Ephemeral by Oana Fayyad

THE ONLY WAY OUT IS IN

EPHEMERAL

THE ARCHITECTURE OF SOCIAL MEDIA

BY OANA FAYYAD

Approval of this Thesis Book for Final Architectural Project Department of Architecture School of Architecture, Art, and Design, American University in Dubai

OANA FAYYAD 2016

A thesis book for the Final Architectural Project submitted to the Department of Architecture. School of Architecture, Art, and Design, American University in Dubai. In partial fulfillment of the requirements of the Degree of Bachelore of Architecture. Fall 2016 4

EPHEMERAL

THE ARCHITECTURE OF SOCIAL MEDIA oana fayyad

Student Signature: Date: Advisor Name: Advisor Signature: Date:

Thesis Abstract : Social media has become a ubiquitous phenomena organizing interactionour of our daily lives. Its undeniable success and popularity in creating public space is therefore the point of interest in this book. Thus, this book will attempt to study social media spaces and grasp their essence for the purpose of translation into the physical world through architecture.

To you, for always being there. Love, always.

I owe everything to you, my family. Mom, dad, buni and Iasmine, without you, I would have never become the person I am today. Your endless unconditional love and support is what keeps me going. I am forever grateful to have you as my family. Especially to you, my sister, my best friend. This would not have been possible without you Love, eternally.

To my incredible friends without whom life would be dull. And to those who I was lucky enough to share this experience with. I am so proud of you.

At this moment, I would like to thank all the mentors who havecontributed into shaping the who I am today. None of this could have been possible without your guidance and support. Special thanks to, Ghada Yaiche and Nadine Bitar for helping me grow in ways I did not know possible. The greatest gratitude is for Georges Kachaamy, thesis advisor and mentor, who has from an early stage, shaped my perception towards architecture. You have opened my eyes to its boundless possibilities and shaped my fondness towards it. Thank you for constantly pushing us to become the best versions of ourselves. Thank you for your genuine hard in shaping our architecture department

How to read this book: This book is an attempt of a close study on social media. The essence of the book lies in chapter 2 where the deduced aspects of the social media environment are explained. Furthermore, each of these aspects are translated into architecture through case studies. Two architectural examples, old and new, are used to represent each of these deduced characteristics. This is for the intended purposoe of creating a program for a project that is a physicalk translation of social media.

CHAPTER TWO Essence

CHAPTER ONE Social media and the city

1.1 Invisible 1.2 Ubiquity 1.3 Spirit of connectivity Social media; globally and locally Social media; the Arab world and UAE Social media; UAE Social Dubai; the highway culture 1.4 Tracing public space 1.5 Creating the tangible

16-18 19-20 23-24 25-26 27-28 29-30 31-32 33-34

2.1 What is social media 2.2 Historical evolution 35-36 37-38 Changing cities 39-40 The city as an egg 42-42 Innovations 2.3 Essence: 45-46 2.3.1 Public space platforms 47-48 2.3.2 Space of transparency 49-50 Representing the self 51-52 Context collapse 54-55 Imagined audience 56-57 Backstage access 2.3.3 Transparency in architecture: 59-59 60-61 Communal baths 61-62 The glass house 63-64 2.3.4 Space of the geo 65-66 Blogs 67-68 The selfie Quantitative representation 69-70 71-72 2.3.5The ego in architecture 73-74 The colosseum 75-76 The cube 2.3.6 Space of networks 77-78 79-80 Marketing 81-82 Networks in architecture 83-84 2.3.7 Piazza del Campo 85-86 Stadtlounge 87-88 2.3.8 Space of freedom 89-90 2.3.8 Freedom in architecture Rostra 91-92 92-94 Graffiti 95-96 2.3.9 Space of time 97-98 2.3.10 Time in architecture 99-100 The pantheon 101-102 The guggenheim

2.3.11 Space of convenience 2.3.12 Convenience in architecture Carpenter center The connection 2.3.12 Space of change 2.3.13 Change in architecture Fusuma Wyly theatre 2.3.14 Passing moment

103-104 105-106 107-108 109-110 111-112 113-114 115-116 117-118 119

CHAPTER THREE

Intent

4.1 Proposed concepts

Analysis

3.1 Case studies 3.1.1 Beton Hala, The Cloud 3.1.2 11ths Street Bridge 3.1.3 Flinders Street Station 3.2 Program 3.3 Site Analysis 3.4 Summary and synthesis

CHAPTER FOUR

140-157 158- 171 172- 191 192-195 198- 243 244-245

246- 253

chapter one

Social media and the city

invisible Its 8 pm in Dubai. In the busy downtown an American tourist documents her tour of Burj Khalifa and shares it on her social network site (SNS). While in Japan, a college student is up late reading comments on her latest photoshoot cover. In Brazil, a bank employee on his lunch break goes online to chat with friends. In China, after putting his kids to sleep, he rests while checking what his friends had posted. In France, while walking home, a high school boy shares location with his friend to meet up for ice-cream. In Spain, his cousin is preparing protesting posts against animal abuse. Finally, in Belgium a teacher is entertained, by merely observing activity from his friends scattered around the world, before napping. These moments of connection happen at the speed of light, at the same time in completely different time zones and continents. An entire public world of connections that is invisible to our eyes. If we were to ignite these flashes of connections, the entire world would be radiating with the glow of interactions among most our planetâ&#x20AC;&#x2122;s seven billion inhabitants. This has created a world that allows us to constantly be connected. A cloud of public space that we can access wherever we go. This has forever changed the dynamic of our everyday lives. This is social media.

ubiquity

Today, in a world where Facebook users like over 4 million posts every minute â&#x20AC;&#x201C; 4,166,667 to be exact, social media has spread across all platforms of communication and is continually evolving even in terms of demographics (Boyd and Ellison 2007). It is no longer merely for the young. It is everywhere. In 2013, 71 per cent of adults online had used Facebook, as well as 60 per cent of those online between 50 to 64 years old and 45 per cent of those 65 and above (Duggan. M 2013).

As SNS’s evolve, so does what is considered “social media”. In reality, the definition of “social media” is constantly changing together with our definition of “social” and “media” separately. With platforms that easily allow the sharing of one’s physical location, the viewing of others in different continents and the immediate connection with anyone at any point of the day, social media, is very interesting to observe in terms of what it has provided its users and what it represents.

Still, what is it that pushes one to seep into the virtual platform instead of physically experiencing the space at hand? Answering that question requires a deep understanding of what social media actually is. Nowadays, it arguably has multiple purposes, as will be discussed in section 2.1. The point of interest for this book howoever, is it’s creation of a successful public space. That is, studying why it is that in a busy coffee shop, where friends are gathered, passing by one sees the majority using their phones to unlock the virtual world. Thus,

‘THIS BOOK WILL ATTEMPT TO STUDY THE ESSENCE OF VIRTUAL PUBLIC SPACES, SOCIAL MEDIA PLATFORMS, FOR THE PURPOSE OF ITS EXTRACTION AND TRANSLATION INTO THE PHYSICAL WORLD THROUGH ARCHITECTURE.’

SPIRIT OF CONNECTIVITY 20

Fig 1 GLOBAL SOCIAL MEDIA USAGE RANKING (per country)

NIGERIA

SOUTH AFRICA

EGYPT

INDONESIA

GLOBAL

SAUDI ARABIA

GERMANY

POLAND

VIETNAM

JAPAN

ITALY

MEXICO

PHILLIPINES

CHINA

RUSSIA SPAIN

BRAZIL

FRANCE

TURKEY

THAILAND

AUSTRALIA

CANADA

USA MALAYSIA

ARGENTINA

SINGAPORE

HONG KONG

UAE

SOUTH KOREA

SOCIAL MEDIA

GLOBALLY AND LOCALLY ‘uae residents spend an average of about 5 hours per day on social media’ Yougov marketing research

Social media has pervaded every aspect of UAE residents’ daily lives. As Nehal Hassan Jibouri, YouGov consumer research director, told Gulf News, “time and again we have seen extremely high social media penetration in the region. Being present online is fast becoming second nature to residents and this has become much easier with high ownership of handheld devices as well.” In fact, UAE is one of the leading countries in terms of social media usage globally as seen in figure 1. He then continues to explain that social media does in fact serve a large part of UAE residents ‘ daily lives. He notes that it serves two main desires. “It fulfills, but also creates, a need to share precious moments with others and has also become a means to gain, gather and exchange information. (Cleofe Maceda) . Furthermore, social media has several successful platforms. Their success is summarized in Fig 2 in which Facebook leads by far. For the purpose of observation and relation to the topic at hand, the two most popular platforms in the Middle East and the Gulf were chosen; Facebook and Twitter (”Social Media Usage 2016”). The number of visitors for the month of May 2015 were then documented by country as seen in fig 3 on the next page.

FACEBOOK

FACEBOOK MESSENGER WHATSAPP

WECHAT

QZONE

TUMBLER

INSTAGRAM

TWITTER

GOOGLE+

SKYPE

VIBER

SINA WEIBO

LINE

SNAPCHAT

fig 2 GLOBAL USAGE RANKING per # of users (in millions)

GE 14 60 USA 28% 74% MEXICO 57% 96%

CANADA 35% 75%

UK 28% 70%

S 2 7

SPAIN 40% 79%

ITA 36% 77%

IRELAND 28% 75%

FIG 3 VISITORS FOR THE MONTH OF MAY 2015 (per country) 24

BRAZIL 40% 92% ARGENTINE 40% 92%

FR 1 6

UAE

ERMANY 4% 0%

50% 84%

SAUDI ARABIA 60% 70%

SWEDEN 25% 74%

ALY % %

RUSSIA 25% 43% CHINA 19% 23%

TURKEY 70% 90%

VIETNAM 38% 94%

THAILAND 39% 90%

TAIWAN 17% 82% S. KOREA 30% 57%

PHILLIPINES 58% 97%

INDIA 68% 90%

SOUTH AFRICA 52% 87%

RANCE 15% 64%

AUSTRALIA 22% 68%

SINGAPORE 27% 80%

MALAYSIA 41% 88%

INDONESIA 70% 92%

QATAR

SOCIAL MEDIA

THE ARAB WORLD & UAE Social media’s success in the UAE as witnessed in the previous figures is a result of two main factors. First, as stated in the YouGov article, it is a direct reflection of the resident’s affiliation for social interactions and connectivity (Cleofe Maceda). Second, its dominant success is also widely aided by the lack of physical public spaces in Dubai. Yasser Elsheshtawy asserts, in his paper, the scarcity of planned public spaces in Dubai, with the exception of public parks. This absence, he explains, caused residents to craft different solutions. One of which is the appropriation of space when possible (Elsheshtawy 2008). Moreover, more commonly, residents aim for the public space that conveniently exists within their reach; social media. To further elaborate, Barsha will be taken as an example. In Barsha, residents have constantly complained about the lack of green public spaces; protesting the “concrete jungle”. Resident Adil Hussain, for example, explained to “The National” how the lack of amenities made it difficult to find places to take his twins for walks. He continues explaining, “the nearest park is Barsha Pond Park and I cannot take my kids there without a car,” said the 32-year-old Pakistani marketing manager. “The roads around the area are so crowded with traffic that I cannot take the risk of taking my children in a pram. Eventually they end up playing within the four walls of the apartment on their electronic gadgets, which is so wrong.” Moreover, Maria Effandi, who lives in a flat in the area, stated that her community was severely lacking in amenities. She told “The National”, “we need smaller community parks, shaded outdoor play ¬areas and green spaces.” She then continued to explain that as a result of these missing spaces, “our children are becoming heavily dependent on electronic gadgets and devices,” (The National 2016) In fact, statistics have shown that UAE is actually the lead among Arab countries of high social media penetration (Social media 2016).

UAE

LEBANON 1.81 32.71

3.25 40.63

JORDAN 0.92 34.14

KUWAIT 2.83 34.31 QATAR 3.09 29.28

OMAN 0.34 16.62 SAUDI ARABIA 2.89 19.18

EGYPT 0.35 13.10 FIG 4 USER PENETRATION FOR THE MONTH OF JUNE 2013 (per country)

FIG 5 SOCIAL MEDIA USAGE IN THE UAE

1,500,500

54,000 31,000

AJMAN

330,300

880,000

FUJAIRAH

AL AIN

SHARJAH

ABU DHABI

DUBAI 4,100,100

SOCIAL MEDIA

UAE http://expo2020 tent/theme.aspx

GOOGLE+ 2.58 M

FACEBOOK

TWITTER 2.58 M

INSTAGRAM

3.73 M

2.49 M

2.01 M

1.72 M

0dubai.ae/conx

In fact, global media insight statistics have shown that 8.81 million of the total 9.58 million UAE population use the internet, 5.4 million of which have active social media accounts. Moreover, the most successful platform in the UAE is Facebook. Studying the platform, statistics revealed that it has ceased to be merely for the young. In fact, several age groups of 13-17, 18-29, 30-49, 50-64 and 65+ host 100,00, 1,900,000, 1,800,000, 160,000 and 42,000 Facebook users respectively (Global digital 2016). Furthermore, usage in the UAE is actually male dominant with a percentage ratio of 69% male to 31% female users (Social media 2016). All of UAEâ&#x20AC;&#x2122;s seven emirates demonstrate daily use of social media platforms, however; Dubai has by far the highest usage where for the month of May 2015, for example, has reached 4,100,100 users (Global digital 2016).

SOCIAL DUBAI

THE HIGHWAY CULTURE

Taking a closer look at Dubai, it is evident that it grows around the highway. As a result, segregated areas that are mostly only accessible by car, have created a caroriented society. Mieszkowski explains that many people in car-oriented cities never meet their neighbors as they merely pass them by in their personal vehicles. He also explains that it is very rare to have neighborhood events and that families are isolated from one another (Mieszkowski 23). This car dependency results in neglected potential social interactions due to seclusion in our vehicles. This segregation is further emphasized through the lack of public spaces. In fact, the character of a city is defined by its streets and public realm. The habitat III issue papers on public space state that, “from squares and boulevards to neighborhood gardens and children playgrounds, public space frames city image.

The connective matrix of streets and public spaces forms the skeleton of the city upon which all else rests.” The papers then continue to state that “where public space is inadequate, poorly designed, or privatized, the city becomes increasingly segregated” (Issue information 2016). However, public spaces cannot survive without pedestrians. Reid in his book, “What’s needed to make Toronto a great pedestrian city?”, explains that walkability is in fact what ties the structures, spaces and people of a city together (Reid, 2005). Gehl also asserts that walking is almost always a social action. He explains that while walking, one has the “time” and “short distances” that enable our senses to view objects, details and certainly other people (Gehl 2001).

In Dubai, even when public spaces are created, they are not designed for connecting the fragments to create interaction. Instead, the focus typically is within the boundaries of the plot, which sustains segregation. As a result, walkability in the city is disregarded. In fact, the most popular public spaces are considered the malls. The design curial issue on Dubai stated that other than places of worship, “ the only other public, free-to-access, gathering spaces for Dubai’s multinational population of workers appear to be the shopping malls” (Public space 2016). Malls; however, as popular as they are, to many,

do not represent what a public space embodies. As Penalosa notes, “Shopping malls can be fun places. But, when malls begin to replace public spaces as a meeting place for the community, for people in a city, it is a symptom that a city is ill and perhaps society as well” (Gordon 10).

The truth is, public spaces in Dubai still conform to the “highway culture”. That is, they follow the theme of segregated urban fabric which makes it is difficult to reach as a pedestrian. For example, there have been recent successful attempts by Meraas in creating pedestrian friendly interactive public spaces such as Box Park and City Walk, to name a few. However, even these exciting new projects that promote walkability within their premises can only be reached by vehicle, whether car or bus. That is, they merely take up a plot of the fragmented city instead of connecting it. Walkability exists only within the boundaries of the plot. The city beyond cannot be experienced as a pedestrian. In conclusion, progressive Dubai expresses a need for public space that pushes towards a more connected, walkable city where social interaction becomes embedded in our daily lives.

Although it is absent physically, the UAE and Dubai in specific, has always held value for connectivity. This is vivid through the choice of theme in expo 2020, “Connecting minds, creating the future.” that highlights the importance of connections and collaborations (Expo 2020). Following his highness, Sheikh Mohammad bin Rashid al Maktoum’s vision, this book will aim towards the creation of the type of public space, that as explained earlier, this city lacks. In attempting to create guidelines for its design, what better source to use than the most popular public space that 5.4 million residents turn to; social media. That is, this platform will be closely studied to create this translated public space.

tracing public space

Two main aspects are held of great importance throughout this book. 1- What social media has to offer; its content and environment. 2- What social media represents in terms of changed perspective on interaction. Those two traits convey its essence. In terms of its “content and environment”, the next chapters will reveal how seven main characteristic were extracted and translated into physical spaces that become the project’s program. The goal being, providing the same exciting and compelling environment that we experience on social media. Moreover, in the same way that social media provides a changed perspective on social interaction, its “representation”, so will the intended project. That is, so far, when discussing public spaces and interactions, they have always been destinations. People must go to the market, coffee shop or piazza to interact with others.

The intent, as a result, is to push towards a new perspective that does not require one to visit a destinations to experience public interaction. Thus, creating a space that facilitates social interactions within our daily lives allowing it to become embedded within our daily routine. Creating a more connected city. The project will also attempt an architectural experiment that aims to collect data of human behavior for the evaluation of its success, following Gehl’s approach in creating public space (Gehl 2001). That requires the systematic documenting of the performance of urban spaces and analyzing what influences their use. This will be made possible through the potential implementation of tracking systems within the project.

The project will also attempt an architectural experiment that aims to collect data of human behavior for the evaluation of its success, following Gehl’s approach in creating public space (Gehl 2001). That requires the systematic documenting of the performance of urban spaces and analyzing what influences their use. This will be made possible through the potential implementation of tracking systems within the project.

creating the tangible Throughout time, humankind has developed various different technologies, shown in a timeline in fig 6, to support the essence of communication and interaction. Mcfarlane explains that these technological developments however have changed and continue to change at an extremely fast pace. New devices are updated every year and others are outdated. Yet, he explains, they all have the common purpose of sustaining communication in our “technologically fast-paced society” (Mcfarlane 12). We moved from landline to mobile to the age of social media where its platforms can be accessed from virtually any smart device. This is where we are now. However, some, including Mark Zuckerberg, anticipate virtual reality to be ubiquitous in the near future creating a new revolution (Mark Zuckerberg 2016). This pattern of constant revolutions of technology ultimately indicates that technological appliances are replaceable, however; their essence, communication, remains. One cannot refute the advantages and opportunities generated by the age of social media and the virtual world. On the contrary, as mentioned previously, this book celebrates its success as a public space and attempts to study it for the purpose of materializing it and capturing its essence. That will be made possible via the surviving marvel through time, architecture. For, when technology fades, architecture does not.

Furthermore, the physical embodiment of social media’s success as a public space is also required for reasons of human experience. That is, the extreme popularity of its virtual spaces, does in no way diminish the importance of physical ones and face-to-face interaction. Actually, facts from social media research have shown that the highest ranking users of social media, age group of 13 – 29, highly value the importance of face-to-face interaction (Cleofe Maceda 2016). Moreover, according to social media research, teenagers are the most susceptive to social media among age groups and the most likely to glorify its benefits and advantages. Still, 50% of them prefer face-to face interactions above mediated communication. Also 34% believe that social media is a “trade off” between social media use and face- to-face interactions. In the sense that, it takes away from the time they could be spending with people. Furthermore, 44% agree that it often distracts them from people they are with in person (Social media, social life 13). In conclusion, although many prefer face to face interaction, they have not yet been offered a public space that holds the same compelling attributes that make us this attached to social media. Therefore, the intended project attempts to materialize the success of social media as a public space. This will be made possible through close observation of its platforms and the profound study of its essence, which as explained earlier, are its “content” and representation”.

FIG 6 HISTORY OF TECHNOLOGY

chapter two

what is social media?

Before discussing the core essence of virtual public spaces, we first need to identify what will be considered as “social media”. Danah Boyd describes it as a genre of what she calls “networked publics” which are considered public groups organized by logic and the code of computer networks (Boyd 2014). For Mark Andrejevic on the other hand, social media is the “networked scalabilities” of SNSs that are created by the “separation of the user from the means of socializing, thus permitting storable and sortable collections of social data” (Andrejevic 311).

? Katri Lietsala & Esa Sirkkunen argue that it is a relatively new definition that came along the web 2.0 around 2005. Therefore the concept still does not have any strict definition (Dijk 2013). For the purpose of this book however, we will assume this term as taking under its umbrella any “web service that receives most of the content from users or that aggregate the content from other sites as feeds.” The understanding of social media requires the viewing of complex debates of opposing views. Andrejevic explains that with the rise in smart phone devices, using social media as well as locative media such as Foursquare for example give rise to a side of the debate viewing social media as part of the participatory culture empowering the user, whereas for others it is a more “structural affordance of a capitalist economy” (Andrejevic 312).

That is, the user’s free labor is exploited for the benefit of corporations where their profiles can be sold to advertising companies. Still for others it represents in fact a changed view of consumption and production that should not be viewed in the same way it was during the industrial age (Varinder 2016). Those varying views of understanding merely reflect the complexity of social processes it involves. In this book however, we will assume a definition echoing that by Lisa Gitelman as “socially realized structures of communication” (Dijk 2013).

In discussing our habitation of the virtual world, it is important to understand that this shift although seems very sudden, has gradually been evolving as changes occurred within eras of the industrial age as well as, obviously, in the shift to the information age. Therefore, to understand social media, we need to first recognize the evolutions and progressions that led us to where we are today.

HISTORICAL EVOLUTION

CHANGING CITIES The transformation of cities and their public spaces have been witnessed through three historical eras. First they were market places, then centers for industrial production and last centers for service provision, knowledge and consumption (Carmona 105). The city and its spaces existed due to the need of people to come together for security, defense, trade, and access to information, other people and resources. These would only be available in particular places enhancing the need of communication among people for the completion of those certain activities (Carmona 106). This meant people existed in the same place at the same time, which highlights an important socio-cultural dimension. Oldenburg 1999 explains that without public gathering spaces being an essential part of people’s lives , the “promise of the city” is denied for the urban and architectural platforms “fail to nourish the kinds of relationships and the diversity of human contact that are the essence of the city”. This highlights the importance of social interaction, which has been a constant in our lives, merely changing forms. Since the beginning of settlements, interactions and their reasons have evolved massively over time. The spatial forms of the city and distribution of activities have constantly shifted mainly due to developments in transportation and communication. Hargroves & Smith (2005) identify six successive waves of innovation, seen in fig 7, and their technologies which they believe have shaped our spaces and cities. (Carmona 109) To further understand our move to the virtual world, one should observe the change in cities caused by each innovation. These consecutive changes driven by new innovations led us to where we are today. 32

The first innovation produced walking cities and new industries along the rivers and canals using water power. The second ways caused cities to move out along railway lines. The third innovation resulted in linear development along electric tramways. The fourth wave on the other hand, dominated by cheap oil and automobile allowed for urban sprawl in all directions. The fifth wave of internet and digital technologies, as argued by Hargroves & Smith, minimized some of the negative results of the sprawl and headed to the regeneration of older industrial cities. Few years later, it marked our entry to the virtual world of communication (Carmona 111) .What is interesting to note is not the technology itself, but the social and spatial patterns developed in our physical world as a result. As Carmona explains, those technologies in transport allowed for space, time and existence to contain new concepts. For example, a 15 min walk would cover 1 mile n a medieval city might take you from one part of the city to the other, whereas 15 mins driving in a more contemporary city would allow you to cover about 6 to 7 miles without ever leaving the city (Carmona 109). In the same way, innovations in communications technology have altered our concepts of space and time creating a new notion of virtual presence; instantly connecting people all over the world. This has in turn altered our way of life which will be discussed in detail in chapters to come.

FIG 7 INNOVATIONS

the city as an egg

THE CITY AS AN EGG BOILED

Major changes in cities could be categorized in three city forms: the early industrial city form, mature industrial city form and postindustrial city form. Cedric price creatively explained the city with the metaphor of eggs as seen in fig 8. That is, the hardboiled egg is the early industrial city, the fried egg is the mature industrial city, with white suburbs around the yellow central business district, CBD, and the scrambled egg represents the post-industrial cities that are a mix of white and yellow( Carmona 137) Contemporary restructuring of urban and social form is not only due to the transition from industrial to post industrial cities, but also from industrial to informational (Castells 1991). What is in fact new and unexpected is the popularity of virtual spaces having 2.4 billion users worldwide in 2016. This includes chat rooms and the virtual platforms, Twitter Facebookâ&#x20AC;Ś etc (Number 2016).

ANCIENT

FRIED

17-19 CENTURY

SCRAMBLED

MODERN

EARLY INDUSTRIAL

MATURE INDUSTRIAL

POSTINDUSTRIAL

FIG 8 The city as an egg

innovations Observing the change in cities, Mitchell developed a model in which he sought to show the transition and change in communication controlled by the same city altering innovations. This model also ob-served the costs and benefits of local, remote and synchronous, asynchronous communication. He based the idea on the example of one seeking information from his colleague and placed the four nodes of communication throughout history in sequence (Mitchell 1999). “So far, electronic communication has been the most powerful decentralizing force ever experienced”, Hall states. As witnessed through the unravelling of the urban history, he explains that increased mobility, both physically and electronically reduces the need for spatial concentration allowing fragmentation and scattering. Therefore, this “decentralization” caused by the information era is merely the continuation of a pattern. As Hall explains it, “After all, that was the effect of previous technological breakthroughs, like the telephone and the car; the information superhighway will simply take the trend to its logical conclusion “(Hall 1998).

However, it is also important to note that innovations usually rise out of necessity. In the sense that, social media although removed the obligation of physical presence, was an attempt at reconnecting the fragmentation and dispersal that our history created so far. A solution for connection while dealing with the existent. In the same way, the aim of this book is therefore to reach an understanding of social media and its success in producing these connections. That is, for the purpose of creating the same “attempt at reconnecting” but physically through architecture. Thus, the next section will attempt to study the essence of social media platforms for the purpose of this translation.

FIG 9 Communication development

ESSENCE

Truly understanding social media and its success requires analyzing its environment as a public space. That is, the environment and content it offers, as well as, the changed perception towards social interaction it has provided. For that purpose, first, this section observes the seven most popular platforms contextually, in Dubai, to understand their commonalities, and extract their essence. These platforms include Facebook, Google+, Twitter, LinkedIn, Pinterest, Instagram and snapchat as summarized in fig 10. This results in seven main essential characteristics of social media communication that represent the environment it creates. Each of these characteristic is then translated to architecture through the discussion of two case studies, old and new, from which the intended projectâ&#x20AC;&#x2122;s program and functional spaces will rise. As will be shown in fig 11, those characteristics are summarized as, 1) 2) 3) 4) 5) 6) 7)

Space of transparency and opacity Space of the ego Space of networks Space of time Space of convenience Space of freedom Space of change

Moreover, after observing social mediaâ&#x20AC;&#x2122;s content, the next step this book takes is explaining the potential in the altered standpoint towards social interaction that social media has presented.

FIG 10 Social media platforms

FIG 11 Social media characteristics

Hogan, describes social media as the creation and maintenance of artifacts as if in an exhibition. He explains, “since it is simply impractical to have human curator pore over one’s social information and devise a unique and relevant exhibit for each person, on demand [so] computers have taken on this role” (Hogan 2010). What is interesting to understand is not how transparent our interactions have become but what have allowed them to be so and why we are interested in maintaining them this way. There is no di-rect answer to these questions; however, to gain that understanding, one needs to study both ends of the conversation. Or in the virtual world as the Brake labels them, the “user” and the “intended audience” (Brake 2014). Moreover, after understanding what governs social media’s transparency, this text will also conclude the extent to which this online transparency is a true representation of the self as well as why we are this intrigued by it. When discussing the user, it is important to note that this urge for self-representation is not a new phe-nomenon. For millennia humans have been representing themselves whether it is children who draw themselves as stick figures or stone age Australians leaving hand marks in a cave by blowing ochre dust around their hands. Vikings also carved runes on sticks to tell the world their names and our grandparents wrote diaries which they hid in their drawers (Rettberg 2014)

In studying the user first and attempting to understand why we feel this urge to share parts of our lives online, it is useful to inspect Carl Roger’s theory of the self. Rogers speaks of an actualizing tendency which he describes as “the good life” in which the “organism continually aims to reach its full potential”. This “full potential”, he argues is achieved when possessing seven characteristics to what he describes the fully functioning person. Explaining the seven characteristics is beyond the scope of our text. He also ex-plains that it is a process and not a destination. He then describes the concept of incongruity as the gap that exists between the “real self” and “ideal self”. The real self, he argues, is what is originated within the “actualizing tendency”. Basically how we are once entering the process. Whereas “the ideal self” is out of our reach. It is the person we want to become; how we want to be seen by others. He explains that only when the real self and ideal self-align, do we have a fully functioning person. We therefore, experience this “actualizing tendency” to get closer to our “ideals self” which can be perceived to be realized through our selective self-representation on social media where we choose what we wish to portray (Rogers, 1961).

space of transparency

Mead argues differently. He believes that we know ourselves through the eyes of others. That we are objects first to other people and then we become objects to ourselves, by taking those people’s perspectives. That is when the “self” arises. (Mead 2016) Therefore, we share and communicate to better understand ourselves. Marika Luders; however, explains that self-representation; is “personal media”. That it is usually often intended for a specific audience. Sometimes this means limited viewing as in for merely family members or close friends. For example like a family photo album that is kept in the house and showed to specific people (Rettberg 2014). The issue of intended audience and context of interaction will be further discussed in this chapter.

In “Seeing Ourselves through Technology: How We Use Selfies, Blogs, and Wearable Devices to See and Shape Ourselves”, Rettberg describes the three modes of self-representation in social media: visual, written and quantitative. She first explains the definition of each. Visual-representation includes: selfies as expected, but also any image or icon that we use to express ourselves. This includes for examples, the photos we share on our Facebook profile or the layout we choose for Tumbler. Written self-representations can be blogs, online diaries, status updates on Facebook or Twitter and even our comments on Instagram. Quantified self-representation has become more common with phones becoming “step-counters” and apps allowing us to represent our lives through numbers and graphs. Each of these fascilitators of the expression of self will be discussed in the next chapter “Space of the ego” (Rettberg 2014).

For further understanding this text, the scope of the term “self-representation” must be determined. Jill argues that a representation is “an object, sign that is seen as constructed in some way, and that stands instead of an object to which it refers.” Therefore allowing us to study a selfie, tweet etc... This is similar in meaning to Goffman’s “Self-disclosures” which will be touched upon later throughout the text. The semiotic understanding of representation by 20th century influential scholars including Ferdinand de Saussure and Charles Sandres Pierce is that it is “a system of signs that is sounds, words, images or objects that stand instead of a concept or a thing”. To further elaborate, it is explained that the word “tree” is used as a sign to denote an actual tree (Rettberg 2014). For the purpose of this book, the term “representation” will be used to broadly indicate expressions of the self.

represnting the self It has become habitual for users to post about their day, opinions or even just themselves on social media. The platform has created a portal into people’s lives, which is what makes it exciting as Rettberg explains (Rettberg 2014).So far, as Brake stated, we have seen a level of openness and transparency on social media that has not been witnessed before. Nowadays, users might feel comfortable sharing something online that they would not express in the physical world (Brake 2014). In terms of self-representation, social media has provided users with absolute freedom as to what they wish to express and what they want to hide. Thus, what is it exactly that governs the openness users have chosen? Drawing on symbolic interactionism provides us the tools to study how individuals make sense of their interactions in certain given space. As Plummer explains it. It also focuses on how meanings are created through interaction rather created by the speaker and given to the listener. This approach whose roots are implemented in the American pragmatist school was initiated at the University of Chicago from the 1930’s. This school of thought’s best representative is Erving Goffman. Most of his work relates to face-to-face interaction. His close understanding of such interactions is valuable in our understanding of social media (Brake 2014).

Before viewing his theory, Goffman explains it is important to identify the difference between self-presentation and self-disclosure (Goffman 1959). Psychologists define self-disclosure as “the process of making the self-known to others” (Jourard & Lasakow 1958). This is an act done on purpose such as self-related posts on social media. However, this does not necessarily link to aiming for an impression.

Sometimes, users just share for the sake of sharing. This leads to the understanding of “consummatory communication” which, as defined by Ruffinner and Burgoon, is communication in which the act of communicating itself is its own “reward” (Ruffinner and Burgoon 1981). Self-presentation on the other hand, has been defined as “the process by which individuals attempt to control the impressions others form of them in social interactions” (DeLamater & Myers, 2010). David Brake author of “Sharing Our Lives Online” agrees that self-disclosure is not always necessarily self-presentation. Still, regardless of the user’s intention, he explains, it is usually perceived by the receivers as selfpresentation. Moreover, he believes that the conflict between these two different ways of understanding statements revealed online about the self is the core of understanding social media (Brake 2014). In chapter 4 Regions and Region Behavior, in Goffman’s, “The Presentation of Self in Everyday Life”, he describes three primary spaces of interaction. “Front stage” are formal interaction between the actor and audience where any aspects of the actor’s self that is contradicting to the performance are repressed. In the “backstage” areas, actors or teams can “let their guard down”. Lastly “outside” areas are for those not assumed to be part of the performance (Goffman 1959). Giddens, in his discussion of Goffman’s work, argues that the separation among those primary areas could be “real”, in the sense that the physical barrier can hinder interaction; “walls are socially respected communication barriers as much as they are purely material divisions” (Giddens 1987).

CONTEXT COLLAPSE Our understanding of which one of those three areas we are present in governs our interpersonal interactions. That decision as Brake explains is formulated through our understanding of the context of interaction and the imagined audience (Brake 2004). To elaborate, he gives the example of a situation where your boss began to approach you as you are having dinner with the family. There might be initial uncertainty as to what type of interaction this is, whether as” employer or employee or as mutual acquaintances”. Regardless both sides will feel the need to establish the context so the conversation could take place (Brake 2004). Similarly, in any interaction, its context governs our behavior. In social media, some interaction are clearly defined such as in LinkedIn which is known as the “professional network”. Others platforms however are not always clear, such as Facebook, Twitter and Tumbler. These are used for multiple purposes under multiple contexts to multiple audiences. This is what has been defined as “context collapse” (Marwick & Boyd, 2011). Vitak argues that this context collapse actually facilitates interaction among groups of individuals that might not have communicated otherwise.

However, this also means that employers, friends, family and romantic partners are placed in the same network which can make it more difficult for people to present various aspects of themselves. This might lead people to applying the “lowest common denominator” strategy that Hogan describes as individuals who were not intended in the message but still receive it. This means if the post intended would offend anyone it would not be shared (Vitak 2012). Regardless of precaution, many of the non-intended audience will still gain access to information that they would have not received in the physical world. Still, that does not stop people from sharing. That is mainly due to the physical context of sharing. As Brake notes, regardless of the size of audience we are sharing to, the physical experience of sharing online feels private. This was a topic of interest in the early discussions of ethics of internet research. That is, interactions online allow users to “publically” interact from the “privacy” of their own homes or workplace. King (1996) notes this has shaped the definition of the online situation which provides users with a perceived sense of privacy based on which they might interact accordingly (King, 1996; Waskul 1996).

Moreover, the fact that the production tool is also the distribution tool confuses our understanding of the size of audience that will have access to the post. Bratteteig notes, “it is difficult for me as a non-journalist to imagine the potential number of readers that will have access to my text the minute I publish it. The text is still on my pc. This blurring of consumption, production and distribution tools into one tool makes it conceptually difficult to maintain these distinction (Bratteteig 2008). Brake explains that usually, our context of communication is dependent on the medium of communication. For example, quietly speaking to a person in an empty room, you would not expect anyone to know what you are talking about. However, speaking to a television camera gives us a totally different understanding of potential audience. Although the wide audience is not physically present, there also usually are several crews on set ensuring the success of the production. With social media however, the physical context contains no clear restrictions (Brake 2004).

Changes have been both experiential and technological. In the technological discussion, Brake explains that recording ourselves or others using a mounted tripod is more visibly a physical que for a “moment of mediation” than is the same recording on our smart phones. He also notes that the physical context of production and distribution does not change whether it is intended for one person or for thousands. For example, sitting in front of the computer or our phone in producing our post does not change regardless if the post is intended for one person, family or thousands of people. Therefore, it is almost impossible to judge, when producing, whether this is a diary, a chat in a pub or a television appearance as Brake puts it (Brake 2004). Code designer could provide more indications to the potential amount of audience; however, that would not be in social media’s financial interest. If physical cues were more evident, social media would be less popular, for as Goffman suggests we would try to minimize the risk and uncertainties in interactions (Goffman 1959) `

In addition to the private setting of public sharing, online interactions and self-disclosures are also greatly regulated by the user’s “imagined audience”. The size and configuration of audience allows us to determine the context of interaction as being either “front stage” or “backstage”. In social media however, the user’s audience is invisible. This might lead to a false sense of privacy. As Charles, one of the personal bloggers Brake interviewed, remarked: “Because I don’t know who the people are who are looking at it and because I can’t see them in a way they are not there and in a way it is anonymous and it is just like writing a diary in a bedroom and keeping a lock on it- you’re not really aware of the fact that people are reading it” (Brake 2004). Finally, the “tact” described by Goffman also governs users’ daily interactions. That is, one is expected to show a standard of considerateness to save the feelings and face of others present (Goffman 1967). He describes this as showing tact by staying away from where we have not been invited. “Civil attention can be used to elaborate this complex concept (Goffman, 1963). In his own words, “One gives another enough visual notice to demonstrate that one appreciates that the other is present (and that one admits openly to having seen him), while at the next moment withdrawing one’s attention from him so as to express that he does not constitute a target of special curiosity or design “(Goffman 1963).

imagined audience 54

This implies a confirmation that one has no need to fear them, be hostile towards them, or intend to avoid them and that one is not ashamed of himself, the place or his company. He continues to explain that as tact is demonstrated by others, the Umwelt is preserved which is “the sphere around the individual within which potential sources of alarm are found”. Individuals assume that interaction one has with those in his Umwelt are not ones to be worried about or risky in terms of affecting their self-presentation (Goffman, 1963). One also assumes that interactions one has with people passing on their” separate ways” will not be used by others as bases reflecting his selfpresentation (Goffman, 1917, p 320). Some argue that treating “incidental contacts” on their separate ways as transitory might be reasonable in face-to-face interactions. When thinking of social media as transitory space; however, it might be problematic, for content is permanently recorded and searchable (sharing 11 of 54 s3). Still Goffman observes that strangers who are not the intent of the interaction do not seem to be viewed as a threat (Goffman, 1917, p 320). In the sense of, why bother about strangers viewing our posts if after viewing them they stop being connected to you.

Backstage access Several factors as previously discussed create social media’s transparency which in turn gains the audience’s interest due to the potential insight provided into users’ “backstage”.Meyrowitz discusses media in relation to the effect of television in changing social relationships. He argues that with television users are allowed into areas that are extensively considered backstage. This resulted in the the creation of a new communicative region which he called “sidestage” or “middle region” (Meyrowitz 1985). In discussion of Meyrowitz’ work, Brake argues that the “middle region” behavior is much more prevailing in social media (Brake 2004). The truth is, a revealed back region can be switched to a fairly front region act. However, he explains, when an act becomes a habit and is viewed over a longer period of time,as is the case in social media, user’s control of people’s access to themselves diminishes allowing more back region activity(Brake 2004). Similarly, Langer, Blank and Chanowitz argue that habitual interpersonal interactions can become “mindless” in the sense that it becomes a routine action rather than calculated decision (Langer, Blank & Chanowitz, 1978).

Moreover, to explain his view Goffman gives the example of a sloppy teenager, who might clean his room when his aunt visits for dinner on Easter. However, if Aunt Mary stays for six months, she will certainly witness a different spectacle. Therefore, the longer and more closely people are viewed in person or by camera, the more genuine their behavior is (Meyritz 1985).On social media, we are our own “camera crews” and therefore under such conditions of continuous exposure, it is difficult or even impossible to assess all self-disclosures in making them appropriate self-presentations. In conclusion, transparency in social media does in fact give a good overview of the self. Even in the case of fake profiles for example, if maintained over a long duration, it will give a representation of the person behind the screen regardless of the alias as Brake explains (2004).

TRANSPARENCY IN ARCHITECTURE

COMMUNAL BATHS ANCIENT ROME In the same way that social media provides a collapse of public vs private, roman baths are a material representation of private actions made public. It represents the same daily life â&#x20AC;&#x153;backstageâ&#x20AC;? access that is apparent in social media discussions. Roman baths were a known part of day-to-day life in Ancient Rome. One of its best representations being, the Roman bath complex in Somerset.

Trueman explains in his article that water supply in Roman houses was via lead pipes. These pipes however were taxed based on their size. As a result, many houses only had basic supplies. Thus, for maintenance of personal hygiene, residents went to local baths (CN Trueman 2015). Moreover, like social media, the baths also became a gathering point for to relax and keep up with the latest news. The bath, he explains, was also as in social media, a place of “context collapse”, where various layers of society would gather. Therefore, resulting in interactions that would not have occurred had the space not existed (CN Trueman 2015). Moreover, the bath also provided options in the same way that social media has diverse categories. Trueman states that one could use the cold bath, frigidarium, the warm bath, tepidarium, and the hot bath, caldarium. Moreover, it also contained a swimming pool and gymnasium (CN Trueman 2015). He then continues explaining that although entry to the bath required a fee, it was in fact very cheap that everyone could afford it (CN Trueman 2015). This also goes in line with social media’s openness to the entire public. As a result it became a ubiquitous act along everyday life resembling social media’s nature.

EAST ELEVATION

SOUTH ELEVATION

NORTH ELEVATION

WEST ELEVATION

THE GLASS HOUSE PLAN

Phillip Johnson’s Glass house is considered one of the most brilliant works of modern architecture. It is also a direct translation of social media’s transparency. He built the house for himself in New Canaan, Connecticut in 1949. The one story house is 32’ by 56’ open floor plan enclosed in 18 feet wide floor to ceiling sheets of glass between piers and H beams that hold the glass in place (AD classics 2016) . This structure is in fact the literal physical representation of social media’s discussion of transparency in the issues of privacy. It is the materializing of the concept of “backstage access”. Johnson explains that the interior of the house is fully exposed to the outdoors except for the cylinder brick structure hosting the bathroom. Therefore, the private habitual daily actions of the user, as in social media, are on display. In addition to the glass façade surrounding the structure, the interior of the house itself is completely open. The only division other than the toilet, are the low cabinets and book shelves which results in the creation of a house that is a single open room fully exposed to the outdoor (AD classics 2016).

SPACE OF THE EGO Christopher Lasch has claimed that a narcissist “cannot live without an admiring audience” (Keen 2012). Narcissists need constant support and as Turkle argues “a life of texting and messaging, those on that [cell phone] contact list can be made to appear almost on demand. You can take what you need and move on. And if not gratified, you can try someone else. “(Turkle 2011). Narcissism is the psychoanalytic description of this behavior. In sociology however this is explained via the diagnosis of “other-directedness”. In his book, “The lonely Crowd 1950”, Riesman explained the transition from traditional inner-directed personalities to other-directed ones.

That is, the transition of our behavior being governed by a psychological gyroscope to being a reaction and response to social cues (Riesman 1950). With social media, Turkle explains that this other-directedness is “raised to a higher power” where any thought or feeling we have can be validated or even “prevalidated”. It merely requires for someone to be there. Wortham explains that the “feedback loop of positive reinforcement” on social media has made us “virtual enablers” (Turkle 2011).

The extent of power that social media approval has over our behavior has been shown through a study conducted by Buechler which concluded that when other people “liked” the content that someone posted, that person was encouraged to share more content. Moreover, when users were told that their audience did not like their content they actually posted more to figure out what their audience prefers. This has created a platform of social approval. One’s profile and activity on social media has become linked to one’s self-worth and popularity (Buechler 2008). Although this other-directedness existed before social media, the latter has allowed for its growth and complete manifestation. This however, can also have a negative effect where it might create anxiety about remaining connected and staying up to date. From interviews with Facebook users, Turkle reports the user’s concern that they must constantly work to “keep their Facebook in shape” to maintain their followers and popularity. That is, preserve their ego. (Turkle 2011)

Social media has been rendered by Keen as the age of narcissism where its platforms are exhibitions of the self in three main forms as Rettberg previously explains. That includes the written, the visual and the quantitative. However, the fact is that visual and written self-representations were common before the rise of social media.

BLOGS According to Rettberg, the first online diaries appeared around 1994, where a few people who taught themselves how to code created websites. One of the first examples is Justin’s Links by Justin Hall. It is still present today but has changed immensely over time. He didn’t call his site a weblog until much later, for actually, “web log” at that time had a very different meaning. They were used to refer to the statistics showing the number of visitors to the site, which was available to site administrators. In 1997, however, Jorn Barger proposed a new definition for “weblog” as describing websites where interesting material is posted along with commentary (Rettberg 2014). The style of these first weblogs was brief with a distinct voice and personal opinion. The content however was not autobiographical. Weblogs were often viewed differently from online diaries which tended to be more confessional. In 1998, however, Open Diary, was one of the first to provide easy web publication not necessitating coding or HTML editing (Rettberg 2014). Within a few years what was once quite different blogs and online diaries merged where blog posts became more essayistic with autobiographical content. By 2004 blogs became very popular that “blog” was named word of the year by Merriam-Webster (Rettberg 2014). At this time, commercial blogging took off; this will be further discussed in later chapters.

This evolution is concluded with nowadays’ age of social media where each user is given the opportunity for written self-representation and the spotlight that comes with it. Some argue that this provided spotlight encourages people to promote themselves as brands (Marwick 2013). However, that does not apply to everyone. People nowadays merely write about their lives on sites like Facebook, Twitter and Tumbler. In reality, bloggers themselves have recognized that blogging was a way that made them more aware of their preferences and opinions. Rebecca Blood, one of the early bloggers describes her experience as follows, “Shortly after I began producing Rebecca’s Pocket I noticed two side effects I had not expected. First, I discovered my own interests. I thought I knew what I was interested in, but after linking stories for a few months I could see that I was much more interested in science, archaeology, and issues of injustice than I had realized. More importantly, I began to value more highly my own point of view. In composing my link text every day I carefully considered my own opinions and ideas, and I began to feel that my perspective was unique and important” (Rettberg 2014). This, as explained by Rebecca, has allowed for more focus on the self, leading to the better understanding and appreciating of oneself.

the selfie With the beginning of 2010, smartphones became abundant. According to Rottberg, the presence of their cameras, good screens and cheap plans caused images to become increasingly important in social media and platforms such as Facebook, which became one of the main forms of communication. Thompson notes that this shift is actually quite recent, where the term “social media” was not abundant until 2008. The discussion among people before that was Web 2.0 and before that simply just the internet. With these smart phones, self-representation became visual, for it made it quite easy to take, share and look at images rather than typing or reading lengthy blogs (Rettberg 2014). However, as is the case with blogs, visual representation existed even before smartphones. In the 1970s and 1980s, ASCII graphics were used in discussion groups. Also, photos and animated gifs were also used in websites (Thomas 2004). Nowadays however, users have less control over the overall aspect of the page and visual control is limited to their own choice of cover photos, profile pictures and images shared. These images are now given the ultimate importance and are the main point of many social media platforms (Rettberg 2014). Due to the “self” being a point of interest since beginning of time, visual portraits are actually “an age old” genre, as Rettberg calls them. Although we see many examples of portraits in museums, it wasn’t until the late 15th century that they became their own genre with Albrecht Durer which altered the process of merely inserting the self into images of other purposes (Borzello 1998). Rettberg believes that portraits and visual self-representations are always also used as part of a conversation usually aiming at highlighting certain aspects of the self.She gives the example Parmigianino’s Self Portrait in a Convex Mirror 1524. 70

Now when hanging in a gallery or viewed online on website, it is out of original context; therefore, we naturally perceive it as an “object” and not as “part of the conversation”. But in fact, he used his self-portrait as a method of advertising. That is, showing to potential patrons his painting services. Similarly, Kings and Queen used their self-portraits as a symbol for their power and riches. Also, the child drawing a picture of him/her and his/her mother is in fact an expression of the love the “self” (Rettberg 2014). Portraits started off as being promotional tools, as in the case of Parmigianino, giving the client the opportunity to assess the likeliness between the painter and the portrait. They were also useful for practice. Either way, they were only created by professionals on specific materials like canvases or marbles using certain paints, pencils or sculptural tools. These utensils were not cheap until recently. Therefore, back then portraits were mainly restricted to rich patrons (Rettberg 2014). Technology however, has allowed us to create lasting self-portraits that do not require professionals. In fact, some of the first photographs ever made were portraits. An early example is Hippolyte Bayard’s Self-Portrait as a Drowned Man (1840), it was carefully staged showing the pornographer dead against a wall. This photograph was a criticism of the French Academy’s failure to acknowledge Bayard’s work as the discoverer of photography before Daguerre. In the age of social media, anyone with a phone can create long lasting portraits of themselves for no cost. This in turn is what led to the ubiquity of selfies as Rettberg explains. As a result, nowadays anyone can create the same elaborate spotlight on oneself that was merely restricted to the rich back then (Rettberg 2014). Therefore, resulting in the age of the “self”

The last form of representation, quantitative representation became popular with the rise of personal computers that made personal data collection easy. Alice Marwick, in her book “Status Update”, explains that “social media allows people to strategically construct an identity in ways that are deeply rooted in contemporary ideas that the self is autonomous and constantly improving” (Marwick 2013). Nowadays, we are in an era of social media where apps allow you to track how many cups of coffee you have per day, how many hours of productive work you have, how well you sleep at night as well as even track the number of steps you take (Rettberg 2014). The formation of self-representation through quantifiable information has become inevitable. Taking twitter as an example, Warburtonen explains that its users can receive attention in a number of ways.

The number of followers, the number of @replies, retweets, favored posts and even how many lists a user appears on (Warburton 2016). The more attention one receives, the more popular that person becomes. Therefore, as a result, the number of followers becomes an indicator of social reputation. Users as result conduct in certain manners that would increase their number of followers which inevitably results in excessive use of social media. This is obvious when viewing sites such as “tweet-rank.de” or headlines of articles such “How to get more followers” (Warburton 2016).

QUANTITATIVE REPRESENTATION 72

THE EGO IN ARCHITECTURE

the COLOSSEUM As in social media, the colosseum is a space of fame. It is known for the worship and cheers gladiators receive in the arena. Mason explains that gladiatorial games were organized by the elite throughout the Roman Empire, usually as a method of distracting the population from the reality of daily life. Most gladiators were purchased from slave markets, being chosen for their strength, stamina and good looks. Although taken from what was considered the “lowest” elements of society, the gladiator was considered a class apart from the “normal” slave or prisoner of war. That is, they were in fact well-trained combatants whose one role was to fight and occasionally to kill for the amusement of the Roman mob. However, not all those who fought as gladiators were slaves. Some, in fact, were citizens in debt. Others, like the emperor Commodus, simply did it for ‘fun’. Whatever their reasons for ending up in the arena, gladiators were adored by the Roman public for their bravery and spirit. Their images appeared frequently in mosaics, wall paintings and on glassware and pottery (Mason 2016). What is interesting to note is the fact that gladiators usually did not take part in the elite society; however, that space, the arena, was their moment. Where they could possible become the gladiators worshipped by the roman public. That space allowed for the positive transformation of the public’s perception towards the gladiator. Therefore, transforming his ego and gaining pride. Moreover, the characteristics of ego in social media are linked the structure by size. The Colosseum itself is a grand and proud structure that stands apart from others, measuring 190 by 155 meters. It was in fact the largest amphitheater in the Roman world. Unlike many earlier amphitheaters, which had been dug into hillsides to provide adequate support, the Colosseum was a freestanding structure made of stone and concrete.

The distinctive exterior had three stories of arched entrancesâ&#x20AC;&#x201C;a total of around 80â&#x20AC;&#x201C; supported by semi-circular columns. Each story contained columns of a different order. At the bottom were columns of the relatively simple Doric order, followed by Ionic and topped by the ornate Corinthian order. Located just near the main entrance to the Colosseum was the Arch of Constantine, built in A.D. 315 in honor of Constantine Iâ&#x20AC;&#x2122;s victory over Maxentius at Pons Milvius; representing pride (History 2016).

In the same way that social media allows for opportunities of spotlight, 5468796 Architecture created “The Cube”; a space celebrating individuals and groups. It is located in Winnipeg’s Exchange District standing out against the historic warehouses. The architects explain that they began with the idea of an open-air performance space but realized its limitations in terms of throughout the year usage. The concept therefore evolved to become a multi-functional stage in the sense that its function can shift from a stage for performance to an exhibition to a pavilion afterwards. All of which have the option of being indoor or outdoor (OMS stage 2016). This structure’s function regardless of the shift therefore represents an opportunity, like in social media, for praise and admiration of any member of the community. A space of ego The architects explain that to accommodate the different needs of the shifting program, they had to create a secure screen that could be open or closed. However, the challenge was in creating the meshwork that “would be “soft” enough to drape open, and rigid enough to provide a solid barrier”. This resulted in the exterior shell of the structure to become a dynamic membrane composed of diamond extrusions. This generates a flexible curtain that could be drawn back to reveal the interior space. Furthermore, it becomes “a ceiling landscape providing a backdrop for performance and allowing adjustments to the stage’s acoustics”. In addition, when closed, the surface of angled diamond pieces forms a “unique pixel matrix”. This “matrix” can therefore be used as a surface onto which local artists’ works can be projected (OMS stage 2016). According to the architects, in addition to being a performance stage, conventional exhibitions are also held inside. Moreover, it can also be used as a pavilion hosting small gatherings that allow the audience to meet the artist (OMS stage 2016).

the cube

In conclusion, all of its attributes are aimed at creating better exposure for the self. The screens, light projections and ability to close or open are all working towards creating enhanced opportunities for the celebrating and sharing of the self and its works. The final result is a 28â&#x20AC;&#x2122; by 28â&#x20AC;&#x2122; cube with vertical hanging screens when sealed off (OMS stage 2016).

space of networks

“In our time, if we can be continually in touch, needing to be continually in touch does not seem a problem or a pathology, but an accommodation to what technology affords. It becomes the norm” (Turkle 2011). This “norm” has allowed for the creation and maintenance of both personal and professional relationships. Moreover, this “norm” of continuous online presence on social media, also resulted in a platform of viable marketing potential for both individuals as well as companies (Brake 2014). The most discussed benefit of social media as argued by Brake, is in “the way it can maintain participants’ social capital”. He explains that what social media has to offer is not the ability to keep in touch with close friends or family, for those relations would be catered for anyway (Brake 2014). 82

But in fact, what is crucial are those “lightweight interactions made possible by such features as newsfeeds [that lower] the cost of maintaining all the weak ties formed on the SNS, meaning that connections that might have otherwise faded away over time can remain vital”, as Steinfield puts it (Steinfield 2008). Brake agrees and explains that large SNSes like Facebook for instance also act as continuously updated address books for their users. This further allows the maintenance of ties that might otherwise prevail due to changing of locations, phone numbers and email addresses. This as a result greatly increases and maintains the weak ties people have (Brake 2014). Granovetter explains that the importance of weak ties lies in maintaining connections that become beneficial in the case of looking for new information such as finding a new job for example. That is due to the fact that our strong ties tend to have similar backgrounds as us (Granovetter 1973).

It has become common for teenagers and young adults to contact their parents multiple times a day and vice versa. This has become the norm (Buechler 2008). Therefore, the informal environment of social media has changed the dynamic of this relationship.

Although Brake assumes that relations to our strong ties will still be tendered to without social media, Turkle explains that it does not change the fact that social media has changed them noticeably. This is particularly visible in the altered relationship among parents and teenagers. Turkle explains that in socialization of adolescents, it typically involves them wanting distance from their parents or parental figures. The rise of social media however, has created a generation that is “growing up tethered” to their parents (Turkle 2011). Buechler explains that this goes on into early adulthood.

In addition to creating, maintain and growing relations, social media has also proven to be a crucial platform for marketing and advertising. That is, both from the point of view of the user and the markets.

Also, according to Brake people with certain common backgrounds can find each other online and receive emotional support from each other. For example, a teenage boy who has been in a car accident and had a spinal operation resulting in certain aspects of his life permanently changed. Social media, provides this boy the chance to find and talk to someone who has been in the same situation, which may help him get through the crisis. Gudelunas notes that this may also include those with concealed identities, for example gays in a community that does not accept that. They can also benefit by finding others and not feeling alone (Gudelunas 2012).

marketing From the marketing point of view, marketing and social media work hand in hand where each entity benefits from the other. In reality, social platforms require the funding provided by advertising companies. Likewise these companies require a space to advertise. Therefore user behavior on social media is studied which provides advertisers better understanding allowing them to better target users. This in turn increases the flow of people on the platform, benefiting social media. Brake explains that markets are known to be an important constraint that impacts the shaping of online spaces. The fact is that the majority of social media is run by for-profit organizations whose primary source of income is advertising. This explains why, according to Brake, good ideas in terms of social usefulness might not survive in the face of market power. For example, Facebook’s non-profit alternative Dispora, was an attempt for building a network without advertising that resulted in less than a million users after 3 years of journalistic coverage as opposed to Facebook’s 1.15 billion (Brake 2014). Moreover, according to Cutler, although the mere traffic of users to the platforms, like Facebook for example, does ensure revenue, most of its income is derived from advertising. More than 80% to bet precise (Brake 2014).

According to Brake, the value of advertising in turn depends on the number of users, their tendency to spend and on the company’s ability to target users based on information they “give or give off”. Therefore, great focus has been placed on studying user behavior as to to identify user’s interests and characteristics. That is what Brake calls, “the key selling point of advertising on such sites”. Actually, in a study conducted, Beales notes that sites selling advertising based on close studying of user characteristics could charge 2.68 times more than sites lacking this crucial information.

As a result of this extensive study on human behavior, social media usage increases as more users find themselves provided with their objects of interest. This benefits advertisers and social media. In conclusion, social media provides optimal opportunity for business’s to advertise and market themselves (Brake 2014). Social media as seen earlier has obviously created opportunity for markets. However, it has also created opportunity for the users to become what is now known as social media influencers. These are bloggers that gain audiences on their profiles which results in increased popularity. It has been proven that social media influencers have tremendous impact on consumer behavior which in turn attracts marketers’ attention . As seen in a study conducted by YouGov, seventy- one percent of UAE residents take advice from these influencers before buying. This mainly includes areas such as fashion, beauty and food. Therefore, those bloggers or influencers can gain financial income merely by recommending products or services on their blog or profile (YouGov 2016). Although social media has proven to be a platform that can create financial opportunity, not everyone’s aim is income. Some users are merely interested in the creative opportunity. For on social media, anyone can be a producer. Gauntlett notes in, “Making is connecting”, that there are three reasons for why the everyday creative opportunity by social media should be celebrated as well as encouraged. He argues that creative expression brings about personal happiness, it builds social capital, through interactions among informal groups, that benefits society, and it enables individual creativity that aids people in giving “shape and character to their own lives” (Brake 2014).

networks IN ARCHITECTURE

piaza del campo Piazza del Campo is one of the most admired public spaces in Europe. It is, in fact, a physical translation of the financial and social opportunity that social media creates. Like social media, D’Alessio explains the piazza is a public space that welcomes all visitors. Situated at the junction of three hills, the piazza is famously known for having the city of Sienna built around it. It was in fact commissioned in 1349 to become the physical center of the city which has made it a civic and cultural space ever since (D’Alessio 2016). Therefore, like social media, it is a place of networking where students can chat after school or employees during lunch, which allows for the maintenance of those “weak ties” that social media preserves. According to D’Alessio, it is also home to the central market place (D’Alessio 2016). Therefore, providing, as does social media, a space for financial gain.

Cafes, museums and retail stores are found in abundancy on the sides which both generates flows of people as well as benefit from the existing ones. Interestingly, Dâ&#x20AC;&#x2122;Alessio explains, unlike most public spaces, this piazza does not provide urban furniture. Yet, visitors do not seem to be bothered by that. Instead they use its red brick floors wherever they feel most comfortable to experience the richness of its environment. That is proof that like social media, this piazza successfully creates the same striking liveliness and dynamic attracting visitors from all over the world (Dâ&#x20AC;&#x2122;Alessio 2016).

Moreover, the natural slope of the piazza that Dâ&#x20AC;&#x2122;Alessio describes, creates a natural amphitheater that houses street performances which allows the same opportunity and exposure of artistic expression that social media provides.

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Social media’s platforms allow for networking amongst a variety of users regardless of status, nationality or profession. Likewise, Krauel explains, that Stadtlounge in Switzerland was aimed at creating a lively, attractive public space among St.Gallens’ insurance buildings and public banks. Therefore a competition was launched to create a sort of a public “living room” in the midst of the mini-skyscrapers of the financial district. Stadtlounge was in fact the winning design. Similar to the effect resulting from social media’s liveliness, the design created by Carlos Martinez architectural firm and artist Pippilotti was a blazing red, soft floor covering made up of granulated rubber, that directly attracts the user’s attention and draws people in. Furthermore, Kraeul explains that furnishing elements such as seats, benches and tables are a continuation of the urban carpet. This gives the sense of a uniform cloth covering the entire area that renders it more inviting.

stadtlounge

He explains that this creates opportunity for interaction regardless of level of formality. Moreover, following the goals of interaction in social media, the â&#x20AC;&#x153;amorphousâ&#x20AC;? shape of the furniture is in direct contrast to the rigid precision of the built environment, creates a relaxed atmosphere where people are more prone to communicate (Krauel 2009).

SPACE OF FREEDOM Beckett notes that with social media users can now reach a wide range of audience without the aid of mainstream media (Brake 2014). This allows for a range of voices to be heard and bring in more attention that one could ever have without going to the mainstream media, as Valenzuela explains (Valenzuela, Park & Kee 2008). Brake explains that this allows for many matters to be voiced which can include any genre such as ones political or cultural in nature (Brake 2014). In fact Habermas argues that “social media is the new public sphere”. He continues explaining that it has facilitated discussions that would have previously happened in court, the plaza or the corner café (Revis 2016). Valenzuela, Park and Kee explain that in addition, social media also grants access to “user-generated content” which might broaden individual exposure to different points of view encouraging greater civic and political engagement.

This freedom for example could be expressed through personal blogging. In his book “Sharing our lives online”, Brake interviewed several bloggers, who as he explained, expressed their sense of freedom in terms of blogging content. Actually, one of them, Frances stated, “my whole life is on there, pretty much”. He continues explaining that “there are really no rules and you can post whatever you like and because it’s your site you don’t have to” (Brake 2014). Moreover, in her study of Twitter users, Marwick found con-sistent results. The study concluded that users turn to the platform to freely express themselves regardless of topic. As one of the users explained, “when I tweet, I tweet honestly, I tweet passionately. Pure expres-sion of my heart” (Marwick & Boyd 2011).

Social media has also aided political freedom. Currie explains in his article that in the past people have exchanged political and anti-governmental ideas in “hidden” spaces, such as bookstores, away from government surveillance. Nowadays however, in a more interconnected world experiencing the benefits of virtual social interaction, social media has become this space of exchange (Currie 2016). One of the biggest testimonies of this is the Egyptian revolution of 2011. Currie explains that prior to the outbreak of the revolution, tension was building up when a young man, “Khalid Said” was killed in Alexandria by security forces for allegedly owning a video incriminating the police of dealing narcotics. His death raised an outrage across Egypt. People turned to social media to express their anger which led to the creation of the Facebook group, “We are all Khalid Said”.

During this time, social media use increased rapidly. An activist commented on the importance of social media in organizing their protests stating, “We use Facebook to schedule protests, Twitter to coordinate and YouTube to tell the world.” (Currie 2016). The truth is that without those platforms, it would be very difficult for people to schedule and co-ordinate such massive protests. Knowing this, as Currie states, the Mubarak government actually attempted to cease social media usage. This resulted in a blockage of all social media platforms from 28th January till February 1st. However, since most of the organization had been completed before the blackout, the government failed in its attempt to prevent the protest. This resulted in the largest revolution seen in Egypt so far (Currie 2016).

“We use Facebook to schedule protests, Twitter to coordinate and YouTube to tell the world.”

FREEDOM IN ARCHITECTURE

The Roman rostra, located in the roman forum, and as Thayer explains is the original platform from which orators addressed the people regarding any issue at hand (Thayer 2016). Therefore like social media, it provided a space of free expression.

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He continues to explain that the forum took its name from the six bronze prows of enemy ships that were attached to the front of the speaker’s platform as trophies. The Latin for prows is rostra. Choosing to place the prows, a symbol of pride, in the rostra indicates its importance. In fact is, according to Thayer, it was considered the most important element in the forum (Thayer 2016). Like social media, the rostra was a location hosting a large flow of people; therefore, allowing any voiced opinions to be heard by many. According to Thayer, it was situated on the south side of the Comitium in front of the Curia in close connection with the Sepulcrum Romuli. That is, between the Comitium and forum, so the speaker could address the people assembled in either (Thayer 2016). Moreover, Thayer explains that it was in fact the place of delivery of many important speeches, including Mark Anthony’s speech at Caesar’s funeral (Thayer 2016). Therefore, resembling social media as a space of announcements and disclosures.

graffiti Graffiti and social media posts are quite similar in the fact that they are private opinions expressed in a public space for the purpose of reaching a wide audience. One of the well-known places to host graffiti was the Freedom tunnel, named after its most talented artist, Chris â&#x20AC;&#x153;Freedomâ&#x20AC;?Pape, and was built under the Riverside Park in the 30s. Around 1980; however, it fell into disuse which allowed it to become flourished with street art. It also became a place where homeless people huddled. Like social media, graffiti in this space has given the marginalized people an opportunity to express themselves and feel heard (Paterson 2016). Moreover, in 1991, according to Paterson, the tunnel was reopened for trains creating a mass eviction. Still four years later, Pape returned and completed his work. This was a comic bookstyle mural, called Buy American, which honored the homeless and drew attention to their relationship with the police and the city.

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This resulted in the image becoming such an attraction for urban explorers in 2009 that the government decided to paint over it to stop people from entering the tunnel (Paterson 2016). This is a testament to the effectiveness of graffiti in reaching audiences in the same manner as social media. Nunurai explains that graffiti is usually used by political activists to voice social and political issues. The truth is, graffiti has become a ubiquitous form of expression, as political activists and artists fear to openly express themselves (Nunurai 2016).This in turn echoes user’s turn to social media instead of “hidden” spaces to discuss sensitive issues as previously explained in “Space of freedom”.

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space of time “The spatial horizons of our understanding are no longer restricted by the need to be physically present at the places where the observed events occur.” In “Media and Modernity”, Thompson explains that with electronic communication, it is no longer a requirement for parties to be in the same place at the same time. Now, “symbolic content” can travel massive distances in almost no time. As a result, “the experience of simultaneity was detached from the spatial condition of common locality. It became possible to experience events as simultaneous despite the fact that they occurs in locales that were spatially remote” (JB Thompson, 1995, p32). For example, Maria, an expatriate in Dubai, explains that she spends about two hours a day using Facebook which has made it possible for her to constantly get in touch with her family abroad (YouGov 2016). In addition to removing the distance barrier, allowing users from all over the world to communicate simultaneously, social media creates a sense of space of its own; the cyberspace (Kweon, Hwang, and Jo 2011). It is not by chance that chat rooms in social media were referred to as such. Zaykova argues that It is because they give participants a sense of occupying the same space, although not physically. Platforms such as Facebook extend on this perception where you can simultaneously interact with any number of people privately and also publically. 106

This gives you a sense of occupying multiple cyberspaces as well as your “real-world” space at once (Zaykova 2016). Therefore our understanding of space becomes layered.

Another key point as Sang-Hee notes is that social media does not replace our physical world interactions but creates a convergence of the two (Sang-Hee, Kyung-Ho and Do-Hyun 2011). There is frequent overlap between our virtual and real-world communities. Zaykova notes that we may even choose to only interact with people we know in the physical world. These interactions will not be the same as the physical world but will impact our real world relation. For example, you can meet a friend you haven’t seen for a long time yet be aware about recent events in their life as you follow them on social media. Moreover, after meeting them physically, one can then do a social media status update about what they have done together which creates a completely new dimension that is added to social interactions. The real world is embedded into the virtual one. “Checking in” at places or tagging friends in photos is another example (Zaykova 2016).

Social media also alters our understanding of time. Sang-Hee, Kyung-Ho and Do-Hyun explain that one couldn’t have two different private conversations at the same time in the physical world. On social media; however, it is possible. One could be having a conversation on Facebook with a user through comments on a picture while discussing an issue privately on FB messenger with another user. Not only is being in multiple places at once possible, but it is also immediate; more instant even than other mediated forms like email. On Facebook for example, you can see once your instant message was read and whether the recipient is typing a response. Therefore, this layered space of social media enables multitasking but also amputates some of our attention spans and concentration (Sang-Hee, Kyung-Ho and Do-Hyun 2011). According to Zaykova, social media combines the immediacy of face-to-face communication with the

She explains that this fluidity creates new norms around the structure of conversations. In the physical world, it would be socially awkward to leave part way through a conversation and just pick up where you left hours later without needing to explain or recap. In the virtual world, this is quite common as there is an unspoken understanding that you simultaneously occupy two spaces, the physical and virtual, and are probably multitasking. Similarly, you would be unlikely to unexpectedly announce what you had for dinner to a large audience in the physical world without providing any context (Zaykova 2016). However, that is exactly what happens on social media where public status updates are basically short decontextualized announcements.

McLuhan notes that this is acceptable on social media because the website itself acts as the context, for medium truly is the message and your updates are effectively an utterance within a conversation that you started with your entire network when you joined the platform (McLuhan 1964). Furthermore, Zaykova explains, since users of social media actually live in the physical world where they have a job, family, responsibilities and so on, social media content and environment is directly affected by the time of day. This in turn is a reflection of user’s day to day activities, she explains. As seen previously, in fig 10, platforms are at their peak hours, mostly in the afternoon, which is the time of day in which users come back from work or school. High usage is also visible in the morning associated to the little free time users have before going to work or school. Lastly, evening time also has traffic relating to user’s usage of social media before sleep. Moreover, with each timing and also day, the environment and the content changes reflecting the users’ state in the physical world, she explains (Zaykova 2016). This results in a new experience every time making social media the lively space that it is.

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time IN ARCHITECTURE

Historians describe the pantheon as one of the best preserved buildings from Ancient Rome. It was completed in 125 CE under the reign of Hadrian (The Oculus 016). As explained earlier, social media is a space affected by time where its platforms change daily with the passage of time. Their content is affected by the time of day due to the control time has over its users, their free time and state of mind. That is what renders social media so lively and real. Similarly, the pantheonâ&#x20AC;&#x2122;s oculus is a gateway portraying change due to passage of time. The oculus located on the central part of the dome, the largest of its time, is the only source of light entering the pantheon. The light shed changes its position and intensity according to the time of day. This in turn shapes the inner walls of the dome, second after second and minute after minute. Thus, making every single visit a different experience creating a scene of intrigue and mystery (The Oculus 2016).

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THE PANTHEON

THE GUGGENHEIM Wright proposed “one great space of continuous floor” and his concept was a success (Solomon R 2016). Circulating through the continuous ramp that wraps around the central void of the atrium creates a similar effect to social media’s allowance of interaction between users that are spatially remote. Likewise, the circulation of the Guggenheim creates a similar effect through the concept of datum. Renwick in “Ordering Principles” gives definition to datum as “a form which ties together or anchors all other elements of the design. It can be a line, like a road with houses arranged along its length, a flat plane, or even a 3D space. Many buildings all share a plane which acts as a clear datum— it’s the ground on which they are built.” In the case of the Guggenheim, the circulatory ramp brings all functions of the structure together. Moreover, Solomon explains, that it also regulates the flow of visitors into a swirling mass around the central void. Furthermore, due the huge central void rising 92’ in height, users circulating at any point on the ramp can view others at a distance (Solomon R 2016). That is, users inhabiting different spaces are connected visually which in turn mimics social media’s ability to instantly connect people in different places of the world. The Guggenheim was the last major project by Frank Lloyd Wright. The organic curves contrasting the strict Manhattan city grid were built in 1959. Its exterior is a stacked white cylinder of reinforced swirling around the central atrium (Solomon R 2016).

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SPACE OF CONVENIENCE “People seldom do what they believe in. They do what is convenient, then repent.” Bob Dylan. This highlights the importance of convenience in swaying our daily life choices. The convenience provided by social media in gathering information, engaging in interaction and moving most towards the mobile form, has made social media so ubiquitous that it has almost become obligatory in certain groups. As Marwick mentions, “Auren Hoffman, CEO of the reputation management firm Rap Leaf, started in our interview: “If you were an employer, and someone applied and they didn’t have any activity on social networks and that person was 23 years old, you’d think they were the Unabomber. You would be really scared to meet this person without even a bodyguard. I don’t even know if that person exists.” (Brake 2014) Social media through its medium of texting, has provided users with a more convenient form of communication which users have grown accustomed to. However, Buechler explains that although this medium has allowed more connections to cultivate, it has also undeniably changed the quality and texture of communication.

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People nowadays, especially the young who grew up ith this technology, prefer instant messaging or texting over phone calls or even e-mail (Buechler 2008). In 2011, Turkle’s data from interviews imply that people avoid phone calls, for they are very similar to face-toface interactions. This is in the sense that they can be “revealing, intrusive and time consuming”. Texting on the other hand, allows one to carefully compose, edit and revise his or her content. Texting also allows us to portray emotions without the necessity of processing them in reality in front of the actual people. This results in the allowance of control and management of interactions that does not exist in face-to-face conversations. In conclusion, Buechler explains, the nature of texting just examined is one of the main reasons for social media’s ubiquity. Moreover, although it can have negative results on interaction that does not change the fact that humans will do what is convenient (Buechler 2008).

In addition to communication itself made convenient, the mobile nature of social media has conveniently enabled its user to interact from any space at any time. For example, while on the bus to work, while sitting in class, while at work, while downloading a movie or while walking to the grocery store. It accessible from virtually any smart device. Therefore, it is available whenever one is interested. According to Turkle, it is another main reason for its ubiquity (Turkle 2011). Statistics have shown that two out of three teens have their own mobile device. Furthermore, there are actually no significant differences in cell phone ownership in terms of race or parents education. Actually there were no demographic differences of any kind of such device ownership (social media social life). That is because smart phones are relatively affordable based on the acquired advantages. Thus, social media has not only provided convenience in terms of mobility, but also in the fact that this mobility is obtainable by relatively every demographic. And that is convenient.

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CONVENIENCE IN ARCHITECTURE

The Center for Harvard University is actually located in Cambridge, Massachusetts on an extremely small site that is surrounded by buildings in the Geor¬gian style. Le Corbusier explains that its idea of creation was to establish a space where students of the University could register to work. This space was dedicated for the creation of two-dimensional art, three-dimensional art, models, sculpture, etc. The center was completed in 1963 which on Harvard University’s campus. It was designed in collaboration with Guillermo Jullian de la Fuentes and Josep Lluis Sert - dean of Harvard at the time (Le Corbusier 1957). The point of interest in this project is the link that was created to directly connect Harvard to its premises. This ramp in fact is a direct physical representation of the concept of convenience that social media provides its users. Le Corbusiers explains that he wanted to create a direct link from Harvard that would allow students to conveniently and easily reach the premises of the center. He explains that creating this circulation above the third floor was a challenge but a necessity (Le Corbusier 1957) Moreover, the link being an important part of project, Le Corbusier imposes curvilinear wall sections to define this circulation or the space. He also uses the curvilinear wall system to outline the interior volume’s boundary to accentuate the architectural promenade throughout the building, as well as seamlessly linking the interior spaces through a cyclical spatial organization( Le Corbusier 1957).

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CARPENTER CENTER

the connection Social media is created for the convenience of communication of its users, as explained earlier. Likewise, Leo A Daly were actually awarded for their work on “The connection”, an underground pedestrian link aimed at creating a more convenient pedestrian experience, explains Daly. It is located in Minnesota State University, Mankato. Bill Baxley, Design Director for Leo a Daly explains that the connection is 140’ long by 12’ wide connecting Minnesota State Mankato’s Memorial Library and the recently renovated Centennial Student Union (CSU). This underground link provides a sheltered passage to students and faculty during harsh weather conditions. The pedestrian passage was designed purely intending its users’ “convenience” of circulation.

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It is especially helpful for users with disabilities. Moreover, for further convenience of experience, its gentle vegetated slope allows the entrance of natural light through a 33’ expanse curtain wall illuminating its underground nature. (Daly 2016). “The Connection represents a very efficient structural solution and a unique tunnel experience. By marrying the economical with the aesthetic, the University gained a valuable student amenity, an expanded teaching environment, and a new campus landmark” said Bill Baxley, Design Director for Leo A Daly (Daly 2016).

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The only constant in social media is change. That is due to the combination of several reasons. This includes change in the coding of the platforms themselves, the way different localities appropriate them as well as necessary change required due to market competitors. Boyd and Ellison explain that even though a platform may have a consistent identity with respect to the company that owns it, it is still subject to constant change. She explains that many of the known platforms nowadays started out with different functions intended. Facebook is actually a good example. According to Boyd, it initially started out, she explains, as a platform intended to help allow male students rate female students. This later on constantly evolved to create the Facebook we know today (Boyd &Ellison 2007). Furthermore main changes to the platform such as the recent migration of older people to it for example, is largely a result of users’ activity rather than anything intended by the company. Therefore, Boyd & Ellison explain that much of the changes seen on the platforms are due to appropriation of space by the user. In the same way sites such as Friendster and Orkut became popular in quite different regions than those for which they were intended (Boyd & Ellison).

Speaking of regions, the same issue, of changes over time, applies to differences over space. This is in fact one of the primary concerns of anthropology.

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In a collaboration study conducted called “How the World Changed Social Media”, the authors discovered that Facebook in Trinidad, for example, was significantly different in its content from Facebook in India. o what is it that they have

found? They explained this discovery as resulting from the appropriation of space by each group. However, they explain that if they say, “this is a study of the way Trinidadians have appropriated Facebook, then it sounds as though there is a more authentic Facebook located somewhere else that has now been changed by Trinidadians.” They explain that is not their intent. In their own words, they state that,” the point illuminated by our anthropological approach is that Facebook only ever exists with respect to specific populations; the usage by any one social group is no more authentic than any other”. Moreover, to elaborate, the example of when Facebook “lost its cool” for the young was given. Examiners hypothesized that the young were worried about the company’s access to their vast amount of personal information online. However, no evidence could be found to back this alleged argument. In fact, Miller explains, the decline had no relation to the company’s intentions, the young were actually worried about what their parents might do when having access to the data (Miller 2016). That is, the change that resulted in the platform was in no way influenced by a change in the platform or its code.

SPACE OF CHANGE

Finally, Baer explains that social media platforms change very frequently out of necessity. That is because they are nearly always in a battle with each other and other companies for users and advertiser dollars. The more or less daily users they have means the more or less daily and long-term advertisers they have to make money from. It’s also why you hear talk, due to public relations campaigns, such as “Cool Kids Don’t Facebook Anymore” or “Twitter Is the New Myspace” (Baer 2016).

This witnessed change resulting from either reasons of the market, programmer decisions or difference in content based on group, creates a space of constant change. Larry Rosen explains, that might be why we feel the need to constantly check our phone. This urge, he explains is actually a mixture of anxiety and pleasure. That is pleasure in the sense that users want to feel entertained and anxiety in the sense that they are worried about missing out. This in turn has led to constant social media usage and popularity.

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CHANGE IN ARCHITECTURE

fusuma Beginning with ancient Japanese houses, their structures allow for change in spaces and their functions in the same way that social media platforms change due to appropriation by the user. Spacey explains that those physical changes are made possible using the fusuma. These are sliding sheets that go about as gateways and dividers in conventional Japanese houses and structures. They allow the inside of a Japanese house to be intensely reconfigured into various spaces for different purposes. For example, it was traditionally normal for different rooms to be amalgamated in the day to create a lounge. This was generally necessary for broad multigenerational families living under one rooftop (Spacey 2016).

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He explains that fusuma are about the traverse of a tatami mat with a 2:1 extent of height to width. They are made with materials, for instance, wood, paper, cardboard or fabric. For the most part, they were painted with scenes and a couple of Japanâ&#x20AC;&#x2122;s most outstanding expressive arts are in fact fusuma (Spacey 2016). In conclusion, the userâ&#x20AC;&#x2122;s choice of configuration of the fusuma is actually a material translation of the appropriation of platforms that occurs on social media.

wyly theatre Social media is a space whose function’s change based on user’s desire. For example, one could watch videos, post comment or read articles and so on. In the same way, the Dee and Charles Wyly Theater defeats routine theater design by creating a space that if flexible to change and re-configuration. The architects explain, rather than hovering front-of-house and back-of-house functions around the auditorium and fly tower, the Wyly Theater stacks these offices below-house or abovehouse. This methodology changes the building into one major “theater machine.” At the push of a button, the theater can be transformed into a wide array of configurations, including proscenium, thrust, and flat floor, liberating directors and scenic designers to pick the stage-audience of on lookers design that satisfies their aesthetic desires. In addition, the performance chamber is purposefully made of materials that are not valuable with a specific end goal to encourage adjustments; the stage and amphitheater surfaces can be cut, drilled, painted, welded, sawed, nailed, glued and stitched at limited cost (Dee & Charles 2016).

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Stacking the Wyly Theater’s ancillary facilities above-and beneath house also frees the performance chamber’s whole perimeter, permitting fantasy and reality to blend when and where fancied. Directors can incorporate the Dallas skyline and streetscape into performances freely, as the auditorium is enclosed by an acoustic glass façade with hidden black-out blinds that can be opened or closed. Panels of the façade can likewise be opened to permit patrons or performances to go into the auditorium or stage directly from outside, bypassing the downstairs lobby (Dee & Charles 2016). By investing in infrastructure that permits ready transformation and freeing the performance chamber’s perimeter, the Wyly Theater gives its artistic directors flexibility to decide the whole theater experience, from audience arrival to performance arrangement to departure (Dee & Charles 2016) . On continuous days, the Wyly Theater can create Shakespeare on a proscenium stage or Beckett in a flatfloor setup outlined against the Dallas cityscape reflecting social media’s malleability.

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passing moment Social media has allowed for a changed perspective on social interaction. Users can now communicate and socialize throughout daily life routines. They can text their friends on their way to work, before sleeping or even while cooking. That is, social interactions no longer necessitate a destination; it is coupled with our “transition” and flow throughout daily life. In fact, psychologist Goffman explains that interactions occurring in this “transitional space” are less formal and more spontaneous. As a result, they are more likely to occur in such spaces. He explains that this results due to the fact that one assumes that the interactions one has with people passing on their” separate ways” will not be used by others as bases reflecting his or her self-presentation. Therefore, this means less inhibition and more interaction (Goffman 320). Some argue that treating “incidental contacts” on their separate ways as transitory might be reasonable in face-to-face interactions. When thinking of social media as transitory space; however, it might be problematic, for content is permanently recorded and searchable (Brake 2014). Still Goffman observes that strangers who are not the intent of the interaction do not seem to be viewed as a threat (Goffman 320). In the sense of, why bother about strangers viewing our posts if after viewing them they stop being connected to you.

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This concept of interaction in transitional spaces throughout daily life is actually a point of interest to Jan Gehl. To understand the relation between the amount of social interaction and these spaces, he describes three types of outdoor activities. First, he explains, necessary activities include those that are required, such as going to work, waiting for a bus or distributing mail. That is, all activities in which those involved are obligated to participate and usually involves everyday tasks. In this category users perform these activities throughout the year; they usually do not have a choice. Second, he continues to explain, optional activities are those “that are participated in if there is a wish to do so and time and place to make it possible”. They are usually coupled with favorable exterior conditions. Lastly the third activities are social activities. He expresses his awareness on the fact that social activities can occur in several locations such as dwellings, private outdoor spaces or even gardens. However, he states that, for the context of his writing, only those interactions occurring publicly will be examined. These include walking to get a breath of fresh air, standing in the sun or just leaning on a colomn enjoying life. He states that these activities could also be called “resultant” activities because they nearly always are a product of activities relating to the two previous categories. In his words, “they develop in connection with the other activities because people are in the same space, meet, pass by one another, or are merely within view”. The truth is that social activities arise spontaneously. It usually results due to people’s movement and existence in the same spaces.

This suggests, as Gehl stated that “social activities are indirectly supported whenever necessary and optional activities are given better conditions in public spaces.” (Gehl 2016) In his words, “they develop in connection with the other activities because people are in the same space, meet, pass by one another, or are merely within view”. The truth is that social activities arise spontaneously. It usually results due to people’s movement and existence in the same spaces. This suggests, as Gehl stated that “social activities are indirectly supported whenever necessary and optional activities are given better conditions in public spaces.” (Gehl 2016)

Therefore, following Gehls logic, this concludes that those “in between spaces” are actually proven opportunities for social interaction which is directly affected by those spaces’ quality. So what are those “in between” spaces? Luz in her writing “ Places in-Between: The Transit(ional) Locations of Nomadic Narratives” describes it as the “other place in space, which is neither the place from where it originally came, the departure point, nor the place which it is the objective of situation ,the arrival point, but is related to both”. She explains that this space in between creates a new reality of passing moments

Luz states that in reality as human beings we are constantly in a state of transition between things. She explains that this is why these transitional spaces, that lead us from work to leisure or any daily life related activity, are so important. Throughout the day, we constantly inhabit these spaces that harbor passive interaction that we do not really notice. This include the simplest acts, such as asking for time or borrowing a lighter. In fact, Gehl explains that the mere fact of people existing in the same space is enough to create interaction; however, that is usually successful when people have a reason to stop or pause momentarily. At this point, people’s inclinations to stop or linger for a while is dependent on the physical aspects and design of the space. This will be further explored in section 2 explaining the rationale behind the site selection and intended project.

chapter chapter three three

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BETON HALA, THE CLOUD

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BELGRADE SERBIA

“The cloud creates the connection this waterfront lacks”

142

Sou Fujimoto’s “floating cloud” at Beton Hala was the first prize winner for the Beton Hala waterfront centre in Belgrade. In contrast to the medieval fabric of the capital city,Serbia, the proposed project interlaces a variety of social and transportation programs into “ an organized tangle of suspended ramps” that emerge from the Beton Hala platform. It was in fact lauded by the jury to be a “brave proposal” that holds the “highest emblematic potential among all of Beton Hala entries” The new, proposed vibrant pedestrian square will become the main access point connecting the capital’s riverfront to it’s historic core.Moreover, it will provide retail space, cafes and restaurants, exterior exhibition space and a viewing platform, as it is situated atop a subterranean parking garage and transportation hub linking the ferry terminal, tram and bus (Beton Hala 2016)

SITE PLAN The architect explains that the goal was to provide accesible and comfortable accesses to all the various programs of the site. He first explains that access from the ferry terminal, parking on the north side of the site and the grand stairs are connected to the waterfront center by stairs. Moreover, the Kalemegdan park as well as the Belgrade fortress are linked to the project via paths. In fact , the path from the fortress is wheelchair accessible, he notes. Furthermore, the main public transportation is available to the north of the site. Two elevators are also placed for direct access to the waterfront center from the water taxi terminal and existing beton hala station.

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11TH STREET BRIDGE WASHINGTON DC 158

OMA Created as a place of “exchange”, the winning proposal for the Washington Dc 11th street bridge park competition that was aimed at turning an old freeway above the Anacostia river into an elevated park and new public space for the city. OMA+ OLIN describe their winning proposal as an intersecting structure that will connect two “historicaly disparate sides of the river”. Hovering above the river, yet still anchored within, the bridge park is a clear moment of intersection and co-existance among the two sides of the river. The elevated structures is a space of engagement with a layered program taylored for the local workforce, residents as well as visiting tourists. The two ramps from opposing sides of the river intersect to create an iconic “X” that will become an instantly recognizable new image of the river. It also provides visitors with elevated viewing decks in either direction. Hallie Boyce at OLIN described it as “an incredible opportunity to contribute to the civic fabric of Washington D.C, through the design of an iconic, multi-functional landscape which promotes the health of the river and its adjacent communities as a model both nationally and globally”.

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The project won the jury’s vote unanimously. It was the most praised by the “Design Oversight Committee”, composed of local stake holders. It also won the public vote. “The OMA + OLIN concept is simply brilliant in the way they captured ideas we heard from residents on both sides of the river and from across the city” 11th Street Bridge Park Director Scott Kratz “Our design creates a literal intersection and a dynamic, multi-layered amenity for both sides of the river.” “It simultaneously functions as a gateway to both sides of the river, a lookout point with expansive views, a canopy that can shelter programs and a public plaza where the two paths meet. The resulting form of the bridge creates an iconic encounter, an “X” instantly recognizable within the capital’s tradition of civic spaces” Jason Long - OMA

The essence of its design in creating this landscape accesible to the community. Therefore, the program created is a reflection of the regionâ&#x20AC;&#x2122;s culture and histroy. Moreover, to encourage longer visits at the bridge throught the year, comfort amenities are provided. That includes, restrooms and food, shade and warmth as well as seasonal programming. The central meeting point, at tge intersection of the two paths, creates an open plaza that acts as a venure for possible markets, festivals and theatrical performances. The paths also provide a sequence of zones dedicated for play, relaxation, learning and gathering. The 5% slopes also provide shade for the cafe on the southeast side and performance space on the northwest. Moreover , each side of the river holds a waterfall that acts as a point of reconnection to the river. On the east side, the waterfall is directly linked to a filtration systems that with the help of the new wetland areas nearby work to actively clean the river around the crossing.

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The activated zones and multiple levels of the Anacostia Crossing also bring visitors down to the river itself. A series of voids along the bridge provide spaces for play and access down to the river itself. The performance space and cafĂŠ are each partially carved into the body of the bridge, creating intimate zones with views to the waters below. Together, these areas allow visitors to engage the river from multiple vantage points, from above to take in its majesty, or engaging with the waters for boating and recreation. The Environmental Education Center will provide a variety of programs which tell the rivers 400 year history of the River. The Anacostia watershed lost much of its original hardwood forest cover, grassland meadows and tidal wetlands due to the treatment of this landscape by those that lived here as a commodity and not a valued resource. Anacostia Crossing will be a beacon that illuminates the challenged health of the River as well as highlights the possible solutions demonstrated by numerous ongoing efforts to clean the river, build community and educate our next generation of river stewards and engaged citizens. Our design will serve as a catalyst to improve the ecological integrity of the Anacostia River through demonstration and education on ecosystem enhancement as well as restoration shoreline plantings making it once again one of our Nationâ&#x20AC;&#x2122;s greatest waterways.

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Anacostia Crossing works to promote the health of the citizens of Washington DC particularly those who live in Wards 6, 7 and 8 reflecting the communitiesâ&#x20AC;&#x2122; aspirations for a new quality of life. The design builds upon and connects to the existing Anacostia Riverwalk Trails on both sides of the river and creates a new topography for the public to engage and explore. Programmatic elements are also extended in a Phase 2 to provide stepping stones to the heart of Historic Anacostia encouraging residents to explore this new place in the city.`

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flinders STREET station

Herzog de Meuron submitted a winning proposal for the Flinders Street station competitions. The design aims at integrating the station with its surrounding urban context. The architects explain that their inspiration was drawn from many aspects of the historic site surrounding such as its fabric, location, linear nature as well as the stationâ&#x20AC;&#x2122;s location within the public realm (The Flinders 2016). The design aimed at changing the station from a place of hurry to one that allows visitors to take a second. It has also resulted in it becoming a destination. The new proposal hosts an art gallery, public plaza, Amphitheatre, marketplace and a permanent home for arts and cultural festivities. Moreover, the transport function is greatly improved. The design created new improved concourses that will facilitate the movement of users entering and exiting. , with new or improved concourses making it easier to get in and out. Weather-proof vaulted roofs now flood the platforms with dappled, natural light and ventilation. To ensure pedestrian access, a bike path under the station through the old western concourse links cycle ways on the river and Elizabeth Street.

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The architect explain their wish to preserve the cultural heritage and iconic status of the station. That was done through building a fabric that most people are familiar with and choosing paintwork matching its original color. Also, the Flinders street building and entrance pavilion are both preserved. In fact, the vaulted roofs are features of the old design that was never realized. The proposal as the architects explain, eases many of the pedestrian blockages of the existing station. The design in their words, â&#x20AC;&#x153;also caters for the impact on the station of growth in passenger numbers, changes to patterns of interchange that will occur through further urban densification, growth of Southbank and the introduction of the new Metro Linkâ&#x20AC;?. The in station platforms will actually be extended to accommodate new rolling stock. Also where possible, platforms to be widened through the realigning of tracks while retaining minimum track clearances. This will provide width to accommodate new escalators and lifts on the platforms.

The new entrance hall for Flinders Street station is the western concourse which will be a new principal that balances and enhances the renovated eastern concourse. The eastern and western concourses are in fact linked byâ&#x20AC;? an elevated riverfront walkway activated by shops and cafes.â&#x20AC;? Moreover, the clock tower that faces onto Elizabeth Street is framed by two arches. The existing blocked off arch to the west of the tower will be used to provide a formal escalator access up to the western concourse. The design is aimed at facilitating an intuitive way of aiding passengers in finding their way. For example, the arches of the vaulted roof flow over the concourse, follow the alignment of the tracks below. This way passenger are directed towards the ticket gate line and the vertical circulation to the platforms below (The Flinders 2016).

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Furthermore, the design stand to connect the city, stitching it together. The restored station and the new art gallery now occupy the link that has been missing between the cultural precinct encompassing St Kilda Road and Federation Square with the old Customs House and the Immigration Museum on Flinders Street (The Flinders 2016).

ACTIVATE EDGES

CONNECT PRECINCT

HERITAGE ON SITE

LINKAGE TO HERITAGE

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PUBLIC SPACE

RETAIL

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The station being heavily patronized from both sides, the plaza was designed to complement its double-end loaded nature as well as create a direct connection with the river. The architects explain that â&#x20AC;&#x153;The space is embraced to create its own unique ambience, opening and folding down to engage the river and urban activity. This combination of public, cultural, civic and retail programs adds diversity, enriching the city edge and river frontage.â&#x20AC;? The public zones of the station, found along the river edge including both at water and plaza level, connect Federation Square, the market, plaza and gallery to the CBD and south of the river (The Flinders 2016).

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The aim of the design was to deliver a project that is able to benefit the community. In the architects own words, “Our quadruple bottom line approach to the redevelopment of the station and precinct will deliver a project that gives back to the community by providing social, cultural, economic and environmental sustainability benefits.” This is made possible through improving public transport experience and efficiency, providing spaces for cultural and community activities as well as events and performance. Also, as they explained, it is also achieved through employing passive architectural design elements. Their goal was to provide a development that results in maximum civic and public benefits for the city across the entire site, while celebrating the site’s historical and contextual aspects through their preservations and incorporation into the fabric of the city. Finally, the architects explain, “The development can be divided into various stages to return the benefits of capital investment back to the public as early as possible, improving commuter experience through the station and precinct” (The Flinders 2016)

HERITAGE

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STRUCTURE CONSTRUCTION PHASING

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program

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chapter three

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site selection Social media as explained in the previous sections has now become embedded within our daily lives. When studying the peak hours of social media, studies have shown that it is used mostly before work, after work and during the evening. Usually while commuting to or from work; in the transitional state. Moreover, as explained by Gehl, these transitional spaces hold vast opportunity for social interaction. Therefore in attempt to translate social medias essence architecturally, the site options shown target daily usage that incorporate transitional spaces holding opportunities for interaction. Moreover, to ensure daily life usage that involve both optional and obligatory activities, the site will also be within a mixed use community. As will be seen in the figures to come, the site options have been deduced through three main steps. First the mixed use areas of Dubai are mapped out. Then, proximity to metro stations is added to cut down on options. After which the ridership of the metro stations is compared to locate the most pedestrian traffic.

MIXED USE AREAS

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PEDESTRIANS

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SITE OPTIONS

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BUISNESS BAY NEAR METRO STATION

Business bay complies with the criteria of mixed use area in close proximity to the metro. In fact, it is a dense area mainly consisting of residents and workers, most of which are active pedestrians. From the point of view of an employee wanting to reach work or in fact any visitor to the site, the pedestrian experience once leaving the metro is nonexistent. One is thrusted directly to an empty plot filled with sand from which users of public transport have to make their way. Passing by the area, footsteps of passersby are always visible in the sand. Therefore, this site selection would aim at seizing the opportunity obviously portrayed by the users. Where instead of sand, it could be a public space where people on their ways meet and interact.

proposed site

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media city AUD parking

Media city is a mixed use area that hosts commercial, educational and residential buildings. One spot of interest in Media city is actually the AUD parking which has become a point of interchange for users of Nakheel metro station. From there, student go to their schools, employees to their nearby offices and residents to their homes. This point of exchange however which represents the point at which users leave the metro and intend to take their separate ways is actually the AUD parking. From the metro gate, pedestrians leave the metro directly into the parking, inconveniently walking between cars to reach their destination. Therefore, this site selection represents an opportunity of creating a better quality of daily life. Where instead of walking with headphones on struggling to get between cars, one would enter a piazza welcoming him or her, creating opportunities for interaction and better quality living.

proposed site

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metro link jlt METRO STATION

Social media has created direct connections among its users whether through intended communication or interactions within passing moments. In the physical world, the metro link of the JLT metro station represents just that. Looking at the site of the link, it located between highly pedestrian mixed use areas; Marina , JLT and JBR. These three areas are located in parallel next to one another with strong vertical connections along Sheikh Zaied Road, yet weak ties exist horizontally among them. The only pedestrian link from JLT to Marina leading to JBR is the metro link. For that reason, it is the proposed selected site. In addition to providing opportunity to strengthen this direct connection to create a more connected urban fabric, the metro link itself is transitional in nature. That is. It also provides the concept of context collapse bringing together people that would not usually cross paths. This creates an opportunity to generate interaction. The link is, at the moment, an interchange of people going their separate ways having small interactions throughout the way. Through renovation of this link into a vibrant public space however, those instances and passing moments could be cultivated to ultimately create a more connected society. At the same time, the public space enhances the quality of daily life.

selected site

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BUILT UP AREA

212

BUILT USE

214

BUILDING HEIGHTS

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MARINA

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JLT

220

ARCHITECTURAL STYLE MARINA 1- The waves A

1- The waves B

3- Ary marina view

4- Byblos marina hotel

5- Marina sail

6- Marina yacht club

7- Al majara 2

8- Al majara 5

9- Al majara 3

10- Al majara 4

11- Al majara 1

12-

13Emerald residence

14Dreams tower

15Dreams tower 2

16Yacht bay

17Horizon tower

18Azure tower

222

19Marine residence

20- The cascades

21Marine mansions

22- La riviera

23- West avenue

24Silverene tower A

24Silverene tower B

25Marina plaza

26Marina mall

26 b - The address

27Utility

28- The atlantic

29-

30Dolce vita

31Orra marina

UNDER CONSTRUCTION

32Zumurud tower

33West side marina

UNDER CONSTRUCTION

34Jannah tower

ARCHITECTURAL STYLE MARINA 35Marina pearl

36Marina diamond

38Escan tower

39- Al masraf tower

40Manchester tower

41The trident waterfront

42Zen tower

43- Stella hotel

44Pier 7

224

UNDER CONSTRUCTION

37Marina park

UNDER CONSTRUCTION

ARCHITECTURAL STYLE JLT 1Dubai gate 2

2Laguna tower

3Lakeside residence

4- Wind tower 1

5- Lake view

6- Wind tower 2

7- Fortune tower

8Goldcrest executive

9- The palladium

10- Al mas tower

11Indigo tower

12Lake terrace

13Lake city tower

14Global lake view

15Al shera tower

16Saba tower

17Bobyan tower

18HDS tower

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19Indigo tower

20- Dubai arch tower

21Jumeirah buisiness center

22Flamingo tower

23Reef tower

24O2 residence

25Marina tower

26Armada tower 1

27Armada tower 2

28 Armada tower 3

29- New dubai gate

30- Saba tower 3

31- Al waleed paradise

32Mag 214 tower

33Saqran tower

34Green lakes 1

35Green lakes 2

36Green lakes 3

UNDER CONSTRUCTION

WALKABILITY DAY

228

WALKABILITY NIGHT

230

GREEN SPACES FLORA

232

ROAD HIERARCHY

SZR

234

ROAD SECTIONS 11

236

ROAD SECTIONS 4

238

PUBLIC TRANSPORTATION

240

PUBLIC TRANSPORTATION

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Summary and synthesis According to Turkle, social media was created by studying people in the physical world and reflecting it virtually (Turkle 2016). That is, understanding human wants and needs. Moreover, architecture is an age old profession that complies with those human â&#x20AC;&#x153;needs and wantsâ&#x20AC;? throughout time. Therefore, each characteristic of social media was found embodied in a structure. That is to prove that, actually , social media was in fact a virtual translation of the physical world. However, none of the physical spaces combined all social media characteristics together or in the same way to provide a space resembling the virtual one. In conclusion, at this point we have had a shift from the physical to the virtual. Such as from going to the library to reading iBooks. This book is therefore an attempt to create a shift back to physical after learning from the virtual.

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CONCEPT 1

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CONCEPT 2

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list of figures FIG 1, 2, 3 https://www.pinterest.com/pin/287386019949697959/ FIG 4 https://www.google.ae/search?q=social+media+connectivity+high+resolution+art&espv=2&biw=1536&bih=736&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiFkPSRnLLQAhVM6RQKHeT6A1oQ_AUIBigB#tbm=isch&q=dubai++high+quality+photography&imgrc=kWl_146K2Wq4XM%3A FIG 5 http://www.istockphoto.com/ae/photos/highway?excludenudity=true&sort=best&mediatype=photography&phrase=highway FIG 6 https://www.pinterest.com/pin/99219998017106170/ FIG 7 https://www.pexels.com/photo/city-cars-road-traffic-2025/ FIG 8 https://www.pinterest.com/pin/472807660850064103/ FIG 9 https://www.google.ae/search?q=people+on+a+sidewalk&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwin0dyLj4DRAhWF2BoKHWwIBeEQ_AUIBigB FIG 10 https://www.pinterest.com/pin/326581410450487229/ FIG 11 https://www.pinterest.com/pin/255297872597092366/ FIG 12 https://www.pinterest.com/search/pins/?q=teddy%20bear&rs=typed&term_meta[]=teddy%7Ctyped&term_ meta[]=bear%7Ctyped FIG 13 https://www.pinterest.com/pin/311803974182290652/ FIG 14 https://www.pinterest.com/pin/362891682450387072/ FIG 15 https://www.google.ae/search?q=social+media+connectivity+high+resolution+art&espv=2&biw=1536&bih=736&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiFkPSRnLLQAhVM6RQKHeT6A1oQ_AUIBigB#tbm=isch&q=dubai++high+quality+photography&imgrc=kWl_146K2Wq4XM%3A FIG 16 https://www.google.ae/search?q=social+media+connectivity+high+resolution+art&espv=2&biw=1536&bih=736&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiFkPSRnLLQAhVM6RQKHeT6A1oQ_AUIBigB#tbm=isch&q=dubai++high+quality+photography&imgrc=kWl_146K2Wq4XM%3A FIG 17 https://www.pinterest.com/pin/384143043197106186/ FIG 18 https://www.pinterest.com/pin/443463894542060418/ FIG 19 https://www.pinterest.com/pin/344947652692717089/

FIG 20 https://www.google.ae/search?q=painting+of+woman&espv=2&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjUt8rKlYDRAhXGtBQKHaQEDv4Q_AUIBigB FIG 21 https://www.watson.ch/imgdb/65c1/Qtablet_hq,E,0,0,500,551,208,229,83,91/598480213183626 FIG 22 http://darrelluruski.photoshelter.com/image/I0000vTsKYPiLlYQ FIG 23 https://www.pinterest.com/pin/198932508517933285/ FIG 24 http://www.meh.ro/original/2009_10/meh.ro374.jpg FIG 25 http://www.travelettes.net/bath-the-most-fashionable-historic-city-in-southwest-england/roman-baths/ FIG 26 http://www.archdaily.com/60259/ad-classics-the-glass-house-philip-johnson/5037de7128ba0d599b0000cb-ad-clas sics-the-glass-house-philip-johnson-image FIG 27 https://www.pinterest.com/pin/569986896572453458/ FIG 28 http://3.bp.blogspot.com/-fXT-8RoQXsE/UHsq0TJFQ1I/AAAAAAAACAM/o0B70Ng4v3U/s1600/john+ward+mirror.jpg FIG 29 https://s-media-cache-ak0.pinimg.com/236x/b4/91/65/b49165e4b9ed59953275915db1dde1de.jpg FIG 30 http://exceedingeternity.tumblr.com/post/154648746302/im-such-an-easygoing-person-but-i-get-severe FIG 31 http://pulse.ng/arts_culture/epic-art-see-this-creative-painting-of-mona-lisa-taking-a-selfie-id4465424.html FIG 32 https://www.pinterest.com/pin/437271445044002662/ FIG 33 https://www.google.ae/search?q=painting+of+woman&espv=2&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjUt8rKlYDRAhXGtBQKHaQEDv4Q_AUIBigB#tbm=isch&q=colloseum+ FIG 34 https://www.google.ae/search?q=oms+stage&espv=2&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiNmM7ym4DRAhXDWxQKHVADAPgQ_AUIBigB#imgrc=_ FIG 35 http://images.adsttc.com/media/images/5013/7ca6/28ba/0d15/0700/03b3/large_jpg/stringio.jpg?1414560728 FIG 36 https://www.pinterest.com/pin/432767845424341748/ FIG 37 https://s-media-cache-ak0.pinimg.com/236x/5f/54/33/5f54332924fb28b0f3b50069f103ddd4.jpg FIG 38 https://www.pinterest.com/pin/467811480016655371/ FIG 39 http://www.larrypatten.com/wp-content/uploads/2015/07/magic-matt-busking-in-toronto.jpg

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FIG 40 https://images.google.ae/imgres?imgurl=http%3A%2F%2Fwww.tuscanyaccommodations.org%2Fuk%2Fimages%2FPiazza_del_Campo_Siena_Apartment__Siena_apartment_rental-l3951.jpg&imgrefurl=http%3A%2F%2Fwww.tuscanyaccommodations.org%2Fuk%2FTuscany_Holiday_Apartments-16%2Fzone-0%2FPiazza_del_Campo_Siena_Apartment-248%2F&docid=ENwhDW5pXzgBgM&tbnid=ybWclU1LX9BGuM%3A&vet=1&w=551&h=366&source=sh%2Fx%2Fim FIG 41 https://www.google.ae/search?q=piazza+del+campo&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&sqi=2&ved=0ahUKEwiCl5jkkIDRAhWCbxQKHW9nC_cQ_AUIBigB FIG 42 https://www.google.ae/search?q=stadtlounge&espv=2&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiAuvm9mIDRAhUCUhQKHeN6B_cQ_AUIBigB FIG 43 https://www.google.ae/search?q=stadtlounge&espv=2&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiAuvm9mIDRAhUCUhQKHeN6B_cQ_AUIBigB FIG 44 https://goo.gl/images/ssZUur FIG 45 https://images.google.ae/imgres?imgurl=https%3A%2F%2F1.bp.blogspot.com%2F_1ece_1s4bkU%2FTUsagUhSpCI%2FAAAAAAAALXI%2F27ifCf9GDD8%2Fs1600%2Fegyptprotests012811%252BPawel%252BDwulit%252BAP%252BPhoto%252BThe%252BCanadian%252BPress.jpg&imgrefurl=https%3A%2F%2Fthesocialpoets.blogspot.com%2F2011%2F02% 2F31-more-egypt-revolution-cartoons.html&docid=wZ_c5Pz89-wXaM&tbnid=GdAnemJkQKodZM%3A&vet=1&w=600&h=430&source=sh%2Fx%2Fim FIG 46 https://www.google.ae/search?q=ROSTRA&espv=2&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiJsp-7lIDRAhUFwBQKHVR0C_sQ_AUIBigB FIG 47 https://images.google.ae/imgres?imgurl=http%3A%2F%2Ffiles.doobybrain.com%2Fwp-content%2Fuploads%2F2009%2F03%2Ffreedom-tunnel-herman-yung-murals.jpg&imgrefurl=http%3A%2F%2Farchive.doobybrain. com%2F2009%2F03%2F21%2Fhow-to-get-into-the-freedom-tunnel%2F&docid=JSPhYAJs8Iw3oM&tbnid=bhBNfBFYm46ouM%3A&vet=1&w=600&h=299&source=sh%2Fx%2Fim FIG 48 https://lh3.googleusercontent.com/IowUldyCymcLru7XPV7_E27cwftWknuE3rWqVSOzePBs7EK0Wepps7RrUZKDhX6ARzHtnQ=s114 FIG 49 https://lh3.googleusercontent.com/z07WYWabcjXN5PCgyJ00jvkvO7e4EtsCZPiBnqO3-xnpMBRz7o_iODDYNy1oCqvFSxMS_Q=s114 FIG 50 https://www.google.ae/search?q=panthen&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjLnOCmkYDRAhUE7BQKHbn2C_cQ_AUIBigB#tbm=isch&q=pantheon FIG 51 https://www.google.ae/search?q=panthen&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjLnOCmkYDRAhUE7BQKHbn2C_cQ_AUIBigB#tbm=isch&q=guggenheim+museum FIG 52 https://journeyphotographic.files.wordpress.com/2014/06/girl_national_gallery_museum.jpg?w=628 FIG 53 http://www.theasterisktoday.com/articles/camping-out-for-star-wars-a-history/

FIG 54 https://www.google.ae/search?q=panthen&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjLnOCmkYDRAhUE7BQKHbn2C_cQ_AUIBigB#tbm=isch&q=carpenter+center FIG 55 http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2015/03/LEO-A-DALY-The-Connection-5-537x364.jpg FIG 56 http://www.leoadaly.com/media/2972/023_10179_000_n12_web.jpg?width=500&height=333.9222614840989 FIG 57 https://si.wsj.net/public/resources/images/BN-IU940_cubaso_M_20150608171312.jpg FIG 58 https://www.google.ae/search?q=panthen&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjLnOCmkYDRAhUE7BQKHbn2C_cQ_AUIBigB#tbm=isch&q=fusuma+ FIG 59 https://www.google.ae/search?q=panthen&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjLnOCmkYDRAhUE7BQKHbn2C_cQ_AUIBigB#tbm=isch&q=fusuma FIG 60 https://www.google.ae/search?q=panthen&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjLnOCmkYDRAhUE7BQKHbn2C_cQ_AUIBigB#tbm=isch&q=wyly+theater+FROM+INSIDE&imgrc=USDhfZbXV_pwcM%3A FIG 61 https://www.google.ae/search?q=panthen&biw=1366&bih=662&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjLnOCmkYDRAhUE7BQKHbn2C_cQ_AUIBigB#tbm=isch&q=wyly+theater+ FIG 62 https://www.pinterest.com/pin/439382507379903117/ FIG 63 https://s-media-cache-ak0.pinimg.com/564x/b0/2d/78/b02d78defd2da01ab5608d12f1b51635.jpg FIG 64 https://www.pinterest.com/pin/224335625158729915/ FIG 65 http://images.adsttc.com/media/images/55f8/1c98/9644/1eaa/4100/0151/newsletter/d-final-04_ night-%25e4%25bf%25ae%25e6%25ad%25a33.jpg?1442323582 FIG 66, 67 http://www.archdaily.com/286381/beton-hala-waterfront-center-sou-fujimoto-architects FIG 68, 69, 70 http://www.archdaily.com/557944/oma-olin-win-competition-for-d-c-s-bridge-park FIG 71, 72, 73, 74, 75, 76, 77, 78 http://www.archdaily.com/tag/flinders-street-station

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