Architecture and Social Media: Bias + Education
Shijia Chen + Theresa Phillips | Samer Akkach | Design Research | 2024Contents
This article covers research of architectures presence in social media. As social becomes more integrated into everyday life, what we visually consume creates a bias outlook on the topic, architecture especially. The public outlook of what good architecture is informed from platforms such as Pinterest and Instagram, both notorious for use of algorithms and aesthetics. It is this bias outlook that can be utilized by architecture students to help them develop designs that are appealing to the public, further improving their skills. Social media should be adapted for social benefit instead if solely focusing on commercial benefit.
Introduction (to be upadted)
Social media is brainwashing us into believing what we are shown is good design. Social media, introduced in the early 2000s, is used to communicate and consume media content.1 The connection between social media and design is tangent as it is a great source of inspiration for many designers, especially platforms such as Instagram and Pinterest. Figure 1. As architects and designers, we often use social media, whether it is for research or showcasing our work. However, we have been conditioned to design in a way that follows along with aesthetics and the algorithm. Our ideas of what good design is are based on what these aesthetics and algorithms show us, and we lose the authenticity of the architectural experience. The range of sources addressed expresses how aesthetics and algorithms in social media are influencing our ideas of good architecture and how we authentically connect with its design.
1. Anonymous, 2023, What is Social Media, article, McKinsey & Company, https://www.mckinsey.com/featuredinsights/mckinsey-explainers/what-is-social-media#/ accessed 3 April 2024.
Are We Human? (to be updated)
Social media has emerged as an elite space for design, revolutionizing the way we communicate and collaborate since its inception after the year 2000. Moreover, social media has fundamentally altered our outlook on design principles. Instead of focusing on how a design appears in person, there’s now an emphasis on how it translates to social media platforms like Instagram. Design has transcended the confines of small screens and has extended its influence to reshape the spaces where people live. This profound impact of social media on physical space and architectural design has sparked significant thinking and discussion about how to adapt and innovate spaces to align with the dynamics of social media. The shift in focus from traditional design patterns to creating spaces that are conducive to social media interaction has become a central theme in contemporary architectural discourse.2
Argument
Mark Wigley notes that social media is the ultimate space for design, including that of architecture. Pinterest and Instagram are some of the leading sites used for design content, often used by architects and architecture students for inspiration. However, due to the use of algorithms and aesthetics, a bias opinion of what good architecture is has been implanted into the ideas of the public, particularly those outside of the field of architecture. This bias opinion, however, comes with educational benefits for students studying architecture. Students are able to learn from the content pushed by the algorithm to further develop their skills and concept development, and utilise popular aesthetics to inform and inspire their designs. Social media should not just focus on commercial benefits but also on social and educational benefits on architecture.
figure 3:
Primary Sources (to be changed/updated)
Richard Florida2 points out that the creative industry is composed of many fields such as design, art, and creative works. This not only impacts art or aesthetics but also serves as a catalyst to enrich the social and cultural structure. This not only impacts art or aesthetics but also serves as a catalyst to enrich the social and cultural structure.
Marshall McLuhan3 and Gerd Leonhard4 believe that social media (SM) has the ability to reshape humans and the way they view and understand design. Marshall also mentions a greater emphasis on visual and dissemination effects, leading design to lean more towards the aesthetics and demands of social media. Richard mentions SM provides a platform for showcasing, communicating, and promoting the creative industry, facilitating the dissemination and development of creativity. Though, he also believes that SM is becoming a powerful tool for showcasing and promoting creative design, influencing people’s perspectives.
Gerd claims that most companies and organizations will need to undergo a transformation as
technology, including SM, will impact them across the board. As part of SM and technology, algorithms are introduced. Eli Pariser5 has stated that the internet provides users with personalized algorithms, creating a “filter bubble” that predominantly displays content relevant to their interests. This leads to biases, information narrowness, and singularity. Over time, this restricts people’s exposure to diverse viewpoints and information, as well as weakens their perspectives on alternative views.
Gerd mentions technology has no ethic, nor should it. This leans into the topic of algorithms. We have become dependent on allowing our thinking to software and algorithms because we believe it to be faster and convenient, but this leads to manipulation of ideas and a loss of control in knowing what may be AI anticipation or not.
3. Richard Florida, The Rise of the Creative Class--Revisited: Revised and Expanded (Hachette UK, 2014).
4. Marshall McLuhan, Understanding Media: The Extensions of Man (Createspace Independent Publishing Platform, 2016).
5. Gerd Leonhard, Technology Vs Humanity: The Coming Clash Between Man and Machine, 2019.
To Be Changed
6. Pariser, Eli. The filter bubble: What the internet is hiding from you. London: Viking, 2012.
Secondry Sources
Ji Young Cho and Moon-Heum6 Cho mention that students are adopting the use of SM to improve efficiency in early design research. This is, also, similarly, mentioned in an article by Man Gao7, who states that organizations are utilizing SM to allow for efficiencyfocused and novelty focused design, supporting creativity and innovation. Tucker J. Marion’s8 article mentions firms adopting Information Technology (IT) for new product development. The recent trend is to incorporate social media and social networking (SN) features into current IT programs. This addition means that collaborating by adding comments on the files becomes convenient and arguably more efficient. Cho writes that SM allows performance for collaborative tasks as well as collaborative learning, due to its interactive and open nature, which is also transferable to the work space and design. Alice Audrzet9 informs that brands are using SM to shape their brand image, another for of adopting social media into their IT repertoire.
Alice and Komysha Hassan10 both have articles saying that SM affects peoples consumption of information, and that it filters the information to match them. Zizi Papacharissi11 states, in her article, that these algorithms may surface some posts and not others. This shapes the content we consume and directs our views and makes things more complicated, much like what Alice and Komysha discuss. Arvind Narayanan’s12 article argues that algorithms are not the enemy but rather just one component of SM, along with subscriptions and networks. Algorithmic recommendations excel at providing people with niche content that they are interested in.
Cho states that research into SM in everyday life and design is not entirely separable. Cho mentions that SM is frequently used in design, thus showing this connection to our everyday life, as design is a prevalent part of our lives.
figure 4:
7. Gao, Man, Nazik Hangeldiyeva, Mahri Hangeldiyeva, and Fahad Asmi. “The Role of Social Media in an Inspirational Approach to Product Design and Designer Performance.” Frontiers in Psychology 12 (September 9, 2021). https://doi.org/10.3389/fpsyg.2021.729429.
8. Marion, Tucker J., Gloria Barczak, and Erik Jan Hultink. “Do Social Media Tools Impact the Development Phase? An Exploratory Study.” Journal of Product Innovation Management 31, no. S1 (June 16, 2014): 18–29. https://doi.org/10.1111/jpim.12189.
9. Alice Audrezet, Gwarlann De Kerviler, and Julie Guidry Moulard, “Authenticity Under Threat: When Social Media Influencers Need to Go Beyond Self-presentation,” Journal of Business Research 117 (September 1, 2020): 557–69, https://doi.org/10.1016/j.jbusres.2018.07.008.
To Be Changed
10. Hassan, Komysha, “Bursting the Filter Bubble: Information Literacy and Questions of Valuation, Navigation, and Control in a Digital Landscape” (2018). Honors Undergraduate Theses. 326. https://stars. library.ucf.edu/honorstheses/326
11. Zizi Papacharissi, A Networked Self and Platforms, Stories, Connections, Routledge eBooks, 2018, https://doi. org/10.4324/9781315193434.
12. Arvind Narayanan, Understanding Social Media Recommendation Algorithms (Knight First Amendment Institute, 2023), https://doi. org/10.7916/khdk-m460.
Architectural Design Bias
We argue that there is a fabricated bias in the public view of what good architecture should look like. Architecture in social media is subjected to the influences of aesthetics and the algorithm. Peoples exposure to content on design focused platforms, such as Pinterest and Instagram, are heavily influenced by algorithms, and what popular aesthetics are circulating around. Algorithms are a central part of social media and the content we are exposed to, this is especially true when it comes to research, and work showcasing for architectural design. Algorithms work by using encoded procedures for turning input data into a desired output, according to specified calculations. It is how social media platforms recommend content to its user. Figure 5. Additionally, social media is influenced by aesthetics, which is often utilised by a range of users. People are exposed to various aesthetic styles and works of architecture on figure 5:
social media, and architects utilise social media to display their works. Popular aesthetic trends and design concepts spread rapidly on social media, influencing bias opinions from the people on what the definition of good architecture is.
3. 4. 5. figure 6:
Social Media Aiding Architectural Studies
We argue that social media should play a valuable role in architecture education, serving as a powerful tool for students to enhance their architectural studies. Social media provides architecture students with a wealth of architectural content, including images, videos, articles, and discussions. This exposure enables students to explore diverse architectural styles that influence their aesthetic appreciation of architecture, while also expanding their knowledge and stimulating creative thinking. Social media algorithms filter content based on user preferences, forming an information cocoon that reinforces specific aesthetics. Although this may limit students’ exposure to diverse architectural ideas, it can also inspire them and influence their views on the field of architecture. understanding of innovation. Additionally, social media facilitates collaboration and knowledge sharing among students and professionals in the field of architecture. Platforms like Instagram,
Pinterest, and architecture forums provide students with opportunities to connect with peers and experts, allowing them to exchange ideas, seek feedback, and learn from the experiences of others. This collaborative nature enhances the learning experience and creates a sense of community within the field of architectural education.
figure 7:
figure 8:
Conclusion (place holder)
Heni omnimagnam laut re est, as et rero opta quat volore volor apis explabor apicto odipiet mo dolupta erumquaes aspid ulparibuscia qui unt pro expligende ab illam dolumquia nos dundam, officit in et idit vid quia pel estiandis sum nos apernam aut peles eiur sinto toreritat et, conessint maio. Otat volecto molorecea sunt aliti qui id ut abores et idenia dolorro doluptatur ad undam et et aut ea volorpo rectur, alit, optatures voluptae prerfero te nusandandi offici vero bearundam corro eture officiis dit harum quatius.
Vitaquam, quo qui demo iumet quia num ex et exerita quo iderspe rsperum quam doloris aliquam, utem nist ut omnis etur, quunt iduntemquas abor mo maximpor re exces adis maximen debissim volores es est, cus ilitatq uaspernatur?
Ita poribus cietur sedipsunt re volupis
Bibliography (place holder)
Oruniciv essus. Seraede essimpo pulius essulvid Casdam sentium ca serum nihilic astalintius? ine pulla rei scrissenatus consimium, consu vidiusa ducesto diestorte, dissertus, verfex sesse proruda crivena triondi enatum apere comnesse ina, se ia pro erfectum te, manterfecies consunum atquod iae que nermis, qui pulis nocata are fordiem intis fue abem a nont.
Irit aperobus Catuus vis, ta, Catimissoltu in vis, orte aperfex movestilica Sertam inam perarionvoli consuli ctorum iamenarestem que tasdam dic facionvolut furnum iamquons obsed C. Maedem te nos crus occit adena, inam hactusus pri efesed clum audem re nondienamdis proratiu similib ununum quo nondum alis. Verrisq uisquodiem pris mediuro videpor hoccidem tuidesse et aut num intebusperce que menat. Beni sa Seretrum, notis, movestiam que commore caedees tenturo publiendit; et virmihil hintesimus consunt urbest aturori con publibu ntimis. Los videmquidet L. Habem nerum publibu ntisquonox spic forio nihicons anum dit; nos popopoe natifeconium dum pularitili publice ssupicam. Habutem sta merfitus, Catus ande nes hos pos fintra? Gilisse nocci pos perrae egil ublicaus perficaessi pricaec ortus verio, quid curninatia atum aut orte me hena, quam cast vium publii sena, nihicum pere di, pat, nenis vider ublium hui ficam. Mae tem renicie natquid ercerum pectali convo, que mo hilici potilicum Romandam actus ad publium or ur unis, Ti. Idinc re eorteatrum horiculis adhui pati, Palin sulutu que potiam pat vid se inum popopublia rei patoremus anum ad nunum nimus, defaudelicto vis. At Castrae stissenam oraturo rumurnius, que ciis iaed conium tasdam tam se der utemunul hocupimus Ad re, me publinemur utem, nora? Apessil icitrae in pubitratil vit, coena, clere haceres, quit fuitanum vid rem in dio, ut actam. Terfit reo, C. At vita rei tesis sentrec tes nonfeciemus, cons veri se, in tur, C. Efacchum tabus cestriv erfecer ractatum omnostere publin re, senatus huiuscrivit, con ve, se a patio concestrum audam. Ucerei iae, ditem ia inum ortisul tusquem nirions ulviditri sedit. Do, telude consuam dis hocchus, quemnequam cae a iusseror la con vitus, vivatum liam. Abem tanul ut nos, ubli fitui perioc, am conlocc hinatquam quod cultuus, dientes ma, nontium renis condiisul ve, facchum, mod ad in simil viri cem omnem Paterma, int? Ahabem nos, publi cont am ingul untia? At inerficiam horuro ubis; es conena, nos virmaximis di publisquam maiors inproris, tus. cum tem intis audem merfirmaio viviver cepeconsil tam patuit num conuntiaec ficae patis, senatam, me cavehemus adducon sulari, ocured de eo unc is, clegerum autesimo egilnem vitilic eperem. Ahalatuasdam dum se mo culos, que timanti, conerum eritus aurbit? intridemus. M. Qui fuitilie aus,
Etraciempon Itarbem dicaverem ut ium haed se fatiae tum ut graessil tebemus re que consupe cupplia que tatia nernihicae, C. Gratil curnimp libusciem te ingulis consuss esimpes factusa vilic omnonde sullabe rditerces, quampl. Fordi, num public iaequi cotiam pra res, con sa nonfec vis nos, niu movest factatin ditam sperfentis essolus ia? illesim oenatif ecrimis, quit. Ahaberes me es alint? Quostrunclut C. Vercerem ni pre nemus, nonihic eritastem. Inatiac talegervivis Ahalabent.
Endam forum erenteliquo inte re is octum talicae quastere acia acchuit, postrorum firmiss iliemnihil con tabeffr emuncupertus acteri in ductorum adem loste cut fin diussis; no. Sulis? Ublicurent, cupicae ace inessa nihin si serum fui siliam con poena, cultus.
Lis. De no. Mulint, confecrio, cae atis sitiaequita ina, nos con aut ium ponsigi trimenati, Cupimus nonsi senduces confirit; Catui consupio in neret in tem, maionfi ntendiere, quam spio popoeniri furo etoracta es M. mene mus verus cum Rommoer oratis hos verri criam Palabeffreo, se, quitius, obsed pra teretis finpric ipimum. At fecepop orudet? Nos re, nimorum fachici endiem, modicav olibefaude auturae deesitam defecre pre me rei sedo, vermissolis. Batquem enam st ine me esentra dicibus perorum ia publistra dius suam sci pre nihi, erfiris. Uc verae in turortero voltu comanul aridem inprarit pro molium int. Itam horum idis, nequam nihilica confecu lessupiore mante, ponsultus Maet? Nihilice adenam mortestratio num ur, caetoru niquod atis opotabefecre crem nos, non vidicitem vivitilia quodiur. At vis, que vite noccibus, viviliam dienatam cre, iae resi in inum in prox sena, pra, ununtem ne enit vit, P. Gra, silin spiortum nemor hui pra nordit.
Ad maximantiam de tuam ussissu larterur. Aperobses modionirmis. Facchuit contert erudem aciam issimaio, mor utuid consum opublin atarit. Gratius.
Ilis. Bus, me nultor patquem tere consuperit? ina norem ame deatent ertabem nere, Catum pretia? Ad intiliam nemurarei poribul egercer entilicaelut andam corus, nostidet et pota, vignoccit pracerio, niac rei il ventrac chilicae nortintilium num nihiliciem alicierum iam obsessulariu vit L. Erevili crius atis. Cae diu miuscre, quonc re, Palica nonsulicam nonti sidius am ut dea volistarti, ervituroptem num noccier ditante clum habit? quam horem derferis conc tius, noculin tast vis pes pulissen remultorit cultorus in specentera re, ditum, sum in re ces? que dint.