Urban Canvas in Motion: The Role of Kinetic and Media Facades in Urban Space Design

Abstract

New technologies and urban expansion have made it increasingly important for architects to incorporate movement into building facades, using a variety of artistic methods. This study explores the use of movable and movable-like solutions on urban elevations, ranging from visual effects to advanced technologies enabling physical movement. Case studies demonstrate different approaches to incorporating movement in building exteriors and their goals. This study considered how these solutions impact urban aesthetics, functionality, and energy efficiency. The research methods used include visual analysis, a literature review, and technological analysis of the kinetic systems used. The results show that movement at elevations can be achieved using various tools and can affect energy efficiency and building layout, in addition to having visual impacts. This study concluded that it is important to integrate new technologies into urban design and called for further research into the long-term impacts of changeable elevations on the urban environment.

1. Introduction

The exploration of incorporating movement into urban facades and the advancement of kinetic architecture present an opportunity to blend technology, practical design, and art. The integration of modern technologies and new media with architectural design, also known as architectronic (Meyboom et al. 2011; Wojtowicz and Wrona 2017), offers advanced tools for visually and functionally shaping contemporary urban facades.

This study reviews various design approaches and methods for transforming static urban structures to introduce the effect of movement on facades. Our primary goal is to comprehensively present the subject, including both real movement observed in kinetic architecture and apparent illusory movement achieved through specific visual treatments. Our secondary goal is to analyze how the described design solutions for building facades shape a dynamic landscape and increase the visual appeal of urban areas. By developing a deeper understanding and proposing a typology of such facades, this research seeks to inform more thoughtful strategies for designing and transforming existing spaces through the use of artistic means, including those supported by new technologies.

Incorporating dynamics into architectural facades reflects a deeper connection between the building and its surroundings, beyond mere aesthetic innovation. Various elements, ranging from those with changes independent of external conditions to responsive and interactive solutions, illustrate this phenomenon.

1.1. Media and Kinetic Architecture

Media facades (Häusler 2009), using digital technologies to display information, images, or animations, act as living canvases for visual communication. Kinetic architecture includes physical movement within a structure, designed with mechanisms that allow adaptation or response to the environment (Dąbrowska-Żółtak et al. 2021). Facades that take into account variable geometry (kinetics) include solutions that allow adaptation to utilitarian functions such as shading and ventilation (Barozzi et al. 2016), as well as purely aesthetic ones (Linn 2014). Moreover, the use of active mechanisms increases building efficiency in terms of energy and user comfort (Addington and Schodek 2005).

Kinetic systems are closely related to responsive architecture. This concept focuses on structures’ ability to adapt to changing conditions through integration with technology. It includes self-reacting materials and mechanical elements driven by appropriately controlled actuators, the position of which is determined based on data from sensors reading environmental or user behavior data. The outer shell of the building is of particular importance for constituting the boundary between the interior and exterior (Heidari Matin and Eydgahi 2020).

1.2. Responsiveness and Interactivity in Architecture

Kinetic and responsive architectural design serves a specific purpose: creating buildings that are not static objects but living systems capable of adaptation, transformation of form, or evolution over time (Negroponte 1975). Responsiveness is understood here as the ability to respond to changing environmental conditions and user needs. One type of responsiveness is interactivity, which engages the user in the change control process and responds to their presence and behavior. One of the leading researchers on interactivity is Lev Manovich, who examines how software and interfaces shape the aesthetics of new media. The author emphasizes the role of new media in creating interactive visual experiences, innovative in the 21st century. According to the researcher, interactivity in art means the active involvement of the viewer, which transforms the reception of the work from passive to dynamic (Manovich 2002). In the context of contemporary cities, interactivity becomes a phenomenon that is a direct point of contact between applied design and visual arts.

For responsiveness and interactivity, it is important to respond to changing external stimuli, detected by using sensors or shape memory materials that do not require external control. LIDAR cameras and scanners combined with appropriate software allow for the detection of movement, user positioning, and the recognition and interpretation of even small gestures, such as hand movements (Koide et al. 2019; Rashed et al. 2017). Meanwhile, environmental sensors allow for the precise determination of the values of almost all environmental parameters. Modern information technologies combine information from many sources using the Internet of Things. For smart cities, all these mechanisms and systems offer an opportunity to gather increasingly comprehensive information about current environmental conditions and user behavior patterns.

Responsiveness and interactivity have penetrated architecture and refer to the digitalization of the environment in which humans function (Fox 2016). Interactive and responsive systems engineering is becoming more economically and technically feasible, indicating the potential for further development in architecture and urban planning. This integration merges technology and art, allowing buildings to play more active roles in the co-creation of urban spaces.

2. Materials and Methods

This study is based on the careful selection and analysis of architectural objects implemented in public spaces after 2009 from various highly economically and culturally developed cities around the world. The selection criteria took into account the diversity of purpose, design, functional, and technological approaches. Among the analyzed cases, those that use painting, sculptural materials and forms, and visual media (screens or projectors) to create the illusion of movement on static elevations were selected, as were those that introduced real kinetic architectural elements (Figure 1). The selection of examples was based on two studies conducted by the authors in parallel: the first considered the integration of fine arts with public space, while the second considered the function of moving elements in kinetic architecture in the first decades of the 21st century. This methodology was based on various sources: scientific articles, industry publications, design documentation provided by architects and investors, and our own observations. Additionally, for kinetic facades, the point of reference was an original database of 145 buildings completed in the years 2000–2020, developed based on the scientific literature on kinetic architecture and dynamic architecture from the years 2009–2024.

Two main groups were distinguished within kinetic facades: the first was passive solutions, moved by the forces of nature (e.g., wind and changes in humidity or temperature), not requiring additional drives; the second was active systems, intentionally controlled, among which were distinguished facades with media functions (artistic or informational message) and facades optimizing the building’s internal environment (so-called utility-driven), affecting the control of sunlight, ventilation, or energy efficiency.

The research method used was a case study. Data obtained from the collected materials were subjected to qualitative analysis, identifying key solutions that allow for the creation of illusion or the introduction of real movement into architecture. Particular attention was paid to how the described techniques and technologies shape the perception of space and the dynamics of the urban landscape (

Table 1. The analyzed features of selected case studies and their role in evaluating and comparing examples.

Analyzed Feature	Role
Type and main function of the building	A description of the original space’s features, indicating the role of analyzed elements.
The role of movement or illusion of movement
Integration with the main building
Scale of analyzed solutions	The project’s potential impact on the community and its integration with the urban environment.
Durability
Visibility in the cityscape
Technology and materials	Understanding the innovation of the design and the ways in which it achieves its functional and aesthetic goals.
Control system or people who decide about the change	Determining who or what has an impact on deciding the positioning of moving parts.
Sensors and detectors
Responsiveness	The degree of user involvement and adaptation to environmental conditions.
Interactivity

). The analyzed examples—available or temporarily made available for public observation—allowed for the extraction of a typology taking into account the nature of movement (illusion vs. physical movement), the way that it is generated, and the role it played in utilitarian, aesthetic, and environmental contexts.

This study also considered how kinetic facades combine different functions within the facade system. In the final part of this study, there is a morphological table for comparing the examples analyzed.

In the final part of the case study analysis, an original comparative table was developed, which summarizes basic information about the analyzed implementations. Details of the evaluation criteria are described in the Comparison section.

3. Results

This study categorized the use of artistic and technical means for creating the effect of moving facades. The diagram in Figure 1 shows various techniques, ranging from painting techniques and multimedia projections to kinetic elements, which work together to create a dynamic and engaging urban space. The distribution of these expression methods reflects the diverse approaches and innovative techniques discussed in this study.

3.1. Static Optical Illusion

Optical illusions, including motion illusions, illustrated with examples, demonstrate how building facades can appear dynamic despite their static nature. Through transformations dependent on the composition of perspective foreshortening, changes in lighting, or the materials used, urban spaces become more plastic or adaptable.

3.1.1. Painted Illusions on Buildings

In the area of illusory painting on facades, three main subtypes are distinguished: trompe-l’oeil illusions, geometric–optical illusions, and anamorphic illusions.

Anamorphic Murals, Italy, Painter: Peeta, 2017

The last of these types, anamorphic illusions, is represented by the artist Peeta, whose abstract murals exemplify how large-scale painting can transform static facades in European cities (Peeta n.d.). He designs geometric shapes in contrasting colors, creating illusions of forms that seem to protrude from or recede into the building structure. These abstract compositions, seen on the facade of the University of Padua, the science high school in Agropoli (Figure 2), and residential buildings in Florence and Grenoble, give flat surfaces a three-dimensional appearance. Carefully synchronized with the architecture and surroundings, Peeta’s murals are permanent. Moreover, they possess the classic features of large-scale painting, meaning that they are not interactive and do not change based on external factors such as weather or time of day.

3.1.2. Shadow Play Elevations

Cartoucherie Housing Block, Toulouse, France; Building Architect: Manuelle Gautrand, 2016

One notable visual technique is the conscious use of natural light in architecture to diversify and energize the aesthetic of facades. One example is the work of Manuelle Gautrand, who employed light play in the Cartoucherie Housing Block project in Toulouse (Manuelle Gautrand—Architecture n.d.). The play of light and shadow is introduced through round elements that modulate daylight (Figure 3 and Figure 4). Attached to the facade at a 45° angle, these elements create openwork patterns whose shape changes depending on the movement of the sun. The interplay of light is uncontrolled but entirely predictable and repeatable, dependent on the time of day and weather conditions. The installation is permanent.

3.1.3. Elevations with Mirrored Elements

Cairns Botanic Gardens Visitors Centre, Cairns, Australia; Building Design: Charles Wright Architects Architecture Office, 2011

Facades with mirrored elements introduce a kaleidoscopic illusion, achieved by multiple reflections of light and shapes, creating a sense of depth and visual expansion of space. This type of architecture, functioning like a kaleidoscope, utilizes mirrors, glass, or other reflective materials (Johnson n.d.). These materials enable the creation of visual effects that transform depending on the viewing angle, lighting, or movement of the observer. One example of a structure that implements the kaleidoscope effect is the facade of the Botanic Gardens Visitors Centre in Cairns, Australia (Charles Wright Architects n.d.) (Figure 5).

3.2. Multimedia Elevations

The development of multimedia facades must be considered in the context of two main strategies. The first involves adapting multimedia carriers to existing architectural structures, whether temporary or permanent. This includes a building’s aesthetic transformation with minimal structural interference, utilizing techniques such as light projections, holograms, LED curtains, transparent LED film, and others. The second strategy assumes the integration of multimedia carriers at the facade design stage, involving their permanent installation. Here, designers incorporate technological solutions such as smart glass, built-in screens, or permanently mounted LED modules. Facades adapted to new media become hybrid surfaces where art, technology, and building functionality overlap. They integrate architecture, technology, and artistic effects by combining various materials and technologies in a single action. Consequently, multimedia facades are often intermedial1 in essence.

3.2.1. Mapping

Project “555 KUBIK” on the “Galerie der Gegenwart” Facade, Kunsthalle in Hamburg, Germany; Mapping Design: Urbanscreen Studio, 2009”

A mapping projection on the facade of Kunsthalle in Hamburg (Figure 6), carried out by Urbanscreen, is a temporary installation and one of many examples of the technique of creating three-dimensional illusions on buildings using software to generate and display digital images (Urbanscreen 2009). Mapping on facades allows for visualizations that alter the perception of static structures over time. The frequency and duration of these installations depend on the nature of the event that they are associated with—they can last for a period from a few hours to several weeks. This strategy is particularly popular at multimedia festivals, such as the Amsterdam Light Festival, the Toronto Light Festival, and the Luma Arts Festival in Binghamton, New York. These events attract many interested viewers, and their characteristic feature is that the projections look best after sunset, which is both a limitation and an advantage.

3.2.2. Retrofit Media Elevations

Yas Island Hotel, Abu Dhabi, United Arab Emirates; Building Design: Asymptote Architecture Studio, 2009

The facade of the Yas Hotel in Abu Dhabi provides visual attraction thanks to its openwork shell, which encompasses not only the building but also the Formula 1 track and part of the nearby marina (The Yas Hotel/Asymptote Architecture|ArchDaily 2009). The facade, covered with a curved mesh of 5800 rotating diamond-shaped glass panels illuminated by LEDs, allows for various lighting variations (Figure 7). The lighting system enables individual control of each panel, allowing patterns and colors to be displayed that can be programmed specifically for different cultural and social occasions. The structure gives the impression of lightness. The facade has become a characteristic element of the night landscape, blurring the boundaries between the functional structure of public space and spectacle. The Yas Hotel dominates the landscape of Yas Island. Although the facade’s physical structure is static, its lighting system is highly responsive and can be programmed for interactive activities.

3.2.3. Integrated Media Elevations

Szczecin Philharmonic, Poland; Building Design: Fabrizzio Barozzi, Alberto Veiga, 2014

The Philharmonic Hall designed by Fabrizio Barozzi and Alberto Veiga is a distinctive and important landmark in the landscape of Szczecin (Figure 8a and Figure 9). The modern facade of this building is an iconic symbol of culture and urban renewal, enhancing social interactions through its extensive public spaces and cultural events, which it improves with its pleasant form. The architecture of the building is static, yet it changes visually throughout the day (Szczecin Philharmonic Hall—Data, Photos & Plans n.d.; Szczecin n.d.). During the day, it looks like an ice block, while in the evening, it appears as a light, paper-like, multicolored lantern. The building uses glass, aluminum, and concrete to meet functional needs and create an attractive modern aesthetic that contrasts with its surroundings. Although the facade is neither movable nor responsive, its design interacts with the environment and users through strategic lighting, creating a unique visual experience.

Ports 1961 Shanghai Facade, China; Building Design: Architecture Studio UUfie, 2015

The facade of this shopping center in Shanghai combines visual illusions with advanced technology and sculptural three-dimensionality (Figure 8b). The facade comprises two types of glass blocks: standard blocks with dimensions of 300 mm × 300 mm × 300 mm and custom corner blocks. By using custom glass blocks with a special joining system, it resembles a drifting iceberg. The satin glass and matte stainless steel contrast with the urban surroundings, while integrated LEDs transform the facade into a glowing object at night. LEDs placed in the joints between blocks give the facade a crystalline appearance (Ports 1961 Shanghai Facade/UUfie 2015). This intermedial illumination draws attention and becomes a landmark for shopping district visitors. Although this media facade is neither kinetic nor responsive in the traditional sense, it changes by reacting to varying light conditions by combining reflective and illuminating materials.

The described examples, utilizing technologies such as LEDs, light mapping, interactive systems, and illuminating materials, create structures that introduce a new dimension into public space experience, interacting with the environment, enhancing aesthetics, and improving functionality. However, these innovative solutions can involve high maintenance costs and be prone to failures due to their complexity. Additionally, they are experimental and not always tested for long-term durability, raising questions about their future. Strong reliance on complex technological systems requires thoughtful management and may generate technical, ecological, and economic problems in the long run. These projects should be thoroughly researched to ensure their safe and effective functioning in urban spaces and avoid overstimulating users’ senses, which could negatively impact residents’ psyche. It is crucial that the fascination with new technologies does not overshadow the need to consider the social, economic, and cultural contexts of the places in which they are applied.

3.3. Kinetic Elevations

Kinetic facades represent a dynamic element of architecture that, in response to a variety of factors, such as human interaction and changing environmental conditions, can change its shape, appearance, and function. These facades offer practical solutions and aesthetic value, conveying visual and emotional communication. This study categorizes kinetic facades into three main types depending on their function, mode of interaction with the environment, and control mechanisms.

The categorization differentiates between passive systems and actively controlled facades. Passive systems include mechanisms and materials whose geometry changes in response to environmental conditions without active control. In contrast, actively controlled facades have built-in actuators. Furthermore, these controlled facades can be classified into two categories: those primarily designed to perform utilitarian functions and those where the primary purpose of changing geometry is to serve aesthetic or informational roles.

3.3.1. Self-Reacting Responsive Elevations

These facades are designed to autonomously react to changing environmental conditions, such as temperature, humidity, wind, or light. Their main task is to optimize the internal conditions of the building and minimize the impact on the environment. Examples of such solutions include facades with louvers that rotate in response to sunlight or membranes that tense under the influence of wind. These responsive structures introduce dynamics into the image of the building and its surroundings, though their primary function is practical.

The first two implementations describe mechanical systems in which a change is caused by wind force, while the remaining examples in this group use materials that deform in response to changes in humidity or temperature.

Brisbane Domestic Terminal Car Park, Australia; Elevation Design: Ned Kahn, UAP, 2011

The facade of the Brisbane Domestic Terminal Car Park building, designed by Urban Art Projects (UAP) and operated by Ned Kahn, was completed in 2011 (Figure 10a), and it is one of the most recognizable examples of the use of a dragon skin system, consisting of small, in this case metal, tiles connected by circular links. They can move under the influence of the wind, making the facade appear to wave (UAP Company n.d.). Other facilities using similar solutions include the Children’s Museum of Pittsburgh (Koning Eizenberg Architecture n.d.) and Wind Silos (Ned Kahn Studios n.d.). In all examples, this solution is used on blind walls or as a cover for the garage area. In the analyzed example, a graphic pattern was designed on the facade, visible through tiles of two different shades. In some projects using the dragon skin system, evening and night lighting is added, emphasizing the movement of the facade after dark. The analyzed parking building is an example of a durable implementation in which the system was used on facades, with an area of 500 m². The kinetic facade is easily seen from the perspective of airport users. In the analyzed example, we can see responsiveness to environmental conditions, as the facade changes with the speed and direction of the wind. However, it is not interactive due to the lack of control over the movement of individual parts of the elevation in response to the behaviors displayed and decisions made by users.

Windswept, Randall Museum Wall, San Francisco, California; Installation Design: Charles Sowers Studios, 2010

The Windswept installation designed by Charles Sowers, completed in 2011 (Figure 10b), is described by the author as a tool for observing the interaction between wind forces and a building (Sowers n.d.b). It is an example of relatively minor artistic intervention, mounted on a fragment of the wall of the Randall Museum in San Francisco. The wall with movable elements rotated by the wind is located at the side of the parking lot and is not very clearly exposed in the urban landscape. The responsive wind installation is mounted on the existing building structure.

Small aluminum blades can rotate relative to axes perpendicular to the facade plane. No sensors or control systems are used here, and the only factor causing a change in geometry is the wind force; thus, we can indicate responsiveness to environmental conditions.

Another implementation of the Charles Sowers project, using movable facade elements set in motion by the force of the wind, is the Wave Wall from 2006 (Sowers n.d.a), where movable vertical elements, driven by the wind, were permanently integrated into the building’s front facade.

Bloom, Los Angeles, California; Installation Design: Doris Kim Sung, 2011

The “Bloom” project, designed by Doris Kim Sung and a team of designers and engineers in 2011 in Los Angeles, California, USA (DOSU Studio n.d.), represents an amalgamation of architecture, art, and engineering (Figure 11a). As a temporary art installation, “Bloom” stands out in the urban landscape, drawing attention due to its dynamic and changing structure. This installation explores the potential of thermobimetal, which changes its shape in response to temperature changes. This demonstrates the possibilities of using adaptive materials in architecture to control sunlight exposure and building ventilation.

The installation merges aesthetics with science, utilizing geometric patterns and interplay between light and shadow to create a visually captivating experience. Constructed primarily from thermobimetal, the structure leverages the material’s passive properties to respond to temperature changes, allowing the installation’s elements to move without external energy sources. It does not have an interactive function.

HygroSkin—Meteorosensitive Pavilion, Orléans, France; Installation Design: Achim Menges, Oliver David Krieg, Steffen Reichert, 2013

The HygroSkin pavilion, designed by Achim Menges, Oliver David Krieg, and Steffen Reichert as part of a project at the University of Stuttgart, was put in place in 2013 in the French town of Orleans (Figure 11b and Figure 12). The pavilion’s facades featured wooden scales with fibers oriented to respond to changes in air humidity. As humidity decreased, this mechanism allowed the shutters in the pavilion walls to open without needing an external power supply or actuators.

The slow, spontaneously changing structure of the pavilion provided a sculptural visualization of its potential uses and also functioned as a laboratory testing prototype for material solutions on an architectural scale. Situated outside urbanized spaces, the temporary pavilion served as a research element to summarize research on the use of natural materials in facades with variable geometry carried out at the University of Stuttgart (Institute for Computational Design and Construction n.d.a).

One of the commonly followed stages for implementing research on the deformable properties of wood and wood-based composites is the livMatS Biomimetic Shell pavilion, a project implemented in 2023 that uses elements created using 4D printing technology based on biomaterials, the shapes of which also change in response to changing environmental conditions (Institute for Computational Design and Construction n.d.b).

3.3.2. Kinetic Media Elevations

These structures primarily serve a performative function. They utilize modern technologies to control the movement of individual facade elements or their lighting, creating complex animations, patterns, and interactive art installations. They serve to convey information and advertising and to enrich the aesthetic of the urban space. Kinetic media facades, through their variability and ability to adapt to different needs, enable the visual identification of the place.

One Ocean, Yeosu, South Korea; Pavilion Design: Soma Architecture, 2012

The “One Ocean” pavilion was designed by Soma Architecture for Expo 2012 in Yeosu, South Korea (Figure 13a). It blended modern architecture with an ecological message and was built to host international exhibitions. The pavilion’s kinetic facade was its most remarkable feature as it dynamically replicated the ocean movements. The architects described the facade as a kinetic media facade, providing a “sensual experience through analog means” (Soma Architecture n.d.). The use of advanced technologies, actuators, and flexible materials created a physical experience that engaged visitors and encouraged reflection on oceans’ significance for life on Earth. The kinetic structure included 108 vertical facade lamellas, each from 3 to 13 m in length (Knippers et al. 2012; One Ocean Thematic Pavilion (Expo 2012) (Yeosu, 2012) n.d.). The lamellas were made of a material that bent, creating an open-gill effect, when one of its ends was lifted by a linear actuator. The individual panels had light points arranged in an orthogonal grid, giving the effect of a low-resolution screen at night. “One Ocean” was a critical site at Expo 2012, proving how architecture can serve crucial social and environmental purposes.

MegaFaces, Sochi, Russia; Installation Design: Asif Khan, 2014

The MegaFaces pavilion was prepared for the 2014 Winter Olympics in Sochi (Russia). The kinetic wall was equipped with 11,000 linear actuators, and at the end of each actuator, there was an LED light point, creating a pixel of a three-dimensional screen. The installation was designed by Asif Kahn (Khan n.d.) (Figure 13b). The wall, approximately 8 m high, allowed the reconstruction of the faces of people who agreed to have their images scanned and shared in one of the 30 Russian cities in which scanning points constituting input sensors for the wall control system were located. The effect of displaying human faces on the facade was achieved by sculpting its tectonics, where each pixel could be extended to approximately 2.5 m, and by adjusting the intensity of the illumination of individual pixels. The image was refreshed every minute based on the transmitted data. The kinetic wall was set up in the Olympic town as a highly visible object, but it was not located in an already urbanized area and was temporary. The responsiveness and interactivity in the project were only indirect and based on the fact that the wall layout was generated with user data.

Dancing Pavilion, Rio de Janeiro, Brazil; Pavilion Design: Estudio Guto Requena, 2016

The “Dancing Pavilion”, conceived by Estudio Guto Requena for the Olympic Games in 2016 in Brazil, stands as a testament to the fusion of architecture with advanced technology (Figure 13c and Figure 14). This ephemeral structure served as a magnetic hub for interaction, cloaked in an enchanting reactive facade that mirrored the country’s lively spirit, transforming it into a significant beacon within Rio de Janeiro during the festivities. The pavilion’s exterior was adorned with a multitude of rotating plates, each with a specific diameter and dual-sided, with color on one side and a metallic mirror finish on the other side, all driven by individual motors for independent operation. This innovative design allowed the plates to act as a kinetic screen, breathing life into the facade with waves mimicking musical rhythms. Integrated sensors gathered data on music and visitor presence, animating the facade in a dance of light and reflection (Van Lier 2017; Requena n.d.). This visionary use of materials and technology not only delivered visual delight but also engaged with its acoustic surroundings, showcasing the potential of transitory architecture to invigorate the communal and cultural fabric of a place.

The Bund Finance Centre, Shanghai, China; Building Design: Foster and Partners Studio, Heatherwick Studio, 2017

The Bund Finance Center building was designed by Heatherwick Studio and Foster and Partners and was completed in Shanghai, China in 2017 (Foster+Partners n.d.) (Figure 13d). The building features a dynamic facade comprising three layers of vertical cylindrical metal elements stylized as bamboo, ranging from 2 to 16 m in length. These elements move slowly around the building on separate rails, gradually changing the building’s appearance. The building is situated in a prestigious district of the city and its striking facade is easily visible from public spaces. Despite the facade’s continuous and monotonous movement, it does not appear to be interactive or responsive. Additionally, there is no information about whether the design intentionally controls the access of natural light to the building’s interior through the positioning of the external layers.

3.3.3. Utility-Driven Kinetic Elevations

This category includes constructions designed with specific practical needs in mind, such as controlling shading, acoustic insulation, the mechanical protection of facades from damage, the optimization of energy harvesting in photovoltaic systems, or efficient ventilation. Although the primary goal of these solutions is practical, the way in which they are designed and implemented can also affect the aesthetics of the building and its perception.

Media-TIC—An Inflatable Building, Barcelona, Spain; Building Design: Enric Ruiz-Geli from Cloud 9 Studio, 2010

The office building Media-TIC, completed in 2010, was designed by Enric Ruiz-Geli, the main architect of Cloud 9, for the Consorci de la Zona Franca in Barcelona (Figure 15a and Figure 16). It is an example of a southeast kinetic facade for controlling the sunlight inside the building. The pneumatic changing skin of the building was designed together with the facility and is permanently integrated with it. The change in light transmittance of southeast elevation is achieved by changing the amount of air between the layers of material on which the pattern is placed. If the materials touch each other, the air is pumped out of the panel; then, the patterns on both layers of material complement each other, creating maximum shading. If the module is inflated, some of the sun’s rays may penetrate the building’s interior through the resulting gaps (Burry et al. 2011; Juaristi and Monge-Barrio 2016). The second elevation, facing southwest, features ETFE cushions whose transparency is controlled by a light control system, utilizing fog introduced into the cushions through a tube system (Burry et al. 2011). Both described facades extend from the first floor to the top of the seven-story building. Changing panel settings is based on information collected about buildings, making this command responsive, but it does not have interactive features.

UTS Central (Building 2), Ultimo, New South Wales, Australia; Renovation Design: Francis-Jones Morehen Thorp (Fjmt Australia), 2019

UTS Central is a university building. On the elevation from the reading room side (the north side in the southern hemisphere), internal shading blinds were installed, creating a facade pattern characteristic of the building. The kinetic elevation was due to a thorough renovation of the entire facility carried out in 2019 in accordance with the design of fjmt Australia (fjcstudio n.d.), responsible for implementing the moving structure (Figure 15b). The project was created when designing the entire reconstruction and is permanently integrated with the building.

The movable elements are located inside the building and protected from weather conditions by an external glass wall. Their basic function is to control sunlight in the interior rooms. Kinetic modules are installed on a facade approximately 65 m long at a height of three stories, starting from the second floor. The panels are rotated based on an algorithm that adjusts according to the sun’s position throughout the day (Sun Shading System—UTS Central n.d.). The movable panels designed specifically for this project also constitute a recognizable element of the building (landmark) and are clearly visible to passers-by. The kinetic elevation is located in the central part of the city and is clearly visible in the urban landscape, even though the blinds are located on the side of the open courtyard.

The solution is responsive—the change in the position of the panels depends on the sun’s position—but it does not have interactive features.

The Tower at PNC Plaza, Pittsburgh, Pennsylvania; Building Design: Gensler, 2015

The Tower at PNC Plaza is a multi-story office building designed by Gensler and completed in Pittsburgh, the United States, in 2015 (Figure 17a). The building is located in one of the city squares and is clearly visible even from a long distance. Its facades are made of homogeneous curtain walls, designed in conjunction with the base building. The system includes retractable windows that support natural ventilation and temperature control. The facade achieves its changing effect by simultaneously operating many relatively small, standard-element, and automatically controlled windows. The building is fitted with sensors on both the inside and outside of the facade, and the system uses sensor data to automatically control the degree of window opening throughout the facility. This feature creates a unique breathable facade for The Tower at PNC Plaza in Pittsburgh (WindowMaster n.d.). The window position is responsive to environmental conditions, but there is no interactivity with users. Automatically controlled windows are integral to the fully automated double-skin facade, creating a solar-powered chimney utilizing the effect of rising heated air. Data provided by a company specializing in building energy analysis indicate that the building can operate in passive ventilation mode for 42% of its total working hours (Buro Happold n.d.). The presented data were not compared to a reference building of similar scale with a curtain wall.

Ballet Mécanique, Zurich, Switzerland; Building Design: Manuel Herz Architects, 2017

The Ballet Mécanique is a multi-family residential building in Zurich completed in 2017 and designed by Manuel Herz (Figure 17b and Figure 18). It features foldable balconies with roofs on two of its three floors, starting from the ground floor, and on the facade. These balconies visually change the appearance of the building, provide sun protection, and create functional spaces for residents. The movable panels on the facade are made of metallic homogeneous material, which is visible when assembled. When unfolded, the inner part of the panels, painted in shades of blue and red, is revealed (Manuel Herz Architects n.d.). The building is located in a residential area surrounded by greenery and sits 200 m from the Le Corbusier Pavilion, known for its use of surfaces with strong and contrasting colors. Despite its modern design, Ballet Mécanique is not an interactive facility, and the official description does not mention the use of environmental sensors. The external panels are operated using actuators, and the balcony railings are manually unfolded.

Solar Adaptive Facade (SAF), Zurich, Switzerland; Facade Addition Design: Architecture and Building Systems (A/S) Research Group, 2016

Solar Adaptive Facade (SAF) is a photovoltaic tracking facade system designed at the Institute of Structural Engineering, Department of Civil, Environmental, and Geomatic Engineering, ETH Zurich, by M. Begle, S. Caranovic, J. Hofer, and P. Jayathissa. A full-scale set of 50 continuous facade modules, spread over a square one office floor high, was installed on one of the university buildings in Zurich in 2015 (Nagy et al. 2016) (Figure 17c and Figure 19). The prototype is not currently well exposed in the urban landscape, but it is an example of a progressive modular network of rhombuses, each of which, according to the project description, can be independently moved on two axes using soft robotic actuators (Jayathissa 2017; Svetozarevic et al. 2016), creating a facade coating resembling skin covered with scales. According to the assumption, this type of facade, which can be attached to existing buildings, combines the function of following the current position of the sun, along with controlling access to the building’s interior, taking into account information about the presence of users, so it can, therefore, be classified as a solution responsive and partly interactive. The simulations show that the kinetic structure is more efficient for office buildings than residential ones, with results for Zurich indicating it can generate up to 115% of the energy needed to maintain a comfortable indoor environment, considering both heating and cooling (Svetozarevic et al. 2019). The analyzed sources did not provide information on energy obtained from the operating system, including the energy consumption of the modules.

3.4. Comparison

The final part of this study compares in detail selected features and aspects of kinetic solutions and movement illusions used in architectural elevations (see

Table 2. A comparison of selected features analyzed in the case studies of kinetic solutions and movement illusions on architectural elevations.

Type	Realization Name	Function	Responsive Factor	Responsiveness	Interactives	Sensors	In-Building Design	Durability	Urban Visibility
Static optical illusion on facades
Painted illusions on buildings	Peeta’s artworks on elevations (murals)	1	-	✕	✕	✕	✕	●	●
Shadow play elevations	Cartoucherie Housing Block	1	-	✕	✕	✕	✓	●
Elevations with mirrored elements	Cairns Botanic Garden Visitors Centre	1	-	✕	✕	✕	✓	●	●
Elevation as a screen
Multimedia integrated elevations	The facade of Szczecin Philharmonic	1, 2	-	✕	✕	✕	✓
Multimedia extended shell	Ports 1961 Shanghai Facade	1, 3	-	✕	✕	✕	✓	●
	Yas Island Hotel		-	✕	✕	✕	✓	●	●
Mapping	Projekt 555 KUBIK	1	-	✕	✕	✕	✕		●
Kinetic facades
Self-reacting responsive elevations	Children’s Museum of Pittsburgh	1	W	✓	✕	✕	✓	●	●
	Windswept	1	W	✓	✕	✕	✕	●
	Bloom	1, 2	T	✓	✕	✕	✓
	HygroSkin	1, 2, 3	H	✓	✕	✕	✓
Kinetic media elevations	One Ocean	1, 2	-	✕	✕	✕	✓	●
	MegaFaces	1	U	✓	✓	✓	✓
	Dancing Pavilion	1, 3	U	✓	✓	✓	✓
	The Bund Finance Centre	1	-	✕	✕	ND	✓	●	●
Utility-driven kinetic elevations	Media-TIC	1, 3	SLC, T, IEC	✓	✕	✓	✓	●	●
	UTS Central	1, 3	SLC, T, IEC	✓	✕	ND	✕	●	●
	The Tower at PNC Plaza	2	T, W, IEC	✓	✕	✓	✓	●	●
	Ballet Mecanique	4	-	✕	✕	ND	✓	●
	Solara Adaptive Facade (SAF)	5	SP, C, IEC, U	✓	✕	(✓)	✓	●

). By examining these examples, we can gain a better understanding of the unique characteristics, benefits, and challenges associated with each approach. This comparison highlights the diverse techniques and technologies employed in contemporary architecture to create dynamic and engaging building facades, including the functional aspects of the introduced technical solutions.

Table 2 contains data on the primary function of the analyzed moving element or one that creates the illusion of movement, as well as information about responsiveness and reaction to specific factors. In particular, the presence of interactivity, built-in sensors, and details regarding the facade design phase are included, whether designed during the overall building design phase or added during its usage. The table also discusses the nature of the analyzed elements, whether they are permanent or temporary, with temporary elements having durabilities not exceeding one year and not repeatable cyclically. Among the analyzed facades, there were no examples with a cyclical character. Additionally, the described facades’ visibilities in the urban landscape were compared, adopting the following categories: ‘high visibility’ for buildings located along streets and public squares, whose facades are directly visible from public spaces; ‘low visibility’ for buildings whose facades are visible only from semi-public spaces, such as gated communities or campuses; and ‘minimal visibility’ for buildings located outside urban areas or not visible from the outside. Data on visibility were determined based on the map analysis and photographic documentation of the analyzed buildings.

Description of symbols and abbreviations used in the table:

✓: Present or applicable.

✗: Not present or not applicable.

ND: No data.

Function: Aesthetic value (1), ventilation (2), natural light control (3), space reconfiguration (4), and solar energy harvesting (5).

Responsive factor: Wind (W), temperature (T), humidity (H), sound (S), user presence and behavior (U), solar light control (SLC), internal environmental conditions (IEC), sun position (SP), and cloudiness (C).

Durability: ● Long-term, temporary.

Urban visibility: ● High visibility, low visibility, and minimal visibility (not visible or located outside the urbanized area).

4. Discussion

The results presented in this article align with the current research trends on kinetic and media architecture (Fox 2016; Manovich 2002; Jasiński 2011), as well as responsive facades (Heidari Matin and Eydgahi 2020). Manovich (2002) emphasizes the role of interactivity and active user participation in shaping space, which in the analyzed examples is manifested in facades that respond to the presence of people (MegaFaces, Dancing Pavilion), transferring the theory of interactivity known from new media to urban planning. Fox (2016) points to the convergence of technology, design, and architecture leading to the creation of interactive environments and the blurring of boundaries between static infrastructure and dynamic installations, a phenomenon also confirmed by the case studies discussed (e.g., PNC Plaza, Media-TIC). Heidari Matin and Eydgahi (2020), on the other hand, focus on the long-term evolution of facades that respond to external conditions and user needs, thus providing a theoretical foundation for the solutions presented here. The obtained results suggest that the introduction of movement—both real and perceived—can influence the aesthetic perception and well-being of users, which necessitates further sociological research. For instance, media facades such as the Szczecin Philharmonic facade designed by Fabrizzio Barozzi and Alberto Veiga (2014) can enhance the attractiveness of public spaces and support observer engagement. In contrast, the Ports 1961 Shanghai Facade (2015) designed by the UUfie architectural studio has elicited ambiguous reactions, including the likelihood of overstimulation and disorientation caused by high pedestrian and vehicular traffic in the commercial district where the facade is located. As Artur Jasiński notes, the use of dynamic media facades can lead to visual pollution, hyperstimulation, and sensory overload for users of a space. Byung-Chul Han (Han 2017) illustrates the phenomenon of excessive visual stimuli and the impact of digital technologies on social interactions in the contemporary world in his studies. Another study (Mikropoulos et al. 2020) indicates that an overload of visual stimuli can be problematic for some users, requiring further in-depth research. Regardless of the social and aesthetic aspects of the facades discussed, experiences demonstrate that the economic aspect is the most important factor determining the use of modern technologies (Jasiński 2011).

Kinetic, media, responsive, and seemingly motion-imitating facades are frequently found in commercial and public utility spaces, such as educational and cultural institutions, corporate headquarters, and shopping centers. They enrich the urban landscape by adding diversity to large smooth surfaces devoid of windows. Many of these structures are highly visible and serve as landmarks (e.g., Yas Island Hotel and One Ocean). Some prototypes utilize self-reactive materials to test and demonstrate the potential integration of responsive materials with architecture. These installations often apply illusions or actual movement to the front facade, although they may also extend to other sides of the building. Some analyzed facades may serve as prototypes for future cities where architecture actively responds to user needs and environmental conditions. However, their excessive technification or failure to consider local cultural and social conditions may lead to dystopian visions, distancing them from the ideals of humanistic and sustainable development.

Digital technologies play a crucial role in the design and implementation of illusionary, kinetic, and media facades. They facilitate the design process, enable the simulation of mechanisms, and allow for real-time control of systems. In the future, increased user interactivity through artificial intelligence and IoT sensor networks may lead to greater adaptability in architecture.

It is important to consider the impacts of kinetic and media facades on the environment. Examples such as Media-TIC in Barcelona (2010), UTS Central in Sydney (2019), the HygroSkin Meteorosensitive Pavilion in Orleans (2013), and The Tower at PNC Plaza in Pittsburgh, Pennsylvania (2015), illustrate that it is possible to combine advanced technology with environmental optimization and efficient resource use. These solutions employ controlled or self-regulating elements, limiting energy consumption and adjusting internal conditions to variable external factors, regulating natural lighting, and preventing building overheating. However, empirical data confirming the long-term energy, economic, and social efficiency of these solutions are still lacking. Further research is necessary to more comprehensively understand their impacts on sustainable urban development and to develop guidelines for future implementations and cost/benefit analyses from production to disposal.

Contemporary society is continuously changing, which is reflected in the need for architecture to adapt through diverse forms and functions. Therefore, there is a real need to create and study various forms of architecture. The theory of introducing form diversity is crucial because digital technologies enable flexible and responsive architectural forms, leading to innovation and diversity in architectural projects.

Factors limiting the adoption of media and kinetic solutions include increased implementation and operational costs. Complex systems complicate both the design and construction processes. Servicing electronic and moving components during the operational phase presents additional challenges. Mechanical solutions in facades are susceptible to damage caused by dirt, water, and harsh weather conditions. The low prevalence of interactive solutions in facades may result from these factors or from sensitivities related to the collection and processing of data on user presence and behavior. Data anonymization may affect the degree of acceptance of these solutions (Walczak et al. 2023). In relation to sociological studies, the challenge lies in determining how the accumulation of illusions and actual movement in public spaces affects their quality and user perception, particularly for individuals with disabilities and on the autism spectrum (Leffel 2022; Mikropoulos et al. 2020).

5. Conclusions

The presented examples show that facades using apparent or actual movement in their structures could differentiate urban spaces on a larger scale than before. Media and kinetic facades are elements of modern design that enrich urban spaces and support the relationship between built environments and their users. The analysis of the described examples indicates that in the future, there is ample scope for further development regarding responsiveness and interactivity. Kinetic facades transform the traditional role of facades from passive elements in architecture to active participants in the urban space. Movable components, the interplay of light and shadow, and projections introduce a temporal dimension, thereby redefining architecture. The analyzed examples constitute an interdisciplinary area for the further development of the integration of art, architecture, and technology. Further research on the integration of new technologies and new media art in architecture can contribute to the formation of more diverse urban spaces.

The aesthetic approach in the analyzed examples can be applied to shaping facades as interactions between a building and its surroundings—kinetic and media facades can serve as visual enhancements, elements that facilitate the creation of local identity, introduce diversity to urban spaces, foster a sense of community, and promote identification with a place. The presented solutions may be particularly effective in environments with high cultural and social diversity. However, their design must take into account the needs of the local community based on conducted interviews, considering age groups, individuals with disabilities, and the sensory sensitivity of potential users. The question remains: do dynamic technological facades enrich urban life, or do they disconnect from local cultural codes, becoming a visual dissonance? In this sense, the aesthetics of the analyzed examples reflect contemporary dilemmas in public art: balancing innovation with responsibility towards the community and public space. As a result, facades are no longer merely architectural elements but works of art that transform both the perception of space and the very definition of urban aesthetics.

Some buildings, especially those that are excessively technological and detached from the local cultural context, may be perceived by users as symbols of dystopian visions, where architecture transforms space into a mechanical, emotionless world. The integration of technology, art, and architecture in the presented facades can, on one hand, be a source of inspiration and aesthetic stimulation, evoking a sense of tranquility, while on the other hand, it can cause sensory overload, with the actual response dependent on the individual user’s sensitivities. Therefore, it is essential to develop a method of sustainable and interdisciplinary facade design that combines architectural and urban practices with technology, as well as social research and perception psychology.

The integration of visual elements with functional elements is being partially implemented now, but this area remains to be further developed. Long-term durability, maintenance costs, and impacts on users are key areas that must be carefully analyzed to ensure their effective and sustainable use in the future. It would be worth using sensor networks and artificial intelligence during this process. Modern technologies, including digital, electronic, and mechanical technologies, influence the shaping of innovative, multi-dimensional urban spaces. At the same time, they could shape cities to achieve sustainable development. Projects that have set a more sustainable path include, among others, Media-TIC, UTS Central, and The Tower at PNC Plaza.

According to this study, the introduction of kinetic and media interventions in building facades has the potential to significantly enrich the urban landscape. However, it is crucial to maintain a balance between the visual effect and respect for local cultural, social, and environmental contexts.

As a result of the conducted research, the authors present three main recommendations. Firstly, it is necessary to establish standards regulating the intensity of visual stimuli emitted by kinetic and media facades within the context of a given space. Such guidelines should prevent the negative effects of excessive stimulation and promote the harmonious coexistence of new technologies with the existing environment. Policymakers and designers should implement these solutions in moderation, based on extensive public consultations.

Secondly, to precisely assess the impacts of interactive and responsive facades on community well-being, longer observation periods and systematic survey research among users of urban spaces are essential. Such studies will allow for a better understanding of how dynamic facades affect the daily lives and well-being of residents.

Thirdly, it is essential to develop detailed guidelines specifying in which contexts, locations, and situations the use of media and kinetic facades brings the greatest benefits. These recommendations should take into account the specificity of the given place and its functions.