering other devices and the software services running on those devices.<br /><br />Using this library, a Processing sketch running on a computer with a JSR-82 implementation can connect to other Bluetooth devices as well as act as a service that other devices can connect to.</span></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-36957485407895539042009-12-02T21:02:00.001-08:002010-02-17T18:39:30.723-08:00Excerpt from the book - Telecity : Information Technology and Its Impact on City Form<div style="text-align: justify;"><span class="Apple-tab-span" style="white-space:pre"> </span>•<span class="Apple-tab-span" style="white-space:pre"> </span>The physicalist perspective: The image of the city / Excerpt from the book - Telecity : Information Technology and Its Impact on City Form</div><div style="text-align: justify;"><span class="Apple-tab-span" style="white-space:pre"> </span>•<span class="Apple-tab-span" style="white-space:pre"> </span>Designers and physical planners view the city through its materialistic time-space relationships within social symbolism. City form is the result of various configurations of these relationships expressed in everyday city life. Lynch(1960), who established the conceptual basis for the study of urban design, identified the five basic components of physical form. The visual analysis of a place is expressed in terms of paths, edges, nodes, districts, and landmarks.</div><div style="text-align: justify;"><span class="Apple-tab-span" style="white-space:pre"> </span>•<span class="Apple-tab-span" style="white-space:pre"> </span>Path accommodate mode and sense of movement. While moving through them, people observe the city (street patterns and transportation networks). Along them, other physical elements are arranged and related to interactions and social behavior. Urban patterns, generally referred to as paths, consist of the network of habitual or potential lines of movement through the urban complex and as such, are the most potent means of achieving an ordered whole. Nodes are strategic foci that are typically junctions of paths or places for important activity. Because directional decisions must be made at junction, people pay greater attention to such places and perceive nearby elements with more clarity than normal. </div><div style="text-align: justify;"><span class="Apple-tab-span" style="white-space:pre"> </span>•<span class="Apple-tab-span" style="white-space:pre"> </span>Elements of the city form overlap and penetrate one another. None exists in isolation, but always in relation to its surroundings. These physical elements compose a "language" to understand and manipulate the urban environment. To understand a visual element, an object should exhibit a sense of oneness, structured with other elements, and have meaning to the city inhabitants. The perceived elements and their various structures construct in cognitive schema that identifies the city. City form is reflected in our minds as mental maps. Nearly every sense is in operation, and the image is the composite of them all. </div><div style="text-align: justify;"><span class="Apple-tab-span" style="white-space:pre"> </span>•<span class="Apple-tab-span" style="white-space:pre"> </span>The image of the city is the collective overlapped images of individuals.</div><div style="text-align: justify;"><span class="Apple-tab-span" style="white-space:pre"> </span>•<span class="Apple-tab-span" style="white-space:pre"> </span>Since the image of the city is temporal creation, the change of perception occurs with any new state, mood, or type of activity practiced by the city' inhabitants. Speed of action and purpose of movement may alter the observer's perception in gathering urban elements to create a modified image of the environment. A vivid example is the invention of cars. </div><div style="text-align: justify;"><span class="Apple-tab-span" style="white-space:pre"> </span>•<span class="Apple-tab-span" style="white-space:pre"> </span>Nodes become the most important element in the image of telecity. The image will depend mainly on the experience of its population through places of interaction rather than through movement in city paths. Nodes become the main components in structuring the image on places of action. The image will be related to the perceived image of location according to the customized observer. </div><div style="text-align: justify;"><span class="Apple-tab-span" style="white-space:pre"> </span>•<span class="Apple-tab-span" style="white-space:pre"> </span>To enhance the visual image of the city, it is crucial to concentrate activities in nodes and public spaces. Environmental interpretation is dominated by the perception of virtual location of teleactivities. </div><div style="text-align: justify;"><span class="Apple-tab-span" style="white-space:pre"> </span>•<span class="Apple-tab-span" style="white-space:pre"> </span>The image of the telecity does not depend on physical path patterns or hierarchical nodes, but rather on versatile nodal structures analogy to neurological nodes in the brain. If some are blocked, an alternate exists.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-24488671934908447152009-12-02T13:26:00.000-08:002009-12-02T13:45:38.249-08:00myGlobe project:a navigation service based on cognitive maps<object width="400" height="225"><param name="allowfullscreen" value="true"><param name="allowscriptaccess" value="always"><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=6747952&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1"><embed src="http://vimeo.com/moogaloop.swf?clip_id=6747952&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="225"></embed></object><p><a href="http://vimeo.com/6747952">myGlobe project:a navigation service based on cognitive maps</a> from <a href="http://vimeo.com/user1140102">fumitaka ozaki</a> on <a href="http://vimeo.com">Vimeo</a>.</p><div><br /></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-30893494886762437322009-12-02T13:24:00.000-08:002009-12-02T13:25:47.928-08:00bikeware<object width="400" height="225"><param name="allowfullscreen" value="true"><param name="allowscriptaccess" value="always"><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=2781139&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1"><embed src="http://vimeo.com/moogaloop.swf?clip_id=2781139&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="225"></embed></object><p><a href="http://vimeo.com/2781139"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-weight: bold;">bikeware</span></span></a><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-weight: bold;"> from </span></span><a href="http://vimeo.com/user1140102"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-weight: bold;">fumitaka ozaki</span></span></a><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-weight: bold;"> on </span></span><a href="http://vimeo.com/"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-weight: bold;">Vimeo</span></span></a><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-weight: bold;">.</span></span></p><div style="text-align: justify;"><span class="Apple-style-span" style=" ;font-family:Times;"><span class="Apple-style-span" style=" line-height: 24px; font-family:arial;"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-weight: bold;">Bikeware is a network bicycle that can enjoy road race with others who run there at different time.The datum of users will be recorded by GPS on the </span></span><a href="http://Bikeware.Using/" target="_blank" rel="nofollow" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; text-decoration: none; outline-style: none; outline-width: initial; outline-color: initial; cursor: pointer; "><span class="Apple-style-span" style="color: rgb(0, 0, 0);"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-weight: bold;">Bikeware.Using</span></span></span></a><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-weight: bold;"> this Bikeware, users will be able to compete with other riders who use this device. The routine process of going to work turns into a road race with other riders in past and future.The rule of the race is very easy and simple. The first one to cross the goal line is the winner. Route to the goal is depended on each rider so you can choose any route to reach the goal. The secret route that only you know controls victory or defeat.</span></span></span></span><br /></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-80318114957630024502009-12-02T08:56:00.000-08:002009-12-02T08:57:22.726-08:00Cityware - Urban Design and Pervasive Systems<div style="text-align: justify;"><span class="Apple-style-span" style="color: rgb(51, 51, 51); font-family: Arial; font-size: 14px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; ">The goal of Cityware is to develop theory, principles, tools and techniques for the design, implementation and evaluation of city-scale pervasive systems as integral facets of the urban landscape. While architecture has shaped the built environment to satisfy urban dwellers aesthetically and to accommodate their functional needs such as face-to-face interactions and travel, pervasive systems shape electronically mediated interactions in urban space, including use of both fixed and mobile displays and wireless communication. A major issue is space and its relationship with behaviour: how do we design the space created by fusing electronically created interaction space with architecturally created physical space? Another major issue is infrastructure: how do we provide interaction and interoperability that scales up to city-scale pervasive systems, while ensuring that they function appropriately and merge aesthetically with urban spaces, materials, forms and uses? </span><br /></div><span class="Apple-style-span" style="color: rgb(51, 51, 51); font-family: Arial; font-size: 14px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Cityware is a multidisciplinary research project, integrating the disciplines of architecture and urban design, human-computer interaction and distributed systems. Cityware is funded through the UK Engineering and Physical Sciences Research Council’s WINES programme, with support from the Cityware industrial partners. Cityware began in October 2005 and runs until March 2009.<br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><a href="http://www.cityware.org.uk/index.php?option=com_frontpage&Itemid=1">LINK</a></div></span>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-57116001246002106122009-11-26T02:19:00.000-08:002009-11-26T02:23:00.588-08:00Augmented Reality Library in Processing<span class="Apple-style-span" style=" ;font-family:tahoma;"><span class="Apple-style-span" style="font-size: medium;">A very primitive and limited </span><a href="http://www.processing.org/" style="color: rgb(102, 102, 102); font-weight: bold; text-decoration: none; "><span class="Apple-style-span" style="font-size: medium;">Processing</span></a><span class="Apple-style-span" style="font-size: medium;"> library </span><a href="http://www.bryanchung.net/data/simpleARToolKit.zip" style="color: rgb(102, 102, 102); font-weight: bold; text-decoration: none; "><span class="Apple-style-span" style="font-size: medium;">simpleARToolKit</span></a><span class="Apple-style-span" style="font-size: medium;"> made as a wrapper from another open source project </span><a href="http://sourceforge.net/projects/jartoolkit/" style="color: rgb(102, 102, 102); font-weight: bold; text-decoration: none; "><span class="Apple-style-span" style="font-size: medium;">jARToolKit</span></a><span class="Apple-style-span" style="font-size: medium;">which is a Java port of the original </span><a href="http://www.hitl.washington.edu/artoolkit/" style="color: rgb(102, 102, 102); font-weight: bold; text-decoration: none; "><span class="Apple-style-span" style="font-size: medium;">ARToolKit</span></a><span class="Apple-style-span" style="font-size: medium;">. It only works with an OpenGL sketch in Windows. The download includes the following two example sketches.</span></span><div><span class="Apple-style-span" style=" ;font-family:tahoma;"><a href="http://www.bryanchung.net/?p=227"><span class="Apple-style-span" style="font-size: medium;">Link</span></a></span></div><div><span class="Apple-style-span" style=" ;font-family:tahoma;"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/AeLq6231rgM&color1=0xb1b1b1&color2=0xcfcfcf&hl=en_US&feature=player_embedded&fs=1"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/AeLq6231rgM&color1=0xb1b1b1&color2=0xcfcfcf&hl=en_US&feature=player_embedded&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="425" height="344"></embed></object><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family: tahoma; "><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family: tahoma; font-size: 48px;"><span class="Apple-style-span" style="color: rgb(51, 51, 51); font-family: 'Myriad Pro'; line-height: 58px; "><span class="Apple-style-span" style="font-size: medium;"><a href="http://drawlogic.com/2009/04/30/augmented-reality-artoolkit-for-processing/" rel="bookmark" title="Permanent Link: Augmented Reality ARToolkit for Processing" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-family: inherit; vertical-align: baseline; color: rgb(51, 51, 51); text-decoration: none; ">Augmented Reality ARToolkit for Processing</a></span></span><br /></span></div><div><span class="Apple-style-span" style="color: rgb(51, 51, 51); font-family: 'Myriad Pro'; line-height: 58px;"><span class="Apple-style-span" style="color: rgb(17, 17, 17); font-family: Georgia; line-height: 20px; "><p style="margin-top: 0px; margin-right: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-size: 100%; font-family: inherit; vertical-align: baseline; margin-bottom: 10px; ">The <a href="http://www.bryanchung.net/?page_id=415" target="_blank" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-size: 100%; font-family: inherit; vertical-align: baseline; color: rgb(103, 184, 218); text-decoration: underline; ">ARToolkit has been ported to be used with Processing</a>.</p><p style="margin-top: 0px; margin-right: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-size: 100%; font-family: inherit; vertical-align: baseline; margin-bottom: 10px; ">Augmented Reality and the base of <a href="http://www.hitl.washington.edu/artoolkit/" target="_blank" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-size: 100%; font-family: inherit; vertical-align: baseline; color: rgb(103, 184, 218); text-decoration: underline; ">the original ARToolkit</a> has taken <a href="http://drawlogic.com/2008/11/17/as3-augmented-reality-in-flash-and-papervision-3d-flartoolkit/" target="_blank" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-size: 100%; font-family: inherit; vertical-align: baseline; color: rgb(103, 184, 218); text-decoration: underline; ">the flash world by storm with the FLARToolkit</a> and really the speed updates of the AVM2 in Flash9 and Flash10 to be able to pull off the OpenCV calculations needed on the bitmap data from each frame of a camera. It has been around quite some time but now web based engines such as Flash and now Processing can take advantage of this awesome technology.</p><p class="entry-title full-title" style="margin-top: 0px; margin-right: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-size: 100%; font-family: inherit; vertical-align: baseline; margin-bottom: 10px; ">The <a title="Permanent link to Simple ARToolKit Library for Processing (PC)" rel="bookmark" rev="post-415" href="http://www.bryanchung.net/index.php/?page_id=415" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-size: 100%; font-family: inherit; vertical-align: baseline; color: rgb(103, 184, 218); text-decoration: underline; ">Simple ARToolKit Library for Processing (PC)</a> is just a basic port of single marker AR support and it currently only runs on windows.<a title="Permanent link to Simple ARToolKit Library for Processing (PC)" rel="bookmark" rev="post-415" href="http://www.bryanchung.net/index.php/?page_id=415" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-size: 100%; font-family: inherit; vertical-align: baseline; color: rgb(103, 184, 218); text-decoration: underline; "><br /></a></p><p style="margin-top: 0px; margin-right: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-size: 100%; font-family: inherit; vertical-align: baseline; margin-bottom: 10px; "><a href="http://www.cleoag.ru/2009/04/14/processing-artoolkit-library-test-video/" target="_blank" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-size: 100%; font-family: inherit; vertical-align: baseline; color: rgb(103, 184, 218); text-decoration: underline; ">Den Ivanov did some cool experiments with this kit</a> but adding the capability to do multiple markers. In his videos the processing runtime seems to process the render pretty quickly. It seems that most Flash AR is around like 5-10 frames per second for the detection.</p><p style="margin-top: 0px; margin-right: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-weight: inherit; font-style: inherit; font-size: 100%; font-family: inherit; vertical-align: baseline; margin-bottom: 10px; "><a href="http://drawlogic.com/2009/04/30/augmented-reality-artoolkit-for-processing/">Link</a></p></span></span></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-88879508539652207622009-11-22T14:12:00.000-08:002009-11-22T14:14:20.291-08:00'The Urban Question' and 'The Rise of the Network Society'<div style="text-align: justify;">This text was written in 1997 and revised in June 1999 as part of the theses project 'The Informational City and the Street as Urban Form'. It takes as its startings points two compiled groups of quotations from Castells' work in the 1970s and the 1990s respectively. The development of Castells' thinking through 20 years and the tensions between his early and later works are at the focus of this tentative overview.</div><div style="text-align: justify;"> </div><div style="text-align: justify;"> </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span class="Apple-style-span" style="color: rgb(102, 0, 0);">Castells: 1972/1977:</span></div><div style="text-align: justify;">'Urban Culture'...is neither a concept nor a theory. It is...a myth...(which)...provide the key-words of an ideology of modernity, assimilated, in an ethnocentric way, to the social forms of liberal capitalism ... it suggest the hypothesis of a production of social content (the urban) by a trans-historical form (the city) ...(but) the city creates nothing...The link between space, the urban and a certain system of behaviour regarded as typical of 'urban culture' has no other foundation than an ideological one ...From this point of view, the problem of the definition (or redefinition) of the urban does not even arise....Such a tendency helps to reinforce the strategic role of urbanism as a political ideology and as a professional practice. (Castells: The Urban Question, 1977: p 83, 89, 90, 431, 441, 463)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span class="Apple-style-span" style="color: rgb(102, 0, 0);">Castells: 1996:</span></div><div style="text-align: justify;">The circuits of electronic impulses is the material foundation of the information age just as the city in the merchant society and the region in the industrial society...information is the key ingredient of our social organisation...it is the beginning of a new existence...marked by the autonomy of culture vis-à-vis the material basis... (Castells: The Rise of the Network Society, 1996: p 412, 477-78)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span class="Apple-style-span" style="color: rgb(153, 0, 0);">The urban question and my question</span></div><div style="text-align: justify;">When Manuel Castells, in 'The Urban Question' said that 'urban culture' and 'urbanism' had no other foundation than an ideological one, what was his reasons, context and purpose - and can my project on 'urbanity' survive his critique?</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">If the urban' is purely ideological, my case will not hold. It is therefore of decesive importance to confront Castell's claims.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Here in the beginning it should also be mentioned that 'ideological' in this context has to be understood as a system of ideas, which justifies or legitimates the subordination of one group by another, i.e. knowledge and representations characteristic of or in the interest of a class. Castell's relates to a Marxist understanding of ideology that is related to false consciousness.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><a href="http://homepage.mac.com/bogronlund/get2net/Castells.html">To read full content</a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"> </div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-12122978647799395222009-11-21T23:59:00.000-08:002009-11-22T00:00:37.931-08:00Urban Space, Technology & Community<span class="Apple-style-span" style="color: rgb(68, 68, 68); font-family: 'Lucida Grande'; font-size: 10px; white-space: pre; "><div style="width:425px;text-align:left" id="__ss_936621"><a style="font:14px Helvetica,Arial,Sans-serif;display:block;margin:12px 0 3px 0;text-decoration:underline;" href="http://www.slideshare.net/lcarroli/urban-space-tech-comm-presentation" title="Urban Space, Technology & Community">Urban Space, Technology & Community</a><object style="margin:0px" width="425" height="355"><param name="movie" value="http://static.slidesharecdn.com/swf/ssplayer2.swf?doc=urbanspacetechcomm-1232525223303036-1&stripped_title=urban-space-tech-comm-presentation"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://static.slidesharecdn.com/swf/ssplayer2.swf?doc=urbanspacetechcomm-1232525223303036-1&stripped_title=urban-space-tech-comm-presentation" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="355"></embed></object><div style="font-size:11px;font-family:tahoma,arial;height:26px;padding-top:2px;">View more <a style="text-decoration:underline;" href="http://www.slideshare.net/">presentations</a> from <a style="text-decoration:underline;" href="http://www.slideshare.net/lcarroli">linda carroli</a>.</div></div></span>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-45676678541559210462009-11-21T20:12:00.000-08:002009-11-21T20:13:44.464-08:00The City of Collective Memory: Its Historical Imagery and Architectural Entertainments<span class="Apple-style-span" style="font-family: verdana; font-size: 13px; "><div class="productDescriptionWrapper" style="margin-top: 0px; margin-right: 0px; margin-bottom: 1em; margin-left: 0px; "><div style="text-align: justify;"><span class="Apple-style-span" style="font-weight: bold; ">Winner of the 1994 Lewis Mumford Prize given by the Society for American City and Regional Planning History (SACRPH).</span><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Christine Boyer faces head-on the crisis of the city in the late twentieth century, taking us on a fascinating journey through theaters and museums, panoramas and maps, buildings and institutions that are used to construct a new reading of the city as a system of representation, a complex cultural entity. Boyer brings together elements and concepts from geography, critical theory, architecture, literature, and painting in a synthetic and readable work that is broad in its reach and original in its insights. What finally emerges is a sense of the city reinvigorated with richness and potential.<br /></div><div style="text-align: justify;"><br /></div><i><div style="text-align: justify;"><span class="Apple-style-span" style="font-style: normal; "><i>The City of Collective Memory</i> describes a series of different visual and mental models by which the urban environment has been recognized, depicted, and planned. Boyer identifies three major "maps": one common to the traditional city—the city as a work of art; one characteristic of the modern city—the city as panorama; and one appropriate to the contemporary city—the city as spectacle. It is a richly illustrated and documented study that pays considerable attention to the normally hidden and unspoken codes that regulate the order imposed on and derived from the city. A wide range of secondary historical literature and theoretical work is considered, with evident debts to structuralist analysis of urban form represented by Aldo Rossi, as well to much post-structuralist criticism from Walter Benjamin to the present.</span><br /></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-style: normal;"><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-family: 'Lucida Grande'; font-size: 11px; white-space: pre; "><iframe frameborder="0" scrolling="no" style="border:0px" src="http://books.google.com/books?id=c19GrhVBV90C&lpg=PP1&dq=related%3AISBN1568980485&pg=PP1&output=embed" width="500" height="500"></iframe></span><br /></span></div></i></div></span>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-3737561986600455562009-11-18T14:29:00.000-08:002009-11-18T14:30:51.508-08:00Processing Tutorial #4<div>Learn how to use FFT and the minim plugin in Processing.</div><div>The fourth Processing tutorial from Andy Best.<br /></div><div><br /></div><div><span class="Apple-style-span" style="color: rgb(100, 95, 94); font-family: verdana; font-size: 10px; white-space: pre-wrap; "><object width="400" height="300"><param name="allowfullscreen" value="true"><param name="allowscriptaccess" value="always"><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=7586074&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1"><embed src="http://vimeo.com/moogaloop.swf?clip_id=7586074&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="300"></embed></object><p><a href="http://vimeo.com/7586074">Processing Tutorial #4</a> from <a href="http://vimeo.com/switchboard">Switchboard</a> on <a href="http://vimeo.com">Vimeo</a>.</p></span><br /></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-26241057424579100332009-11-16T19:08:00.000-08:002009-11-16T19:10:26.039-08:00Urban Interaction Design<div style="text-align: justify;"><a href="http://www.nightsoil.co.uk/blog/2005/06/20/urban-interaction-design/">Link</a><br /></div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">As a reaction to an increasingly information saturated environment, approaching the critisism and reaction 'real-world' physical design with the same language and criteria that we use describe 'virtual' media could help provide insights into both. The urban information space is, like all other media, mostly controlled by capitalism (advertisng or websites) and government (highway signage and government websites).</div><div style="text-align: justify;">As the public becomes the user of these spaces, graphiti and flyposting can be seen as no different from leaving a comment on a blog or guestbook or partaking in a wiki. Some forms of hacking equate to media activism, and represent a revolutionary spirit, or even the transformation of pseudo-public space away from a meer information-market, into something approaching art (whilst others are little more than incoherent srawlings).</div></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-64307237718911387732009-11-14T23:44:00.000-08:002009-11-14T23:45:30.225-08:00The Human experience of space and place<span class="Apple-style-span" style="font-family: 'Lucida Grande'; font-size: 11px; white-space: pre; "><iframe frameborder="0" scrolling="no" style="border:0px" src="http://books.google.com/books?id=T0oOAAAAQAAJ&lpg=PP1&dq=place%20space&pg=PP1&output=embed" width="500" height="500"></iframe></span>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-30783244651299859442009-11-14T23:24:00.000-08:002009-11-14T23:26:11.752-08:00Gestalt Psychology<div><a href="http://en.wikipedia.org/wiki/Gestalt_psychology">Wiki </a></div>Gestalt psychology or gestaltism (German: Gestalt - "form" or "whole") of the Berlin School is a theory of mind and brain positing that the operational principle of the brain is holistic, parallel, and analog, with self-organizing tendencies, or that the whole is different from the sum of its parts. The Gestalt effectrefers to the form-forming capability of our senses, particularly with respect to the visual recognition of figures and whole forms instead of just a collection of simple lines and curves. In psychology, gestaltism is often opposed to structuralism and Wundt. Often, the phrase "The whole is greater than the sum of the parts" is used when explaining Gestalt theory.<div><br /></div><div><br /></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-52685725503120972992009-11-10T01:51:00.000-08:002009-11-10T01:52:03.187-08:00How to Live in a City<div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial; font-size: 12px; ">Have you ever wondered what makes some cities better than others? In public access television pioneer George C. Stoney's 'How to Live in a City,' the argument is that it all depends on the quality of the public space. </span><br /></div><span class="Apple-style-span" style="font-family: Arial; font-size: 12px; "><div style="text-align: justify;"><br /></div><div style="text-align: justify;">New York City folk singer and architectural critic Eugene Ruskin guides us through unique locales which illustrate the fine line between organic and sterile urban spaces. It all depends on a place's ability to attract and sustain, even if only momentarily, a sense of community. <br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">And while some spaces succeed and others fail, one may wonder whether if it was designer's intention to drive people away, or not. <br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Aside from amusingly hep score and the nostalgic longing for Old New York that the film leaves you with, Stoney & Ruskin's How to Live in a City presents a considerably modern approach to documentary filmmaking, especially when compared to other productions of the time.<br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">See more at:<br /></div><div style="text-align: justify;"><a href="http://www.weirdovideo.com/" target="_blank" title="http://www.weirdovideo.com" rel="nofollow" dir="ltr" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-size: 100%; background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: transparent; color: rgb(0, 51, 204); text-decoration: none; background-position: initial initial; "><span class="Apple-style-span" style="color: rgb(0, 0, 0); "></span></a><a href="http://www.weirdovideo.com/" target="_blank" title="http://www.weirdovideo.com" rel="nofollow" dir="ltr" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; font-size: 100%; background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: transparent; color: rgb(0, 51, 204); text-decoration: none; background-position: initial initial; ">http://www.weirdovideo.com</a><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: 10px; white-space: pre; "><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/2Je6Dko6mm4&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/2Je6Dko6mm4&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span><br /></div></span>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-7508131383871813242009-11-10T00:37:00.001-08:002009-11-10T01:15:53.996-08:00The Social Life of Small Urban Spaces - Part 1<span class="Apple-style-span" style=" white-space: pre; font-family:Arial;font-size:10px;"><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><object width="425" height="344"></object><br /></div></span><div style="text-align: justify;"><span class="Apple-style-span" style=" -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family:Arial;font-size:12px;">This witty and original film is about the open spaces of cities and why some of them work for people while others don't. Beginning at New York's Seagram Plaza, one of the most used open areas in the city, the film proceeds to analyze why this space is so popular and how other urban oases, both in New York and elsewhere, measure up. Based on direct observation of what people actually do, the film presents a remarkably engaging and informative tour of the urban landscape and looks at how it can be made more hospitable to those who live in it. </span><br /></div><div style="text-align: justify;"><span class="Apple-style-span" style=" -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;font-family:Arial;font-size:12px;">Full film episodes can be viewed on Youtube</span></div>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0tag:blogger.com,1999:blog-4607911284366536069.post-57946623157691852662009-11-09T01:44:00.000-08:002009-11-09T01:45:44.273-08:00Constructing a sense of place: architecture and the Zionist discourse<span class="Apple-style-span" style="font-family: 'Lucida Grande'; font-size: 11px; white-space: pre; "><div>p.247 Re-placing memory</div><iframe frameborder="0" scrolling="no" style="border:0px" src="http://books.google.com/books?id=At1zvQ70twkC&lpg=PP1&dq=sense%20architecture&pg=PR6&output=embed" width="500" height="500"></iframe></span>Huiying Kehttp://www.blogger.com/profile/13822941587187126049noreply@blogger.com0