AA Diploma Technical Study 2016 by Miruna Mazilu

TRUE OR

FALSE Building truth into the faux terrain

Andra Miruna Mazilu Technical Studies 5th year Diploma 9, 2015/16 Architectural Association

Andra Miruna Mazilu - Technical Studies 5th year

1. Truth or False Manifesto 1.1 The potential of transcending place (Mexico) 1.2 Constructing a reality (PJ)

2. Fake Terrain 2.1 2.2 2.3 2.4

What is faux terrain? Faux terrain components Making the context Translating and transporting context

3. Suspending Disbelief 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8

Perception through framing Perspective techniques The Panorama - reading place Anamorphic projection - alignment Perceived place vs Actual place (Old spice) Techniques embedded to form the identity of constructed places Distorted place (Stourhead) Masked place

4. Portals of Collapse 4.1.1 4.1.2 4.1.3 4.2.1 4.2.2 4.3.1 4.3.2

The seamless experience Staging the faux terrain Components of the faux terrain Foreground-background alignment Collapsing scales Threshold of effect Resolution

Understanding perception

Testing perception

5. From Image to Construction 5.1 5.2 5.3 5.4 5.5 5.6 5.7

From Picturesque to Environment Image layers = Construction layers The continuous ground Inclining grounds Staging model 01 Material role play Effect vs Reality

6. Adapting to extreme scales 6.1 The City scale 6.2 The 1:1 build-up 6.3 The supporting structure 6.4 The upside-down landscape 6.5.1 Moment 1: City falls away 6.5.2 Detached ramp 6.6.1 Moment 2: The tilted lake 6.6.2 Draining the lake 6.7 Moment 3: Flooding the entrance 6.8 Moment 4: Glimpse of the truth 6.9 Details

III

Scaling perception

6.10 Deceiving the immediate view 6.11 Before & After 3

Andra Miruna Mazilu - Technical Studies 5th year

Project Manifesto

1. True or False

1.1 1.2

Manifesto The potential of transcending place (Mexico) Constructing a reality (PJ)

Andra Miruna Mazilu - Technical Studies 5th year

Project Manifesto

What is place? The thesis argues for the faux terrain as a means to challenge the way we perceive context and place. The technical studies will deal with the realm of the truth and the fake oscillating between the two. It is no longer clear what is to be in a room, building, city or landscape. We tune into spaces rather than simply occupy them; and usually we tune into multiple overlapping spaces at once. We have familiarised ourselves more with this condition which has become very complex in the last few years with the proliferation of the digital world. We interact at different overlapped scales and contexts on a daily basis. Our physical boundaries are traversed through digital means and this new way of interacting with our surroundings alters our interpretation of what is real.

Andra Miruna Mazilu - Technical Studies 5th year

1.1.1 THE POTENTIAL OF TRANSCENDING PLACE We are familiar to understanding the overlap between different geographical places and audiences under the umbrella of a singular context. Digital media has constructed a new way in which we interact with site.

MEXICO CITY

ILLINOIS

TENNESSEE

MISSISSIPPI

Estadio Azteca

ALABAMA

1. Truth or False

For example, at the 1968 Mexico Olympics award ceremony, the architectural element of the PLINTH becomes a vessel for a diverse set of contextual overlaps.

The iconic image of the 68â&#x20AC;&#x2122; Olympics depicts the athletes on the plinth. The plinth guides the attention of an event watched by tens of millions of people world-wide. The plinth legitimises their position within the event. 1968 Mexico Olympics stadium award ceremony

The gesture aligns with another context; acknowledging the overlap in which the two athletes find themselves.

1968 Civil Rights Movement protests

Beyond the establishment, the resonance of the image could not be overstated. The large scale of the international event could transcend into the intimacy of the interior - from an audience of millions to one of a family.

1968 TV broadcast of the Olympic event

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1.1.2 THE POTENTIAL OF TRANSCENDING PLACE The two main elements used in the project, DISPLACEMENT and SCALE, stem from this process. The aim of the faux terrain is to immerse the viewer into the reality of the image created.

1. Truth or False

The podium generates a conversation outside itself. For the 68’ Mexico Olympics event, the plinth acts as a means to transcend place.

The ‘black power’ gesture extracts Tommie Smith and John Carlos from the games. They are now foregrounding Misissippi and aligning with their american counterparts.

Through it, they consciously insert themselves in the televisual space bringing, like the faux terrain, a large event to the intimate audience of 5 people in a room.

Andra Miruna Mazilu - Technical Studies 5th year

1.2 CONSTRUCTING A REALITY Philip Johnson builds a house in which to die. In the Glass house, Poussin’s painting, “The burial”, hangs in perfect alignment with the horizon to extend the interior into the exterior landscape.

Philip Johnson ‘Glass House’ (1949)

The perverse underlying issue of displacement in this act overlaps contexts and scales. It allows for a conversation at a huge dimension of vast landscapes while sticking to principles that still conform to a room.

1. Truth or False

Painting horizon line Landscape horizon line

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1. Truth or False

The narrative of the painting envelopes the reality of P.Johnsonâ&#x20AC;&#x2122;s death, who died in 2005 in the Glass House.

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2. Faux Terrain

2.1 2.2 2.3 2.4

What is faux terrain? Faux terrain components Making the context Translating and transporting context

Andra Miruna Mazilu - Technical Studies 5th year

A PLACE IN THE LANDSCAPE ISNâ&#x20AC;&#x2122;T CUT OUT FROM A WHOLE EITHER ON THE PLANE OF IDEAS OR ON THAT OF MATERIAL SUBSTANCE. EACH ONE EMBODIES THE WHOLE AT A NEXUS WITHIN IT, AND IN THIS RESPECT IS DIFFERENT FROM EVERY OTHER.

PLACE IS ORIGINALLY TIED TO THE GEOGRAPHICAL. WHEN ARTIFICIALLY MANUFACTURED, DEGREES OF COMPLEXITY ARE ADDED.

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2.1 WHAT IS FAUX TERRAIN?

The term “faux terrain” dates back to late 18th century Great Britain and describes a technique with which large-scale pictures are “extended” towards the observer with materials or stage props so that the observer has the feeling he is standing “in the middle” of the picture. Typically, these displays use a tilted plane to represent what would otherwise be a level surface. They incorporate a painted background of distant objects and often employ false perspective, carefully modifying the scale of objects placed on the plane. The aim is to reinforce the illusion through depth perception in which objects of identical real-world size placed farther from the observer appear smaller than those closer.

Section

Combining art with science, these exhibitions were intended to educate the public about the growing need for habitat conservation.

‘These are what you might call the earliest version of virtual reality,’ says Stephen Quinn,

Painted background

diorama artist at the American Museum of Natural History.

These displays consist of taxidermied animals, foreground props and artfully painted panoramic backgrounds. Dioramas are true to science; for decades, artists and scientists went into the field to collect specimens and their surroundings and replicate them exactly as they appeared. Front elevation

“However fake the subject, once photographed, it’s as good as real.” H. Sugimoto

Hiroshi Sugimoto capturing the realness of the dioramas at Natural History Museum, NY,1974.

2. Faux Terrain

Modern museum dioramas may be seen in most major natural history museums.

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2.2 FAUX TERRAIN COMPONENTS

Panoramic landscape creates context for the subject.

Fake terrain creates the illusion of three dimensionality for the scene and legitimises the background image.

Often the distant background or sky will be painted on a continuous curved surface so that the viewer is not distracted by corners, seams, or edges. All of these techniques are means of presenting a realistic view of a large scene in a compact space. A photograph or single-eye view of such a diorama can be especially convincing since, in this case, there is no distraction by the binocular perception of depth. â&#x20AC;&#x2DC;This sense of place and this sense of reality and a personal encounter is so strong that they are a real powerful medium for teaching science,â&#x20AC;&#x2122; Quinn says.

Main subject

Museum information 22

Viewing frame

3D objects as foreground at 1:1 scale

2D panoramic landscape image as background

2. Faux Terrain

Curved walls for background image or canvas Museum wall

Exhibit viewing frame Extent of exhibit hole Trompe l’oeil elements painted directly on canvas.

Main subject (a goat)

Diora m late 1 as arose in the 8 of a d 00s, larg e natu esire to retu ly out re foll owing rn to Indu stria the ‘ These l Revolutio n. migh are wha t you t versio call the e arlies n of t virtual reality Quin ,’ says Ste n p retired , who rec hen ently as se nior

Diora mas arose late 1 in 8 of a d 00s, large the natu esire to retu ly out re foll owing rn to Indu stria the ‘Thes l Revoluti e on. migh are what t y versi call the e ou on o f virt arliest realit ual y, Quin ’ says Step n retire , who rec hen e d as senior ntly

Dioram late 1 as arose in the 800s , larg of a d e natu esire to ret ly out re u Indust followin rn to g the rial Re volu tion. ‘These migh are what t call you the e versio a realit n of vir tua rliest y, Quin ’ says Step l n, wh h o rece en ntly

Dioram late 18 as arose in the of a d 00s, larg e natu esire to r ly out et re foll owingurn to Indu stria th ‘These l Revolutio e n. migh are wha t yo t versi call the ea u on o f virt rliest ual

Diora mas arose late 1 in the 8 of a d 00s, larg el natu esire to r y out et re foll owingurn to Indu stria the ‘These l Revolut ion. migh are wha t you t versio call the ea n of r vir tu liest realit a y, Quin ’ says Ste l n p retire , who rec hen en da manag s senior tly proje er and ct long time diora ma

Diora m late 180 as arose in the of a d 0s, larg ely natu esire to ret out re u Indust followin rn to g the rial ‘These Revolut ion. migh are wha t you t call th versio n of e earliest virtua realit y,’ say l Quin s Ste n p retire , who rec hen e d as senio ntly r

Viewer

Information describing relationship between individual elements and illustrated context. Three-dimensional 1:1 faux terrain elements.

Andra Miruna Mazilu - Technical Studies 5th year

2.3 MAKING THE CONTEXT P.J. Wilson developed a gridding system that puts the viewer in the same relation (or the same angle of view) that he actually had at the site when painting his reference painting and taking panoramic photographs. Many of the traditional diorama designs hide the edges and produce a viewing “alley” down to the center of the diorama where the long distant view can be seen without distortion on the center (usually flat) wall. Using his system, Wilson painted some long distant views right on the encroaching side walls. Peabody’s Bighorn Sheep diorama has a mountain valley confidently stretching off for miles and miles that Wilson painted on a wall merely 10′ from the glass.

1. 1. Go to site and photograph landscape + paint it on grid

Nevertheless, Wilson would still use a traditional design. The Point Pelee background is designed with a wooded edge to the right and a small hill starting to the left.

2. 2. Transpose from canvas to wall adjusting grid to diorama shell

3. 3. Add 3D objects in froeground + hide edges of background painting

2. Faux Terrain

1 km an gle o

ang l

f vi

iew

Position of camera and painter in relation to landscape Field of view

Position of camera and painter in relation to landscape

Angle of view is the is the maximum view expressed in degrees.

Andra Miruna Mazilu - Technical Studies 5th year

2.4 TRANSLATING AND TRANSPORTING CONTEXT The mechanics of the grid: The spacings between the grid marks range from 5″ at the center line to 5 3/8″ at the corners and 4 7/8″ at the side. This works because the closest distance to the viewer is at the sides of this diorama and therefore the grid squares would have to be the smallest there. At the corners where the distance is the farthest from the viewer, the squares would have to be larger. Wilson’s grid makes all points on the grid related in this way-perfectly sized to the distance the wall is from the viewer.

Diorama shell with Wilson’s painting. dimensions: 94” wide x 36” deep x 113” high

2. Faux Terrain

4 7/8’’ B2

The distance from the central viewing point to the center of the diorama wall (in this diorama that distance is 54″) and the distance between the first and second vertical (5″) is equal to the focal length of the camera and the grid spacing on his slide.

5 3/8’’

5’’

He used either a 50 mm or a 35 mm lens which into inches translates respectively as 2″ or 1 3/8″. The grid for his slides was either 1/10″ or 1/8″. In this case the math indicates he used a 35mm lens, probably a stereo camera, with 1/8″ spacings over his slides. 35mm or 1 3/8″ X 5″=6.875 6.875 divided by 54=.127 (very close to 1/8″ or .125)v D2 A2 A3

Panoramic background grid spacing

Proportional to the focal length of the camera

Proportional to grid spacing on the painted slide

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2. Faux Terrain

3. Suspending Disbelief 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8

Perception through framing Perspective techniques The Panorama - reading place Anamorphic projection - alignment Perceived place vs Actual place Techniques embedded to form the identity of constructed places Distorted place (Stourhead) Masked place

Andra Miruna Mazilu - Technical Studies 5th year

THE FAUX TERRAIN PROVOKES A NARRATIVE TO TRANSCEND SCALE, PLACE AND MATERIALITY.

2. Faux Terrain

Andra Miruna Mazilu - Technical Studies 5th year

3.1 Perception through framing Does our desire to believe lead us to disregard the medium and accept the displacement?

Threshold of interaction with place

Assumed context of image

3. Suspending Disbelief

Revealed context of image

Andra Miruna Mazilu - Technical Studies 5th year

3.2.1 Brunelleschi’s Experiment Linear perspective

Cathedral Painting

The technique: Using linear perspective, Brunelleschi painted and image of the Florentine baptistry on a panel, leaving the area where the sky would be seen blank.

Mirror

Line of sight

He cut away the sky so that the transient effect of real clouds could function as a background. He then drilled a peephole through the panel at the vanishing point.

Viewer

Filippo Brunelleschi’s Illusion: The viewer holds the panel with one hand, the reverse side facing him, and a mirror in the other hand. Looking through the panels’ aperture at the mirror, the reflection of the image of the baptistry appeared to be at a distance. The viewer could see both illusion and reality with the same atmospheric background.

Sky acts as faux terrain - it legitimises the image of the church

MOVING CLOUDS Polished silver surface instead of the sky

Baptistery painting paintng

Mirror acts as a layering mechanism

Created illusion through mirror - image of painting with moving sky

3. Suspending Disbelief

3.2.2 The Ames room Forced perspective The technique: Forced perspective is a technique which employs optical illusion to make an object appear farther away, closer, larger or smaller than it actually is. It is used primarily in photography, filmmaking and architecture. It manipulates the human visual perception through the use of scaled objects and the correlation between them and the vantage point of the spectator or camera.

Distorted floor pattern

Actual Person A Apparent Person A

Person B

Actual floor pattern

Apparent floor pattern

Viewer The Ames room illusion: An Ames room is viewed with one eye through a pinhole and it is constructed so that from the front it appears to be an ordinary cubicshaped room. However, this is a trick of perspective and the true shape of the room is trapezoidal: the walls are slanted and the ceiling and floor are at an incline, and the right corner is much closer to the frontpositioned observer than the left corner. As a result of the optical illusion, a person standing in one corner appears to the observer to be a giant, while a person standing in the other corner appears to be a dwarf.

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3.3

THE PANORAMA The medium becomes invisible. From seeing the landscape in the panorama you reverse it to seeing the panomrama as the landscape.

Panorama viewing layout

12m

Panoramic landscape painting

Balustrade

Access staircore

Viewing platform

Inclined landscape

Cross section of Robert Barkerâ&#x20AC;&#x2122;s two-level panorama at Leicester Square. Colored aquatint by the architect, Robert Mitchell, c. 1793.

3. Suspending Disbelief

The Panorama is an art form which encircles the spectator with an illusion of continuous space, often in a painted 360ยบ format. Patented by Englishman Robert Barker in 1787, this spectacular visual entertainment flourished throughout the 19th century, mostly in Europe and the United States. The Panorama, Cyclorama, Diorama, Cosmorama and other multitudinous variations on the sensational venue were popular places to spend leisure time and embark upon imagined travels to unfamiliar and significant places in space and time.

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3.4 ANAMORPHIC PROJECTION From correct vantage point to perspectival collapse

Photographer George Rousse constructs physical illusions in order to align his audience with the medium captured in his photographs. Before the 90â&#x20AC;&#x2122;s, his photographs were clearly a work in the space, now they are most likely perceived as digital work, in the space of the image.

Plan view of spatial arrangement of physical elements in room.

Perceived continuous line on imaginary image plane perpendicular to viewpoint that is then projected to the actual image plane.

Viewpoint perpendicular to the projection plane of installation, aligning to obtain effect.

3. Suspending Disbelief

From just looking at the photographs the viewer sees a work in the space of the image. The artist is forced to resort to the installation and involving the audience in the experience in order to align the audience to the medium.

Reduce the psychological distance between the viewer and the image space.

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3.5 PERCEIVED PLACE vs ACTUAL PLACE Audience perceives space through the view of the camera, allowing us to transcend location, orientation and events.

Original Screen Old Spice Commercial

00:07

00:15

00:30

Behind the Scenes of Old Spice Commercial

Scene set-up

Starting scene

Backdrop and actor start to physically move around the set giving the impression of a scene change through the camera.

Actor is hung from harness to allow for believable movement from one scene to another, the sense of ground in the set-up is lost through camera.

Props move in and out of camera to film a continous shot through mutiple scenes

Final scene shows the set-up of a new gravity and ground which is created through prop movement and actor position through the camera.

Old Spice - Scent Vacation commercial

Making of Old Spice - Scent Vacation commercial

3. Suspending Disbelief

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EACH PLACE DRAWS ITS UNIQUE SIGNIFICANCE FROM THIS RELATIONAL CONTEXT OF PEOPLEâ&#x20AC;&#x2122;S ENGAGEMENT WITH THE WORLD.

3. Suspending Disbelief

3.6 TECHNIQUES EMBEDDEDPortal TO FORM THE Strategies

IDENTITY OF CONSTRUCTED PLACES

p.o.v.

PLINTH

FRAME

BACKGROUND

SCALE

DISTORTION

DISPLACEMENT

PROJECTION

THRESHOLD

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3.7 DISTORTED PLACE Stourhead, Salisbury UK, 1,072-hectars Stourhead is a place which envelopes techniques discussed before creating a sequence of views or scenes that define particular relationships between the terrain and the audience. A scene refers to an extensive piece of the landscape that can be seen from a single (or multiple) point of view as in a painting or as a stage of a theatre, with a foreground, middle ground and background. More particularly, it is about views, feature views or focal views (vistas).

The gardens were designed by Henry Hoare II and laid out between 1741 and 1780.

(Temple of Flora) and corresponding view

Here, the circular walk is staged as a sequence of views with sightlines directed across a lake, terminating on small buildings placed in a larger valley landscape. Stourhead is thoroughly allegorical in nature: the monuments that terminate sightlines tell the story of Aeneasâ&#x20AC;&#x2122;s founding of Rome.

Monuments are used to frame one another; for example the Pantheon designed by Flitcroft entices the visitor over, but once reached, views from the opposite shore of the lake beckon.

Pantheon and corresponding view In this example we analyse the framed views and their sequence. By following the counter-clockwise circuitous route the visual form becomes cinematic, because of the sequence of staged views. The axial views are framed by extensive use of trees and laurel for under-planting.

Visible area Sightline 44

3. Suspending Disbelief

As a result several composed picture-like views with a foreground, middle ground and background can be seen, refl ected by the lake. Occlusion is the most powerful depth-cue involved, exaggerating the perceived distance. But also depth cues like size relative to known objects and height on the picture plane are design principles that play an important role. For example, the Pantheon is a miniaturised version of the Roman original and is located on a terrain elevation, taking the eye for a run.

The Palladian Bridge, The Cottage and The Pantheon

The Temple of Apollo

The Grotto view of Bridge

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3.8 MASKED PLACE Central Park, New York , 3.41 kmÂ˛ Central Park creates a place which is detached from its contextual location. You are not meant to believe the city, but the landscape as an independent topography. It does this through directing the view, disclosing scenes and emphasising the ROUTE & FRAME.

Central park used to be a village, named Seneca and it was located on the west side of the park, between 81st and 89th street. When Central Park was built in 1857, the city planted more than 270,000 trees and shrubs and preserved a handful of trees that were original to the area. While most of the vegetation and landforms in the park seem wild, they are, in fact, almost entirely landscaped. The park contains several natural-looking lakes and ponds that have been created artificially.

3. Suspending Disbelief

LANDSCAPE HAS NO BOUNDARIES

View-making involves demarcating, organising and framing of scenes with architectonic objects (e.g. by using buildings, platforms), planting and barriers such as walls, fences and hedges. These barriers are used to direct the gaze by openings in them or screen less â&#x20AC;&#x2DC;picturesqueâ&#x20AC;&#x2122; elements.

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4. Portals of Collapse 4.1.1 4.1.2 4.1.3 4.2.1 4.2.2 4.3.1 4.3.2

The seamless experience Staging the faux terrain Components of the faux terrain Foreground-Background alignment Collapsing scales Threshold of effect Resolution

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THE IDENTITY OF A PLACE IS DEFINED BY WHAT THE AUDIENCE CHOOSES TO FOREGROUND AGAINST IT.

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4.1.1 THE SEAMLESS EXPERIENCE The aim of the faux terrain is to immerse the viewer into the reality of the image created. The faux terrain which makes up the foreground consists of the table with model-making materials ( masking tape, compass, rulers etc.), the chair and rubbish bin. My presence in the image becomes part of the faux terrain. I pose against the print to extend the space within the image and blur the boundary between object and image. In this way, the staged foreground legitimises the making of Philip Johnsonâ&#x20AC;&#x2122;s Glass House model, which in fact doesnâ&#x20AC;&#x2122;t exist outside the realm of the print.

Installation 1 Perceived reality Wall

Illusion table Prop table

ll wa

n io us Ill

Installation 2 Perceived reality

Wall Wall

4. Portals of Collapse

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4.1.2

STAGING THE FAUX TERRAIN The aim of the faux terrain is to immerse the viewer into the reality of the image created. Five aspects are crucial in attaining the illusion.

One is matching the scale and context alignment of the 2D print with the staged props.

Overlaying medium- realising Phillips Johnson’s Glass House in Photoshop and extracting the image as an ideal model.

Adjusting the position and angle of the camera in order match the perspective of the print with the faux terrain. Capturing the scene from a point of view which is coherent with the position/orientation of the printed table.

Upsetting expectation. We become susceptible to illusions of perception through orientation. Bridging the 2 worlds:”physically”through my presence and perception.

Adding a layer of time

Rotating the existing scene in order to obtain the effect.

Real chair and desk creating the FT for scene.

4 3

4. Portals of Collapse

Matching the floor levels in the image to the ones in the existing room

tive erspec p g n i h Matc

lines

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4.1.3 COMPONENTS OF THE FAUX TERRAIN

STEP 1 - Photographing existing table

Existing table in the AA lecture hall

STEP 2 - Editing in the ‘perfect model’ digitally

Photoshop realise model of Philip Johnson Glass House

STEP 3 - Aligning dimensions 1:1 scale to site

Overlaying mediums - setting up the scene made out of actual elements and Photoshop realised models

STEP 4 - Setting up the scene and props

Bridging the mediums through myself and creating the effect

STEP 5 - Adding the layer of time through animation Existing location - the AA green screen room Image is realised using Adobe After Effects.

4. Portals of Collapse

Wall ra me Ca vie

Table position in relation to wall and camera

900

Camera position

Original elements PJâ&#x20AC;&#x2122;s Glass House Photoshopped elements Elements cropped from images taken from the internet:

H 2000mm

Test printing to match the printed table with the actual dimensions of table.

800mm

Wall

Camera

1:1 print of table setup

view

Table position in relation to wall and camera

Camera position

Creating the illusion through the position of the body

Glass house is inhabited at model scale Green screen footage overlay

Using After Effects to sequence a transition of overlaid mediums. Staged photograph of setup

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4.2.1 FOREGROUND-BACKGROUND ALIGNMENT Section AAâ&#x20AC;&#x2122; The device below uses the real background to legitimise what is being foregrounded. The cinematic elements such as the sky, changes in light, shadows and movements provide veridicity to the room closer to the viewer.

Viewpoint line

Image horizon

Peep-hole

Photograph through 1:5 cardboard model

Cardboard model

Image of background

4. Portals of Collapse

Constructing alternative foreground in visual alignment with existing space

Original photograph taken in existing room Lecture Hall, AA

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4.2.2 COLLAPSING SCALES Constructing a device which aligns spaces of different scales according to the camera.

Perceived Setup 1:100 00 60

Physical Setup 1:100

4. Portals of Collapse

Section AA’

To achieve the effect the model of the room must be distorted creating a forced perspective which aligns with the view of the existing space in the background.

B’

A’

The original photograph is used as a reference from which the perspective lines are extended forward defining the dimensions and construct of the new foregrounded space.

A Plan BB’

420 mm

55 0m m

Detail 1:5

0m 24

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4.3.1 THRESHOLD OF EFFECT After the installation, the illusion of the perceived space is experienced through a specific viewing port, where the image transforms into a gateway to the 3D.

4. Portals of Collapse

0.9

2.1 m

0.0

0.9

2.1 m

The first stage of the forced perspective installation requires the curator to match his/ hers view of that of the forced perspective; how to create the illusion of continuity from the 3D environment onto the 2D.

Using the 1:1 scale print out of the forced perspective wall cavity, the print is then used to gage its correct alignment with the chosen wall in respect to its viewing point - where the image aligns with the observerâ&#x20AC;&#x2122;s point of view, where the image becomes a part of reality.

Only through a specific viewing port can the extension of space be experienced and further enhanced when seen through the filters of a camera lens (eliminating the imperfections only visible to the naked eye).

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4.3.2 RESOLUTION

10m

The initial testing took place at a distance of approximately 1m.

The second stage was to note and access the change in resolution from approximately 5m.

At 10m the illusion proved the most successful, the resolution of the print blended nicely to the change in resolution of sight.

The first stage of the forced perspective installation requires the curator to match his view to that of the forced perspective; how to create the illusion of continuity from the 3D environment onto the 2D.

At 5m, the contrast between the print and the wall as the supporting context was less notable, however the illusion still lacked consistency.

The image highlights the successful transition between the real and the perceived. The forced perspective easily aligns with that of cameras field of view.

At this distance, the image remained very two dimensional. The recessed imprints were easily read as a flat image as compared to a three dimensional relief.

The variance in resolution between the print and reality is to great to create a successful transition between reality and the perceived.

The transition between the grain and detail of the print register as seamless between the textured carpet to the represented carpet of the print - aiding in the illusion of a virtual space.

4. Portals of Collapse

15m

20m

25m

15m

20m

25m

From 15m, the print started to again stand out from its context. The ambient lighting of the room differed from the print to the wall.

15m

At the 20m mark, the contrast in colour between the paper and wall was less striking, and the three dimensional qualities began to fade as the POV had shifted from the correct alignment.

20m

From the end of the room, there was little variance from the results observed at the 20m mark.

25m

Although the image still shows a successful transition from page to space, the difference in lighting can clearly be seen, as a result of the material variance.

At the mark, the camera had to be altered for the POV to match. It no longer was in the normal threshold of sight.

The wrinkles and folds of the paper were completely invisible, thus although the alignment was not completely correct, the variance between the material was not noticeable.

The material variance between the wall and paper was very limited, and the resolution in relation to the distance allowed for the two to merge.

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5. From Image to Construction 5.1 5.2 5.3 5.4 5.5 5.6 5.7

From Picturesque to Environment Image layers = Construction layers The continuous ground Inclining grounds Staging model 01 Material role play Effect vs Reality

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OUR PERCEPTION OF PLACE IS DETERMINED BY THE GROUND.

WHETHER CULTURAL OR PHYSICAL, THIS RELATION IS A THICK CONDITION. NOT A SURFACE CONDITION.

Andra Miruna Mazilu - Technical Studies 5th year

5.1 FROM PICTURESQUE TO ENVIRONMENT Constructing landscape as a discontinuous geography which reveals itself as a seamless experiential & visual ground.

Rhein II, Andrew Gursky

We can only experience landscape by movement. As opposed to a painting, we move through a landscape or a building and its visible form alters constantly, as do its internal relationships.

What happens beyond this? see page 88

Rhein II, Andrew Gursky

River cascading over edge

3 km

300m Imagining alternative reality of image effect.

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5.2 IMAGE LAYERS = CONSTRUCTION LAYERS Forced perspective can be used to deliberately misrepresent an objectâ&#x20AC;&#x2122;s size, making something appear larger or smaller, closer or further than it really is.

1:300

Scenario 1 70m

Scale 1:1

B 150m 15m 50m

Physical space

350m 1:3000 A Visual space

1:300

Scenario 2 70m 1:1 100m

15m 50m Physical space

3.5Km

Visual space 74

5. From Image to Construction

d As objects become more distant they appear smaller because their visual angle decreases.

The visual angle of an object is the angle subtended at the eye by a triangle with the object at its base. The greater the distance of the object from the eye, the greater is the height of this triangle, and the less the visual angle.

a Visual perception of perspective

d=h/a d a h

distance between viewer and object apparent height of object real height of object

Andra Miruna Mazilu - Technical Studies 5th year

5.3 THE CONTINUOUS GROUND Testing alignment relation between platforms to obtain the perception of a continuous ground.

First iteration of tests experiments with positioning three platforms at different distances and heights from one another. When horizontal, the platforms are best placed decreasing in height as we move from the foreground platform to the farthest one.

The second iteration proceeds by inclining the platforms by the same angle in order to increase the amount of visible ground. Doing so, the vertical sides of the background platforms would need to be concealed as the landscape appears discontinuous.

By lowering the platforms situated in the distance in relation to the one foregrounding it the platforms are in perspective alignment. Thus their are perceived as a continuous singular landscape.

5. From Image to Construction

Platforms further away from the viewer have very low terrain visibility. Forced perspective can be used more effectively when platforms are inclined.

With this alignment the edges between each platform would have to be conceiled.

The transition between platforms can be visually seamless by lowering the ones following the foreground. This is effective even when the distance between platforms varies .

Chosen alignment strategy

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5.4 INCLINING GROUNDS Taking the assumption of a fixed testing point of view, various inclinations were tested ranging between 0-20 degrees.

At a 5 degree angle, the platforms need to be enlarged in order to provide enough surface to create the effect.

The angle of 10 degrees offers the optimum balance between practicality and desired effect. Platforms can be reduced in size and inclination is reaching the maximum without providing accessibility issues.

Above 10 degrees we can obtain more surface while reducing the actual dimensions of the platforms, by raising them higher. This complicates the structure and the effect risks being distorted as the inclination increases.

Chosen inclination strategy

Following the testing results, the recommended inclintaion of the platforms would range between 5 and 10 degrees. 78

5. From Image to Construction

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5.5 STAGING MODEL 01 Building resolution, scale, depth of field and forced perspective .

The background is the plane in a composition perceived furthest from the viewer. Textures are lost and the landscape takes the form of general silhouettes, less clear and less intense. The middleground is the visual plane located between both the foreground and background. Detail is diluted in middleground. General scale of vegetation is identifiable. The foreground of a composition is the visual plane that appears closest to the viewer. High levels of detail are perceived in the foreground.

MIDDLEGROUND Scale 1:3000

FOREGROUND Scale 1:300.

The sweet spot. Point of refference for the construction of the view effect. 80

Constructed with high level of vegetation and material detail.

5. From Image to Construction

BACKGROUND Scale 1:20000

Less detail is added to create the perception of depth and distance. Landscape is reduced to uniform coloured massing.

The background becomes a 2D screen and is placed beyond the point at which a person perceives 3D objects in space. The landscape is reduced to general outlines and darkened shadings.

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5.6 MATERIAL ROLE PLAY Building resolution and scale through the materials used into creating landscape.

1:3000

The 1:3000 materials catalogue is a clever interpretation and translation of everyday kitchen items into scaled landscape ornaments.

The 1:3000 ma tion and transla scaled landscap WASABI POWDER

BROWN SUGAR

1:300

The 1:300 material catalogue was primarily assembled through ready made materials available from most architectural model shops.

The 1:300 mate bled through re most architectu shop. MODEL COTTON GRASS

MARBLE FLAKES

1:1

The 1:1 images highlight the model intentions. The various materials were used in an attempt to re-create these affects act various scales.

The 1:1 images various materia these affects ac

GRASS

BOULDERS

5. From Image to Construction

OREGANO FLAKES

NUTMEG

TOBACCO

SCALED TREES

MODEL SAND

MODEL SHRUBS

TREES

SOIL

LOW LYING SHRUBS

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5.7 EFFECT vs REALITY

Painting a base coat on the sculpted styrofoam mound

Applying PVA to attach materials onto styrofoam surface

Sifting a fine base layer of material across the entirety of the landscape

5. From Image to Construction

Layering different textures and gradients in the foreground and less towards distance

Inserting vegetation to suggest scale and define foreground.

Camouflaging edge between mound and ground

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In the context of a high density city, such as Mexico City, the inclined platforms are scaled and placed into the urban fabric.

OUR PERCEPTION OF DEPTH AND DISTANCE BETWEEN OBJECTS IS BASED ON VISUAL DISTANCE. NOT GEOMETRIC DISTANCE.

6. Adapting to extreme scales

TWO EXTREMES ARE INVESTIGATED IN THIS SENSE:

1. STREET VIEW SCALE : TRANSLATING THE MODEL INTO A 1:1 LANDSCAPE CONSTRUCT ACROSS THE CITY

MASP, Lina Bo Bardi, Brazil

2. WINDOW SCALE: DECEIVING THE IMMEDIATE VIEW

SESC Pompeia, Lina Bo Bardi, Brazil

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6.1 THE CITY SCALE In the context of a high density city, such as Mexico City, the inclined platforms are scaled and placed into the urban fabric.

514 m

518 m

1.2 km 2.8 km Maximum visual horizon 3-4.5km from viewer

1.1 km

0.07 km

175m

50m 70m

480 m Perceived 3km horizon line

6. Adapting to extreme scales

THE NETHERWOLRD

Andra Miruna Mazilu - Technical Studies 5th year

6.2 THE 1:1 BUILD-UP Total Area 3500 m2 (50x70m)

Vegetation

10-60kg/m2

Turf

<12m

~15kg/m2

Lake

~1300 tonnes

Soil

700kg/m2

30m

Membrane separation layer

Geofoam block

18.4 to 45.7 kg/m3

Sand leveling layer

Drainage Supporting structure 1.5m 4m

16m

Bedrock 92

6. Adapting to extreme scales

Vegetation essential in providing scale and constructing viewpoints

EPS geofoam can be used to create topography without adding significant load to underlying structures and services.

Geofoam =

Soil kg 100

vegetation growing medium filter fabric drainage mat root blocker

Material layers necessary to build raised landscape and planting

asphalt protection board hot rubberized asphalt polyester fabric hot rubberized asphalt primer existing concrete

Saturated bulk density is 900kg/m3

BUSHES

SMALL TREES Small with flat root systems

300mm depth 270kg psm

500mm depth 450kg psm

SHRUBS Soil Mix Layer 6:

TURF 100mm depth 90kg psm

200mm depth 180kg psm

TREES Large to 12 meters

800mm depth 720kg psm

Layer 5: Layer 4:

Root Anchor Layer Ͳ HDTP netting with holes of 5x5mm. Thickness 2mm, weight negligible (only under trees) Hydrocell Hardfoam RG30 Ͳ 100mm thick. 84kg psm (80kg water and 4kg hardfoam) Compressive strength 23,000kg psm. Product life 25 years without maintenance.

Layer 3: Layer 2: Layer 1:

Geotextile Membrane Ͳ Various types such as Bidim A14G. Thickness 2mm, weight negligible Drainage Layer Ͳ Allow 20mm for Fytonop 20 Vapour Layer Ͳ LDPE plastic is laid as extra protection above the waterproofed roof. Thickness 0.02mm, weight negligible.

Total Depth:

245mm

345mm

445mm

645mm

945mm

Total Weight:

175kg psm

265kg psm

355kg psm

785kg psm

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6.3 THE SUPPORTING STRUCTURE The raised platform, measuring 50m in width and 70m length, pivots at a maximum angle of 10 degrees. The pistons have a height restriction of approximately seven floors which defines the maximum height of the inclined platform at 21m.

50 x 70m

The concentrated weight from the columns is spread over a wide surface

In very heavy buildings, the base of the spread footings rest on massive concrete piers that extend all the way down to the earthâ&#x20AC;&#x2122;s bedrock layer.

1:100

6. Adapting to extreme scales

0.25m or less to sidewalk, paved area or underground utlity 0.25m or less to curb

0.45m deep curb

The depth required for trees to be planted also affects the design of the platform which might need to vary in thickness according to the structural grid of the pistons as well as landscape design.

The pistons and the platform work as a column and beam structure allowing for the landscape to pivot while avoiding punching shear force.

structural beam Pivoting element

toothed wheel cast-iron plate

gears and machinery counterweight

Once the steel is in place, the entire structure is covered with concrete.

spread footing cast-iron plate grillage horizontal steel beams

thick concrete pad poured directly onto the hard clay under the ground.

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6.4 UPSIDE-DOWN LANDSCAPE The strategy for constructing landscape as a 360 degrees condition by stitching the two levels into a singular thick landscape.

50m

+0 m Visual distance = physical distance

350m

+10 m

+0 m

Visual distance > physical distance

+16 m

+10 m

-0 m -2 m

Stitching levels to create 360 interaction 96

6. Adapting to extreme scales

Defining the set of relationships between vertical and horizontal levels, which determine degrees of interaction/ views/ accessibility within the apparent continuous landscape. These provoked moments are part of a cycle created by these interrelations. Fixed platform

Inclining platform

Scale 1:10,000

Height adjusting & inclining platform

350m

Moment 1: The city falls away

Scale 1:1000

Moment 3: Flooding entrance 1

Moment 2: The tilting lake

Access points connecting all levels

2 50m

Moment 4: The glimpse of truth

Scale 1:1000

2 150m

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6.5.1 MOMENT 1: CITY FALLS AWAY

View constructed along all segments Segment #1 in the setup is accessible. Segment #2 is inclined to align in terms of perspective and therefore obtain the effect of vastness. The viewer experiences a seemingly continuous landscape which extends into the horizon. Elements are scaled down from building in segment #1 to a bench in segment #2. This is done in order to obtain the forced perspective effect.

Planting is composed to create the full effect of the fake terrain.

Maintenance area underneath platform build-up.

The cut also brings light to the space underneath. Ground level â&#x20AC;&#x2DC;0â&#x20AC;&#x2122; slopes gently towards access stair-core. Access points connecting all levels Viewpoint

6. Adapting to extreme scales

Climbing on the 1st field. Looking towards faux pavilion in the distance.

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6.5.2 MOMENT 1: CITY FALLS AWAY Disjointed ramp LAKE IS FULL => NO ACCESS TO PLATFORM #2 In order to maintain the visual effect of vast landscape Platforms #1 & #2 cannot be accessed simultaneously.

The street peels off gradually from under Segment #1 forming a ramp up towards the top of segment #2.

The sky is framed in an oculus opening when platform doesnâ&#x20AC;&#x2122;t reach the top of the platform.

The shape of the lake is designed so it would spill when platform is inclined. When the landscape is inclined to align with segment #1 the ramp doesnâ&#x20AC;&#x2122;t reach the top denying access in order to maintain the forced perspective. Ramp has fixed supports standing independent from the platform. Access route Viewpoint

100

6. Adapting to extreme scales

101

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6.6.1 MOMENT 2: THE TILTED LAKE LAKE STARTS DRAINING => NO ACCESS TO PLATFORM #1 Pistons gradually lower platform #2 into horizontal position, aligning it to the ramp and allowing access to the top. Lake cascades down into a collection pool and starts to pour down the ramp flooding the access point for platform #1. The placement of the lake is chosen for it to act as a counter-weight for the platform. Draining the lake aids the structure to gently pivot into a horizontal position.

Access route Viewpoint

Lake pouring down the ramp Ramp aligning to top of platform #2 for access

Pistons lowering platform #2

102

6. Adapting to extreme scales

From lake to river

103

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6.6.2 MOMENT 2: DRAIN THE LAKE RAMP CONNECTED TO TOP OF PLATFORM #2 => LAKE FLOODING ACCESS TO PLATFORM #1 Lake slowly starts to pour down the ramp flooding the access point for platform #1.

Platform #1

Platform #2

Flooded pool around Platform #1 access point

104

6. Adapting to extreme scales

105

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6.7 MOMENT 3: THE FLOODED ENTRANCE LAKE IS DRAINED => NO ACCESS TO PLATFORM #1 To allow people on top of the second platform means access must be stopped on the 1st one. The view dictates the rhythm and tandem between the sequence of elements and how they influence one another. WATER IS RE-CIRCULATED TO MAINTAIN CASCADE The water is re-circulated maintain the cascade for a predefined time. To regain entree to the top of platform #1 water is eventually pumped to refill the lake and re-align the view. The cycle can then be repeated.

Water around the access point for the first platform is drained allowing people to access the top again.

An underground pipe brings the water back underneath platform #2, which is then pumped up the supporting columns to refill the lake.

As the lake fills it acts as a counterweight helping the pistons push the platform back into the inclined position.

Temporary interrupted entree to either platform as transfer of water is in progress.

1 106

6. Adapting to extreme scales

Access point for platform #1

2 107

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6.8 MOMENT 4: GLIMPSE OF THE TRUTH PLATFORM #3 LOWERS TO RE-ALIGN WITH #2 Before lake fills enough to influence the platformâ&#x20AC;&#x2122;s position and before pistons are activated, there is a moment of misalignment between platforms #2 & #3.

Platform #3 needs to lower to align when platform #2 is horizontal

Viewpoint from which gap between can be seen while platforms align.

The water is re-circulated maintain the cascade for a predefined time.

2 108

6. Adapting to extreme scales

View from horizontal platform #2 towards platform #3 before it is lowered into position.

3 109

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6.9 DETAILS STRATEGY FOR REFILLING LAKE. An underground pipe brings the water back underneath platform #2, which is then pumped up the supporting columns to refill the lake. Low flow and high head pumps are generally used for transfer of water over long distances or up large height differences and are commonly found in sewer networks.

Discharge line

Motor

Casing

Suction pipe

Foot valve and screen

110

6. Adapting to extreme scales

When the platform is raised the ground is angled at 8.8 degrees.

STRATEGY FOR TREES IN FOREGROUND:

Counterweights are used to keep the trees vertical.

Fulcrum

Counterweight 1.5 x the weight of tree

1.5 m

Anchors

Retractable Rubber Stops brace the tree pot in place to prevent swaying

Platform inclined at 8.8 degrees

Platform is horizontal 111

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6.10 DECEIVING THE IMMEDIATE VIEW THE WINDOW SCALE At the other extreme of the spectrum, finally, we go into the interior to play with the individualâ&#x20AC;&#x2122;s perception of the view outside.

Specifications of mirror used for installation: Featherweight portable mirrors are made from the lightweight polyester aluminium Mylar foil. Featherweight portable mirrors are a lightweight option, only weighing around 4kg therefore extremely easy to move and position.

Specifications of print used for installation: An A0 size print is used in order to reflect the image of a garden scenery and deceive the viewer of his actual surroundings.

112

6. Adapting to extreme scales

THE SETUP:

Neighbouring building

Mirror Image print

Viewpoint

113

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6.11 BEFORE & AFTER

Actual view

114

6. Adapting to extreme scales

Deceiving view

115

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PLACES HAVE NO BOUNDARIES. GOING FROM PLACE A TO B IT MAKES NO SENSE TO ASK WHETHER ONE IS ‘STILL’ IN A OR HAS ‘CROSSED OVER’ TO B.

116

VARIOUS BOUNDARIES MAY BE DRAWN IN THE LANDSCAPE, AND IDENTIFIED WITH NATURAL FEATURES SUCH AS A RIVER, OR WITH BUILT STRUCTURES. THEY DONâ&#x20AC;&#x2122;T SEGMENT THE LANDSCAPE. THE FEATURES WITH WHICH THEY ARE IDENTIFIED ARE AN INTEGRAL