The Analysis of the Media Façade in Dubai for Community Invigoration
Chuloh Jung1*, Nahla Al Qassimi1, Jihad Awad1
1 Department of Architecture, College of Architecture, Art and Design, Ajman University, United Arab Emirates
*Corresponding Author: [email protected]
Accepted: 15 August 2021 | Published: 1 September 2021
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Abstract: In Dubai, the media façade as promotional tool is not unprecedented. Government and developers in Dubai, however, start regarding media façades as communication tools instead of advertising tool. This study focuses on a comprehensive analysis of the elements of the media facade in six media facades projects in Dubai to analyse the publicness of the media facade for community invigoration for users via 300 participants POE (Post Occupancy Evaluation). As a result of satisfaction analysis of six targeted sites, the viewing factor was the highest, followed by hardware, technology, and content factors. As a result of the comparative analysis, the content factor was shown to be the lowest in the satisfaction level, and it is judged that the publicness for community invigoration of the media facade can be maximized by improving the level of the contents factor and the variables. The digitization of Dubai in the 21st century is accelerating, and digital infrastructure is needed for physical spaces. The media facade plays a central role, suggesting a new paradigm for improving the function and quality of urban context and public spaces. It is necessary, therefore, to discuss the social interests, not just the technical part of the media facade. As part of its social interests, this paper had explored the publicness for community invigoration.
Keywords: Dubai, Media Façade, Community Invigoration, POE, Interaction
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1. Introduction
Burj Khalifa in Dubai, UAE, has many Guinness World Records in the field of architecture and engineering such as the world's tallest building (828m), world's tallest free-standing structure, the highest occupied floor, and the world's tallest elevator in a building (Sotoudehnia
& Rose‐Redwood, 2019; Abdelrazaq, 2010). In addition, it also holds the record for the largest light and sound show on a single building as 109,252m2 media façade (Construction Week, 2018; SACO, 2019). In Dubai, the media façade as promotional tool is not unprecedented (Maevskaya, 2020). Government and developers in Dubai, however, started regarding media façades as communication tools instead of advertising tools (Construction Week, 2019;
Lambeva & Spiridonova, 2016). Modern society is becoming more personalized than ever in an era of ceaseless relationships lead to global scale interactions (Abdou et al, 2017). Neolithic Revolution, which started with the fire by humans in the prehistoric times, Industrial Revolution that enabled mass production and consumption, Digital Revolution that goes beyond the physical limits with internet (Merritt, 2016), and the Internet of Things (IoT) Revolution (Tarancón, 2019), the era of ubiquitous wireless Internet of things, mankind had successfully led our lives through the four major revolutions (Dhillon et al, 2017; TimeOut, 2017). In the era of IoT, humanity became conscious of community revitalization as the biggest task of urban design and planning and sought ways to reinvigorate the urban community
(Green, 2019; Shackleton et al, 2017). In order to form the emotional bond of the community, understanding of the space in which users can interact must be preceded (Shwayri, 2013). In modern society, the interactive community space is difficult to describe with the traditional concept of the placeness and it is necessary to discover the significance of the concept of digital nomad, people with a place that transcends time and space, an indeterminate place, and a place with wireless connection (Olga, 2020; Müller, 2016). The Interactive Media Facade is a combined technology that reflects the expectations that the IoT revolution can complement the deficiencies and weaknesses of today's cities (Houben et al, 2017; Fortin et al, 2014). In case of the smart city, interactive media facade reflects climatic environmental conditions on the building's media facade through sensors, ubiquitous computing and LED convergence technology (Esra, 2012) to inspire the user's broader understanding of the region and a sense of belonging, providing the place identity of the installed space (Kim, 2016; Fortin &
Hennessy, 2015). Therefore, through the case of the media façades in Dubai, or UAE in general, the analysis will be done to reinvigorate the community by establishing a new concept of placeness.
2. Literature Review: The Placeness of Interactive Media Façade
Media façade is a compound word of media and façade, media was defined as communication through the visual form of dynamic text, graphics, or images, and façade wwas defined as one exterior side of the building (Moghaddam & Ibrahim, 2016; Lee, 2013). Based on the fact that the implementation of the media facade utilizes digital technology and lighting, Seoul Institute had defined the media facade as "a lighting method that expresses images such as graphics, text, and images, as urban culture using digital technology in a way in which architecture and lighting are integrated.” (Jung & Kim, 2010). The broad meaning of the media façade is a concept that encompasses a variety of methods such as machinery and lighting that use the elevation of a building as a medium of communication (Han et al, 2019), but in general, as it has grown into an advanced form of landscape lighting, façade using lighting is a generally recognized concept (Romano et al, 2018). The media facade has a media attribute that promotes communication through dynamic images rather than simply expressing images through integrated design of buildings, lighting, and digital media. Media facades can be classified into various types according to classification criteria (Zielinska-Dabkowska & Xavia, 2019).
Depending on the type of medium, it is classified as 1) projection mapping, 2) LED display, 3) outdoor LED lighting, 4) indirect lighting of indoor lighting (Čikić-Tovarović et al, 2012).
According to the installation method of the lighting equipment, it is classified as 1) direct type in which the light source is directly attached, 2) diffused type that the light source is diffused using different materials, 3) projection type that aims to transmit light, and 4) projector type that projects and directs (Knippers & Speck, 2012). According to the expression, it is classified as 1) by light source, 2) by content, and 3) by material (Kalčić, 2012).
2.1. The Placeness with a Change of the Times
2.1.1. The Placeness of Existentialism
A place generally means a place where something happens. It means everything that occupies the position visible to us, not just a position (Fischer & Hornecker, 2012). Places constantly repeat production and extinction, revealing cultural integrity and user experience (Brynskov et al, 2009). In our lives where we interact with others, a place is a space of existence composed of every individual's interpretation and meaning and conveys a meaningful message in terms of human existence (Abo Elenien et al, 2015). The 19th century philosopher Martin Heidegger insisted on the ontological place that human existence reveals in the bonds it makes with the
outside, and at the same time places it in a way that confirms the depth of human freedom and reality (Bazaluk & Nezhyva,2016). As a reaction to this, Christian Norberg-Schulz and Edward Relph, who argued for the restoration of place based on experience and perception, reinterpreted the concept of place, including the existential experiences of humans placed in space and environment (Nikravesh & Ghasemi Sichani, 2015). Christian Norberg-Schulz defined dwelling as the ultimate goal of architecture and defined the concept that "when humans orient themselves within the environment and are refined with the environment, they experience meaningfully with the environment" (Pop, 2015; Haddad, 2010). Yi-Fu Tuan viewed the place as the everyday space of life and studied the value of the experience that humans accumulate in the place and regarded that in order to experience a place, identity is formed when all human senses work within the space and can give value to it. Therefore, it was defined that the more diverse human sensory experiences, the stronger the identity of the place is formed and the attachment to the place can also arise (Tuan, 2017).
2.1.2. The New Definition of Placeness
In modern society, as the physical boundaries have become ambiguous, it has a post-regional characteristic, and global communication has become possible through the formation of a worldwide internet that exchanges information from a distance through digital information (Lew, 2017; Aravot, 2002). According to Tessa Morris-Suzuki, a flow of culture that transcends borders may disrupt the nation-state, but at the same time, on the other, it will revitalize multiple forms of multi-layered identities, potentially leading to greater liquidity and promoting globalization (Morris-Suzuki, 2015). The place where these boundaries are ambiguous has created a new concept of placeless and has become a product that reflects the dominant attitude of modern society (Najafi et al, 2011). In the placeless space, the human resources of the space have come to seek ways to restore the disappearing physical place.
2.2. The Elements of the Interactive Media Façade for Placeness
2.2.1. Beyond Space-Time Specific
The characteristics of being beyond space-time specific is expressed by the intermediary and expandability of the interactive media facade that transcends physical and temporal constraints (Lee et al, 2013). Being Intermediate means that interaction is possible through the medium of sensors or technical devices without direct contact with the building façade and expandability means the openness of the space itself formed by the 3-dimensional space that replaces the façade (Halskov & Ebsen, 2013). The media facade, which opens up a 3-dimensional space on 2-dimensional facade, provides a different space through lighting compared to the existing surrounding buildings (Zeng et al, 2012). The surrealistic experience of dynamic augmented reality through a large canvas called a façade transcends spatial boundaries, allowing interactions between users and multilateral communication to be connected in a wide area, enabling various communication (Stalder, 2011).
2.2.2. Organic Active Interaction
Active interaction refers to an active communication method based on a response to a stimulus or a desire for intrinsic expression, in other words, it is a two-way communication that is voluntarily generated and exchanged internally (Gehring & Wiethoff, 2014). It is expressed through structural changes or lighting of the facade by climate change, sound, and information collected through devices (Petrelli et al, 2013). Advances in technology have made these changes in the media façade more complex and flexible and users receive stimuli in an integrated way through sensory experience through the façade. The interaction between the
environment, the user, and the facade is interpreted differently depending on the stimulus, and the content can be re-expressed accordingly (Foth et al, 2013).
2.2.3. Equivocality
Equivocality means that the meaning is not defined and is open through the user's interaction with the space (MEI, 2018). The identity of the place is socially structured, and the image of the place can be changed according to individual, collective, and social perspectives.
Equivocality focuses on the horizontal relationship and is largely divided into contextual meaning between building and environment, personal meaning between building and user, and collective meaning between user and user (Soliman et al, 2015). The contextual meaning sees the space and environment surrounding the user as an integrated identity, the social meaning means forming the identity of the place consciously and unconsciously through participation and sharing within the space, and personal meaning is what is formed from the personal experience of the facade and the user (Luna-Navarro et al, 2020). Users form the contextual, personal, and social meaning of the space through the interaction of the interactive media facade in the formation of the relationship between the environment and the facade.
2.2.4. Impermanence
Impermanence refers to be a transient of a momentary reaction (Handa, 2016). The nature of the interactive media facade can be classified into concurrency and temporality, and concurrency means the rapidity of a reaction that reacts immediately to users and environments, while temporality means that the creation and disappearance of the facade's reaction are not confirmed. The interactive media facade is flexible with respect to the persistence of time in that it is free to change compared to the exterior of a general building because the reaction to information is made by digital signals (Dalsgaard et al, 2011).
2.3. Interactive Media Façade for Community Invigoration
From the past, humanity has existed in an indispensable relationship with the community and individual's basic needs are used as the most important means of community control (Diniz et al, 2012). Humans do not exist alone but exist and live in a relationship with others. With the advent of the Internet, computers were spread to homes, and communities were added through interactions in virtual spaces as well as understanding in physical spaces (Fischer & Hornecker, 2012). The emergence of smart phones marked the beginning of the era of the IoT (Internet of Things) Revolution and enabled more sophisticated and delicate interactions. Interactions using social networking services are characterized by the pattern of group activities that dig into the daily life of users, form a closer bond, and try to contact a wide range of users (Alavi et al, 2019).
Analyzing previous studies, humans are defined as a community as a group that forms an emotional bond through interconnection (Hespanhol & Tomitsch, 2015). When the common denominator of community invigoration elements in previous studies are summarized as locality, interests, shared values, social function, interaction, daily life, face to face, relationship network, common bond, sense of stability, and sense of belonging (Abdel-Aziz et al, 2016). In this study, considering the development of the community through the Internet and Social Networking Service, the reason for the formation of the community is not only the locality in physical space, but also the sharing of values and hobbies through the virtual space and summarized as homogeneous cohesion (Mcquire, 2010). The behavior itself between members of the community was defined as interaction. Therefore, the elements of community activation in this study can be summarized through a comprehensive analysis of previous studies, homogeneous cohesion and interaction (Table 1).
Table 1: The Relationship between Community Invigoration Elements Community Invigoration
Elements The Elements of the Interactive
Media Façade for Placeness Detail Elements Homogeneous Cohesion Beyond Space-Time Specific - Expandability
- Being intermediary
Impermanence - Concurrency
- Temporality Interaction Organic Active Interaction - Sensory Experience
- Content Reorganization Equivocality - Contextual meaning between
building and environment - Personal meaning between
building and user
- Collective meaning between user and user.
2.3.1. Homogeneous Cohesion as Community Invigoration Element
Homogeneity, the sense of likeness, is a set formed by a common denominator between users and becomes a driving force in forming a community (Fredericks et al, 2015). Users share certain properties with the three members of the interactive media facade, environment and users and in the same area, they engage in conscious activities with goals and intentions, such as geographical or environmental characteristics of the area, or interests that users have in common. ‘In The Air Tonight’, installed in the Ryerson University building in Toronto, is an event-driven interactive media facade that raises funds to tackle the growing homelessness problem and it is a façade designed to change according to the wind speed and direction, and the programming connected to the website (Figure 1). With the aim of raising awareness of the homeless problem, which is usually overlooked without conscious effort, it arouses social awareness and the interest of a wide range of people through the use of the Internet environment. In this project, homogeneous cohesion of an active community was created and generated a sense of social responsibility, satisfaction with social contributions, and intimacy with group activities (Weiner, 2010). In this project, it can be seen that cohesion through the community is possible because there are denominators with the same subject matter, which can also exert social influence.
Figure 1: The building will turn red every time a tweet with the hashtag #Homelessness will be published (Source: Chan, 2015)
2.3.2. Interaction Cohesion as Community Invigoration Element
'Electroland', located on a street in the center of Los Angeles, is an interactive media façade that exhibits a lively place (Figure 2). The Interactive Carpet tile installed at the entrance hall of the building has the same shape and color as the exterior wall of the facade and is attached with 176 square frames of lights (Balsamo, 2016). Tiles that users step on are reproduced as light on the facade, and the position they are stepping on is confirmed with the screen in front
of the tile, forming a bond through an extraordinary entertaining experience that allows multiple users to participate in the interaction. The interactive media facade gives the user the impression that the building itself is a living, breathing, and responding creature through immediate feedback between the central computer control server and a sensor that can grasp the user's behavior (Oh et al, 2014).
Figure 2: Electroland: A large interactive carpet of LED lights detects visitors and displays interactive light patterns in response. (Source: Sicard, 2006)
3. Methodology
This study focuses on the creation and activation of a community as well as a new meaning of a place through the interaction between the environment, the facade, and users of the media facade. In order to confirm the potential of community revitalization with the media facade, which can be seen as an aggregate of modern architectural technology, cases were limited with the examples in which the aggregation and interaction of users responding to the facade are clearly revealed. First, through the definition of the interactive media façade and the research on the concepts of the traditional placeness and the newly defined placeness with the change of the times, the elements of the modern placeness are analyzed via literature. Second, it analyzes the background and elements of the need for community reinvigoration in the modern society and reveals the relationship between the interactive media facade and community reinvigoration. Third, the cases of community reinvigoration through the interactive media façade are analyzed comprehensively. The interactive media façade makes it possible to face a turning point in revitalizing the landscape where the identity of the space is disappearing. The use of IoT computing systems, sensors, and mobile devices is connected to the interactive media facade and is used as a living organism in which all of the environment, facade, and users can interact, thereby challenging both the restoration of place and the achievement of the community.
4. Analysis
4.1. Six Interactive Media Façades in Dubai
Table 2: Media Façade Projects in Dubai Projects Burj Khalifa
Media Façade
City Walk Media Façade
Box Park Media Façade
La Mer Media Façade
Al Seef Media Façade
The Beach Media Façade Images
Location Dubai Mall Downtown Al Wasl Road La Mer Beach Dubai Creek JBR
Completion 2010 2016 2015 2016 2015 2013
MF type -East Façade (770m)
-Media Screen -3D Projection
-color lights -video/gobo projections
-2 kinetic media screens
-41 media screens in various sizes
-37 media screens in various sizes
4.1.1 Burj Khalifa Media Facade in Dubai
Dubai always has an ambition to be called as a city of hub of ingenuity and innovation. In 2018 Emaar Properties had turned one of the most iconic buildings in the world into gigantic canvas (SACO, 2019). This project was started as “Light Up 2018” for New Year celebration show and transformed 770m of east façade of Burj Khalifa into the biggest media façade in the world (SKYRISE, 2019). The placeness of Dubai Mall was always recognized by its great anchor facilities such as Dubai dancing fountain, aquarium, and waterfall and got augmented by the world’s biggest media façade (Figure 3). This light shows on the media façade had set the new Guinness World Record for the largest laser light and sound show on a single structure (Table 2).
Figure 3: Burj Khalifa Media Screen (Source: SKYRISE, 2019)
4.1.2 City Walk Media Facade in Dubai
Dubai’s latest shopping destination, The City Walk, 900,000 m2, is an urban retail and restaurant precinct close to the Downtown Dubai district with hundreds of exclusive shops and restaurants with 34 low-rise residential buildings, and a collection of cutting-edge media façade (Figure 4) with 3D projection (WallPaper, 2018). The visual experience had turned The City
Walk into a vast digital canvas divided into 3 sectors: the gateway in an entrance area, a show street, walkway with retail and restaurant spaces and place del lumière, which in turn opens out on to the central area and entertainment hub (Blooloop, 2017).
Figure 4: City Walk Media Screen (Source: Wallpaper, 2017)
4.1.3. Box Park Media Facade in Dubai
Box Park is an unprecedented retail and restaurants project that stretches around 1.5km along Al-Wasl road in Dubai. The project has the effect of encouraging local startups and revitalizing the Al Wasl road area (ARC, 2016). It was designed with several zones with imagery and projection, which is in line with the character of that space (Figure 5). The combination of color-changing lights, video and gobo projections and other lighting sources create dynamic and entertaining media façades that constantly change in mood (Gulf News, 2015). Video contents for media façade were developed through inspiration gathered from graffiti.
Figure 5: Box Park Media Screen (Source: ARC, 2016)
4.1.4. La Mer Media Facade in Dubai (Figure 6)
La Mer is one of Dubai’s most lively seaside neighborhoods, located on the northern seaside.
It is composed of two parts, La Mer South and La Mer North, and has retro Californian style
in design. It provides water sports facilities, water park, restaurants, and street art with media façade (Euro News, 2020). Since La Mer has limited options for media façade due to series of small building scale, it has 2 kinetic rotating media façade screens, which display not only commercial advertisement but creative and unique connected messages.
Figure 6: La Mer Media Screen (Source: Euro News, 2020)
4.1.5. Al Seef Media Facade in Dubai
Al Seef in the heart of Dubai’s heritage area and near Dubai Creek, puts a modern façade with new dining, retail, leisure and tourism attractions on one of the most historic and traditional areas in Dubai. This project brings Dubai’s story via unique experiences along with 1.8 km- long traditional Souq area (Gulf News, 2020). A total of 41 high-quality media façade screens in various sizes, that can all play video or static images (Figure 7) are located throughout the waterfront location (Arab News, 2019).
Figure 7: Al Seef Media Screen (Source: Gulf News, 2020)
4.1.6. The Beach JBR Media Facade in Dubai
The Beach JBR is an outdoor complex project with pedestrian-friendly shops, cafes, restaurants and public facilities, situated right on the beach. Waterfront cafes and restaurants overlook the Arabian Gulf Sea and enormous outdoor cinema screen is located too (BackLite, 2021). The 37 high-quality media façade screens in various sizes (Figure 8) at the JBR beach communicate with 12 million annual visitors.
Figure 8: The Beach – Roxy Cinemas Façade Screen (Source: BackLite, 2021)
4.2. Post Occupancy Evaluation (POE) Questionnaire
In previous literature research, homogeneous cohesion and interaction were the most important concepts for community invigoration. Four elements of the interactive media façade for placeness moreover, were extracted such as: 1) being beyond space-time specific (expandability and being intermediary), 2) impermanence (concurrency and temporality), 3) organic active interaction (sensory experience and content reorganization), and 4) equivocality (contextual meaning between building and environment, personal meaning between building and user, collective meaning between user and user). To perform POE (Post Occupancy Evaluation) survey the above philosophical jargons were needed to be simplified with equivalent terms for layperson survey (Table 3).
Table 3: Equivalent Terms for POE Survey The Elements of the Interactive
Media Façade for Placeness Equivalent Terms Equivalent Terms Subcategories
Beyond Space-Time Specific Hardware The Level of Integration with buildings Usage Period
Size
Interference with building lighting Installation Type
Impermanence Contents Placeness of Contents
Digital Contents Interaction
Organic Active Interaction Technologies Resolution
Flashing
Color/Color Depth Luminance
Equivocality View View Location
Regional Suitability Direction of Expression View Distance Operating Time
4.2.1. Hardware
Hardware refers to the level of integration with the building, the usage period, the size, the interference with the building lighting, and the type of installation. This means that the better the media facade is physically and properly installed in the building, the better the publicness of the media facade can be. It can be interpreted that variables related to the physical hardware of the media facade act as important factors before concretely recognizing the content of the video displayed from the media facade. Therefore, in designing the media facade, in order to increase the publicness of the media facade in terms of urban landscape, it is not only necessary to install media on the facade of the building, but to pursue sustainable integration with the context of the city and buildings. In order to design a non-invasive media facade in surrounding urban landscapes and buildings, an integration plan should be sought so that the installation is not exposed even when the media facade is turned off, and an appropriate size should be explored.
4.2.2. Contents
Content refers to the placeness of contents, the ingredients of content, and interaction of the content. Users can see that the content of the media façade is appropriate, and when the content conforms to the local context/placeness, and when the interaction with the public is provided, publicness is high. It can be interpreted that related variables act as important factors in that the qualitative improvement of the media facade is achieved by the placeness (locationality) of the content and the interaction with the public. In fact, similar to the rapid development of the hardware technology of the Media Facade, the technology of software is also rapidly developing. It is not technically difficult to create multimedia images and share data to the media facade through mobile devices, and it is continuously evolving. It is very important to acknowledge that these contents have a significant influence on the function and character of streetscapes and public places. Therefore, the contents of the media facade are designed to share information with nature and people, and form an organic relationship while interacting so that the media facade can contribute to the improvement of publicness without being reduced to a simple corporate promotion and marketing tool. In addition, users who are already experiencing excessive information and visual confusion tend to block the external environment as much as possible. In order for the media facade to attract the attention of the audience, a local reference of the content is important.
4.2.3. Technologies
Technology means resolution, flashing, color, and luminance, and are elements that compose and determine the quality of content projected through the media facade. These are important variables to express the contents, and since the media facade uses artificial lighting, light pollution and visual pollution are the hazardous factors needed to be avoided. It is necessary to implement the media façade technically to harmonize with the surrounding urban landscape while avoiding fast flashing and flashy colors.
4.2.4. View
View means view location, regional suitability, direction of expression, view distance, and operating hours. Since the elevation of the building where the media facade is installed is a crucial factor that has a dominant influence on the street environment, the suitability of the area where the media facade is installed, the direction in which the media facade is displayed, and the operating hours are important to publicness. In addition, from the pedestrian point of view, factors related to the location and distance of media façade are important. In designing the media facade, in order to increase publicness in terms of urban landscape, it is necessary to
consider whether the relevant media facade is an appropriate area, and the viewing position and viewing distance from the pedestrian level are effective.
4.3. Post Occupancy Evaluation (POE) Survey for Interactive Media Façades
The summary of the POE (Post Occupancy Evaluation) with 300 survey participants for the six research sites in Dubai based on the publicness-related factors for community invigoration is in Table 4. In general satisfaction survey, it is common to use the average value of three categories: overall satisfaction, revisit intention, and recommendation intention. The overall satisfaction level for the media facades of the six research sites was 3.4 / 5.0, and users showed a slightly higher satisfaction level than average. The average value of satisfaction level for each factor was slightly higher than this, 3.5. As for the satisfaction level, the view factor was the highest, and the results were in the order of hardware, technology, and content factors. In the case of six target sites for this study, it is judged that the viewing factor showed a high level of satisfaction since they are landmark projects with a large number of visitors and have sufficient distance for visibility. The content factor, however, shows disproportionately lower satisfaction than the other three factors. It can be interpreted that the publicness of the media facade can be effectively improved by improving the lowest satisfaction level of ‘the placeness of content’.
Currently, the media facade in Dubai is increasing rapidly, but with the exception of Burj Khalifa, the situation is focusing on displaying images for commercial branding of the building that are not relevant to the characteristics or identity of the area. Therefore, it is possible to promote the publicness of the media facade by promoting regional specialization of the content.
In the case of interaction, all six study sites showed above average level of satisfaction even though there was no direct interaction with the public. It is judged that users who have no experience of direct interaction with the building through the media facade perceive the dynamic image and message expression on the surface of the building as interaction. Therefore, it is judged that the level of satisfaction can be easily improved if the media functions are substantially supplemented to induce interaction for publicness.
Table 4: Satisfaction Level Average and Ranking per Media Façade Factors
Factors Subcategories Average Standard
Deviation
Satisfaction Satisfaction Ranking Overall
Satisfaction, Level
Overall satisfaction 3.5934 0.9496
3.4379
Revisit intention 3.3779 1.0794
Recommendation intention 3.3426 10.846
Hardware The Level of Integration with buildings 3.6288 0.9188
3.6443 2
Usage Period 3.5369 1.0423
Size 3.7631 0.9842
Interference with building lighting 3.5263 0.9464
Installation Type 3.7666 0.9120
Contents Placeness of Contents 3.2047 1.0385
3.2341 4
Digital Contents 3.2825 0.9882
Interaction 3.2153 0.9590
Technologies Resolution 3.6188 0.9226
3.6378 3
Flashing 3.6429 0.9434
Color/Color Depth 3.5440 1.0111
Luminance 3.7454 0.9371
View View Location 3.7772 0.8601
3.7601 1
Regional Suitability 3.7701 0.9714
Direction of Expression 3.7525 0.9503
View Distance 3.7418 0.8810
Operating Time 3.7593 0.9370
Average 3.5428
5. Conclusion
The evolution of technology maximizes the image of a place as a media and provides a variety of experiences to users, as seen through the case of six media facades in Dubai and the interaction of the network made us look forward to the possibility of digital technology that can contribute to the restoration of humanity for community invigoration. Various methodologies regarding interaction and the development of placeness related contents are top priority for further research. This study conducted a comprehensive analysis of the elements constituting the media facade to analyze the publicness of the media facade for community invigoration for users and the methodologies to improve the publicness of the media facade was sought. As a result of satisfaction analysis of six targeted sites, the viewing factor was the highest, followed by hardware, technology, and content factors. As a result of the comparative analysis, the content factor was shown to be the lowest in the satisfaction level, and it is judged that the publicness for community invigoration of the media facade can be maximized by improving the level of the contents factor and the variables. The digitization of Dubai in the 21st century is accelerating, and digital infrastructure is needed for physical spaces such as landmark buildings and plazas. The media facade plays a central role, suggesting a new paradigm for improving the function and quality of urban context and public spaces. It is necessary, therefore, to discuss the social interests, not just the technical part of the media facade. As part of its social interests, this paper had explored the publicness for community invigoration. The factors to be considered when designing the media facade are very broad and have different hierarchies from urban context to specific technologies, but the difference between the broadness and hierarchies is a characteristic of the media facade design. Since this study had analyzed six media façade places in Dubai with 300 users, there are limitations in the number of samples and the representativeness of samples by type. In future research, a more detailed analysis should be made in consideration of various variables such as the structural relationship among the media façade, placeness and urban context. In addition, research should be expanded by reviewing various social benefits other than publicness for community invigoration.
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