Holographic Reality

Project

“Holographic Reality” Statement

INTRODUCTION

For decades, films and media outlets have portrayed holograms as the technology synonymous with the future. Through advancements, scientists and designers alike have been able to create scattering lights that create forms, but only at a small scale. As of now, we have three-dimensional viewings through two-dimensional screens. Oftentimes, this comes with many limitations and its redundancy is quite monotonous. In its’ place, Virtual and Augmented Reality has been rising in popularity as it attempts to link the digital and physical worlds. However, this technology is severely falling short of becoming a truly interactive experience.

ISSUE AT HAND

VR/AR innovations, like most of today’s technologies, have changed social norms, causing a paradigm shift towards social diversion. Ironically, a commodity that is intended to connect and draw people closer, has actually driven us apart. More specifically, the recent VR/AR phase has isolated its users by having them put on a headset for an individual experience. When using these devices, people are absorbing content alone, unaware of their surroundings and unable to share their encounters. It is time for the world to witness and interact with the hologram revolution led by “Holographic Reality”.

CONCEPT

In an effort to counter the treatment of technology as a personal endeavor, this venture aims to provide a versatile communal experience to a static environment. “Holographic Reality” is a physical structure with a virtual application. Calling it a skyscraper merely scratches the surface. Instead, it can more appropriately be described as an open canvas, ready to showcase various forms of media without hassle. Observers can take in the relaxing activity of bird watching by day and rejoice over their favorite sports team’s victory by night. No matter what the application, one common theme persists: being outside and appreciating shared digital environments together.

APPLICATION

The beauty lies within the structure’s simplicity, versatility and practicality. Billboards no longer need to be replaced, demolition projects no longer need to occur, time no longer needs to be wasted and resources no longer need to be exhausted. With holograms, one can see, sense and connect with art, advertising and entertainment in greater depth than ever before. All things considered, the dynamic nature of “Holographic Reality” will bring digital technology to the forefront of the physical experience while rethinking and reviving human intercommunication.

VIGNETTES

  • Get up close and personal at live broadcasted EVENTS at the same time throughout the world. Head outside to enjoy live-streaming events of international importance.
  • Experience a new dimension of ENTERTAINMENT by becoming a part of the show. Constraints of a physical stage fade away producing more engaging moments to share.
  • New forms of DIGITAL MEDIA create immersive three-dimensional encounters that inspires onlookers. Direct interaction with the film allows spectators to become part of the story.

Interview

What Prompted the Project?

The goal was to build a tower that takes an issue and solves it architecturally. We were considering issues that have not yet been brought up, and solutions that have not yet been thought of. Currently, the big trend has everyone customizing their technology to themselves. Gadgets are now becoming a part of the person, instead of it simply becoming a tool. Soon, the connection between people and their devices will be inseparable. The need to change how society experiences and uses technology prompted this project. Stronger relationships and feelings are developed in person, rather than through a screen. We hope to bridge the gap on how the digital world is currently perceived.

What Questions does the project raise and which does it answer?

‘Holographic Reality’ raises the question of how future technologies can be incorporated into communities. The current advancements in personal devices and media outputs overshadow communal technological experiences. To a large extent, the present digital environment has ignored making an impact on nature and social distances. Now, the images from this project will invoke an idea of a post-screen world, were digital media interacts directly with the built world. This endeavor could be manifested positively by reducing the amount of visual noise made from mixed media elsewhere.

What are the problematics of the experience of culture we seem to be embedded in?

People since the beginning of time have told stories and shared moments with each other. Our human nature seeks out the ability to share something with someone. However, the experiences we have today are mostly driven individually. We are more immersed in the digital world and isolated from engaging in what’s going on around us. Our devices allow us as users to join in on others’ experiences. ‘Holographic Reality’ engages people together in a variety of ways and redefines “social media”.

From our telephone screen to the city, to what extent should the digital over-stimulation be pursued?

The overstimulation of technology is inevitable. It is our jobs, as designers, to dictate what the technology should do and how it should act, so we minimize the impact of it being too chaotic. A great example of the digital pairing well with the physical world was the release of ‘Pokemon Go’, in the summer of 2016. Everyone was using their devices, but they were also outside interacting with each other and trying to accomplish a united goal. Aside from this example, oftentimes, the phone is the biggest culprit of overstimulation. Once we’re free from the glass LED screens, we believe that the number of genuine digital interactions will increase significantly.

How does the project address a collective digital experience?

‘Holographic Reality’ looks to bring people together by adding a technologically driven component to our public spaces. By broadcasting in a plaza style setting, this will draw communal gatherings to varying conceptualized realities. The project aims to get people outside, enjoying this new relationship between nature, the built world and technology.

How should we as architects be involved in the design of these new urban experiences and scenarios?

Architects need to take responsibility for their actions and design public spaces that bring people together. We are designing a technology that doesn’t exist yet, but the core ideas are universal. We have used technology as a totem to connect people.

What tools were implemented in the development of the project, from concept to research to execution?

Since the inception of the project, many sketches were hand drawn to solidify the aesthetics and the concept. The fastest and best tools people have are their hands. So, to generate ideas and produce iterations, the ideal ways are to craft models or in this case, hand sketches. Once the project came into the Digital Design phase, we used mostly Rhinoceros and Photoshop. Rhino allowed us to quickly integrate in 2D and 3D on the form of the building and the shapes of the projections. Photoshop was essential to put the final touches and create the sense that the forms generated from our building were not permanent, but always changing and fluid.

What informed the mediation of the project through a two-dimensional static drawing?

In the presentation of this project, we tried to avoid showing the project through 2D static drawings. We knew that we wanted to show a plan and section of the design to ground the project and balance the heavily photoshopped images. We decided to take the concept of our project and integrate it in the presentation of the 2D drawings. Our plan and section are holographically projected from the building.

What is for you the architects most important tool?

“Pen and paper are the most important tools for me. Everything can be expressed and solved with illustrations made through the form of drawings.” – Behruz Hairullaev

“The studio environment was a pivotal component to the development of HR. The atmosphere that was developed first in school has continued to grow and allow us, as designers, to enhance our concepts and designs.” – Brandon Muir

“The internet. I live in New Orleans, Behruz is in NY, and Brandon is in NJ. This collaboration wouldn’t have been possible without the constant communication and engagement using the internet.” – Nicholas LiCausi

About

Behruz Hairullaev is an architectural designer that also revolves his work around the fields of graphic and brand designs. Hairullaev got his Bachelor’s of Architecture degree in 2016 from New Jersey Institute of Technology. Next year he will be attending graduate school studying Digital Fabrication. Behruz has passion for photography, sketching, painting, and traveling. Currently, he is working as an Architectural Designer at an Aviation firm in NYC.

Brandon Muir graduated NJIT with a Bachelor of Architecture in 2017. Since then, he has participated in numerous architectural competitions and has gained much success from it. He has a Real Estate license and soon he will possess an architecture license as well. Currently, he is a Technical Designer for retail at an architectural firm in NJ.

Nicholas LiCausi is fascinated by emerging technologies and the possibilities for using them to push the boundaries of architecture and design. LiCausi received a Bachelor of Architecture from the New Jersey Institute of Technology, where he studied motion graphics, digital fabrication, and computational design alongside architecture. Prior to joining the Tulane School of Architecture, he worked in professional practice in New York City, where he specialized in 3D printing, virtual reality, and other digital technologies. LiCausi moved to New Orleans in the Fall 2018 and looks forward to exploring the city by bicycle. As an FAA licensed drone pilot, he also hopes to explore the city from above. Currently he is a Digital Fabrication Manager at the Tulane School of Architecture.

#Interviews