Along with the advent of recent communicative technologies, new cyber social networks have been emerged as the most influential line of interaction. This is a new world free from many of constraints and limitations of the physical world. It lacks weather, gravity, and geographical features; therefore it does not require addressing many of structures and necessities of the real world. In the virtual world, there is no climate that requires an indoor area which defines or protects the inner space. It is a geography constructed of information, a new planet with a new atmosphere no less breathable for being imaginary”. In this new realm, we seek a special design pattern which makes its inner networks proper to offer users the experience of being submerged in 3D virtual spaces to create an immense liberal interaction. Through a theoretical research, we studied on 3D virtual space characteristics in relation to social interactions, and categorized them into social context-dependents and independents. We characterized this virtual space as a fantastic, none liner, time-like and parametric architecture with its alloplasic space, fluidity and mass customization features and it should be free from controlling and monitoring so everyone could access this cyberspace directly and without any filtration. In the next step, to recognize dependent characteristics correspondent to Iranian social context, we asked a group of Architects (200 males & females) to determine which characteristics are responsible to their society’s needs. The outcome of this scrutiny leads to a virtual design pattern for social interaction in Iran. As a conclusion, we indicated that because of some constrains-low internet speed, low knowledge, bias and monitoring- that Iranian users have to deal with, we urge to go toward light capacity 3d virtual spaces that can be attractive for all different groups that live in Tehran and contains all marginal group in a interaction platform. It should be a place for practicing democracy before happening in the physical worlds. Most of interviewers are interested in virtual places provide users with high degree of selection, legible, semi real-fantastic, unexpected interaction and cross cultural contacts. In this way, architecture has to be liquefied, enraptured, reordered and identified again whenever participants tend to create a new collective identity. By changing virtual space and constituting cyber activism, they can be hopeful to make these changes in real society. Youth and women are more eager to participate in this new realm and they used it as reformist tools in society. For escaping monitoring, graphic expression can be a good way to express someone’s belief in an indirect way. They also can create new worlds in a cyberspace to transfer their opinion by implied words to the real world. It is a way of expressing yourself far from existing threats.Virtual spaces have a high potential for social dialogues and public communications which can enhance the level of social participation and make a renaissance in urban landscape. Public spaces presented via the internet are basically timeless. They are proper places to state social experiences in relation with both virtual and real realm.
Hashemnejad, H., & Shangehpour, S. (2010). A design pattern of virtual architecture for social interaction in Iran
Case study: Iranian architecture society. Journal of Fine Arts: Architecture & Urban Planning, 2(44), 5-14.
MLA
Hashem Hashemnejad; Souran Shangehpour. "A design pattern of virtual architecture for social interaction in Iran
Case study: Iranian architecture society", Journal of Fine Arts: Architecture & Urban Planning, 2, 44, 2010, 5-14.
HARVARD
Hashemnejad, H., Shangehpour, S. (2010). 'A design pattern of virtual architecture for social interaction in Iran
Case study: Iranian architecture society', Journal of Fine Arts: Architecture & Urban Planning, 2(44), pp. 5-14.
VANCOUVER
Hashemnejad, H., Shangehpour, S. A design pattern of virtual architecture for social interaction in Iran
Case study: Iranian architecture society. Journal of Fine Arts: Architecture & Urban Planning, 2010; 2(44): 5-14.