Media Architecture: The Latest Architecture and News

The Sphere at the Venetian Resort, previously known as the MSG Sphere, opened to the public with a series of concerts headlined by Irish rock band U2 on September 29, 2023, in Las Vegas. Designed by stadium specialist architecture office Populous, the project was first announced in 2018. Measuring 34 meters in height and 157 meters in width, the venue, whose building costs rose to $2.3 billion, is labeled the world's largest spherical structure, with its exterior clad in a high-resolution LED screen. The project, located east of the Las Vegas Strip and connected to the Venetian resort complex, is designed to host various events, including music, film events, and even some sports. To reveal the complete experience of this venue, new interior images showcase the intricate details and immersive atmosphere within.

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Toronto’s digital billboard-laden Yonge and Dundas Square is owned by the city but managed through a public-private partnership. While primarily hosting commercial content and activities, the spaces and screens of the square are often used for cultural events and artistic content. As cities, arts organizations, governments, and corporations increasingly seek to engage people in public spaces through combinations of media and architecture, what are some of the possibilities and pitfalls associated with their approaches individually and in concert with one another? How does media architecture modulate civic, creative, and commercial interests and impacts?

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The Media Architecture Biennale 2023 (MAB23) takes place June 14-15 (online) and June 21-23 (in-person) in Toronto, Canada. The event, which features keynotes, roundtables, and awards, aims to offer a platform for communities of research and practice concerned with media and the built environment. MAB23 will bring together students, academics, and professionals from architecture, art, design, urban planning, media and communication, urban informatics, and public policy to share new ideas and shape this evolving field.

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Outside of China, media facades usually appear as proud individualists vying for attention at night. In China, however, you can find large groups of media facades with a common message in numerous metropolitan areas. These media facades visually merge multiple skyscrapers into a panoramic entity. But what are the reasons that this phenomenon is unique to China? And how did it start? The Media Architecture Biennale linked culture and politics to provide an answer to the emergence of media scapes in China.

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The holocaust monument Levenslicht (Light of Life) consisting of 104.000 illuminating stones by Dutch artist Daan Roosegaarde won in the category Spatial Media Art, the biggest category of the Media Architecture Awards. The awards are handed out in 5 categories to the best projects in the integration of displays, interactive installations and other media into architectural structures, such as facades and urban screens.

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Even if you don’t know what media architecture exactly is, you have probably seen it many times. You may even have interacted with it, which is often the purpose of media architecture. That interaction can range from commonplace activities such as checking the departure sign at a train station, to being immersed in art installations that mix digital technology with layered information. With this omnipresence it is now time to develop a critical outlook on this emerging discipline that is influencing our daily lives, says Martijn de Waal, co-curator of the upcoming Media Architecture Biennale (MAB20) that will take place as an online event from June 28th – July 2nd, 2021.

The 2014 Media Architecture Biennale has drawn to a close in Aarhus, Denmark, and with it five projects have been awarded for "outstanding accomplishments in the intersection between architecture and technology." Representing five different categories (Animated Architecture, Spatial Media Art, Money Architecture, Participatory Architecture, and Trends & Prototypes), these five projects are the ones that most represent the Media Architecture Biennale's goal to advance the understanding and capabilities of media architecture.

The winners include a power plant with a shimmering chimney tower, an installation that creates "phantoms" with light, an interactive LED facade, a crowdsourced mapping system for transit in the developing world, and a kinetic "selfie facade." See videos of all five winners after the break.

From November 19-22 in Aarhus, the Media Architecture Biennale 2014 held in will feature the world premier of "Mapping the Senseable City," an exhibition of the now ten-year-old MIT Senseable Cities Lab's collected works. The following essay was written by Matthew Claudel, a researcher at the Senseable Cities Lab, In response to this collection, exploring what the future holds for media architecture, and imploring it to explore ideas beyond "TV screens for living in."

The Actuated Cathedral

Media architecture is emphatically ambiguous. The phrase has been pasted wholesale onto a dizzying array of projects and products. But beyond imprecision, media architecture is vexed by an inherent tension: media are networked, immediate, dynamic communication systems that reach people broadly, while architecture is sited, singular, and persistent in time. Reconciling the two evokes clumsy associations with Times Square, screens, integrated LEDs, paparazzi, or more generally things that flicker.

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