The Device In-Between Perceive space through viewing device
Design Process Book
Contents
Abstract
2
Inspiration 1: Painting
3
Inspiration 2: Installation
5
Pixelation
7
Concept Model
9
Testing Model: Light / Shadow
11
Reference
15
City facade/Window
16
Experimentation: Tinted Window Film
17
Moving Image Testing
19
Case study
21
Site intervention - Lincoln Inn Chapel
23
Final Installation
29
List of Illustrations
35
CRP Mindmap
1
Abstract
For me, the meaning of an image is defined by how we interpreted it. John Berger mentions that “Every image embodies a way of seeing” in his book “Ways of Seeing”, which inspired me that can we know how people embody their own way? Then he argued that “The way we see things is affected by what we know or what we believe.” It seems to me that people build their ways of seeing by sensory experience which may associate with their memory or existing knowledge. According to “The eyes of the skin: architecture and the senses” written by Juhani Pallasma, I quoted this sentence: Vision reveals what the touch already knows. We could think of the sense of touch as the unconscious of vision. Our eyes stroke distant surface,contours and edges, and the unconscious tactile sensation determines the agreeableness or unpleasantness of the experience. The distant and the near are experienced with the same intensity, and they merge into one coherent experience. This evokes me of the importance of vision. To be specific, visual experiences can trigger different sense and it is a crucial part of how we feel through the eyes.
2
Inspiration 1: Painting
Las Meninas (fig.2.), for example, the formation of the image has been concerned with the most significant painting around the world. ‘The frame appears to intersect a room whose ceiling, floor, and window bays extend, so it is suggested, to include the viewer ’ (Alpers, 1983, p.31). We can imagine space by these two-dimensional architectural elements. In other words, space can be condensed and released from the physically restricted condition. Figure 1: Las Meninas, Diego Velázquez, 1656
3
Figure 2: Percpectival analysis of Velazquez's Las Meninas.
It is difficult to ignore the importance of the figures inside the painting. The composition and the arrangement of their standing position imply a particular meaning. Paul Dassonville and Jagdeep Kaur Bala observe: ‘the frame itself is not centred in front of the person who is judging it, the viewer will perceive the object as shifted in a direction opposite that of the frame’ (2004, p.1936).
Figure 3: Las Meninas, Velazquez, painting and plan diagram of implicit spatial relations.
4
Inspiration 2: Installation
Figure 4 : Vanishing Point - United Visual Artists
5
Light Line
Shadow Line
In UVA's project, the space can be generated by these light point and line in this dark room, which represents the basic defination of how people recignise space.
On the other hand, I use this concept to reverse it and become another way to define space. The different identity of shadow is it needs light to support.
6
Pixelation
1.
2.
Photos can not only convey the views of the photographer but also to express a different atmosphere through the perspective.
People' s visions are gradually overlaid by adding new layers to the original picture. However, the outline of architectural elements can still be identified.
7
3. If the picture is detached, it becomes more difficult to recognise the objects. Each independent image can generate a new connection to the world.
8
Concept Model
Framing Things we look can be revealed or concealed by many factors. The target here is using different sizes of frame and mirror to see how eyes could be navigated through the model.
9
Reconstruction I started to build a conceptual model by using multiple mirrors and trying to combine reflective scenes from different locations. I set up four windows, each of them linked by a mirror. Each mirror reflects a different part of the space the spectator is situated in, and the fragmented scenes are integrated and received by her or his eyes. The real space and the sense of that space are from the same source but what we each perceive is different. After the experiment, I found that even though the device fragmented space, the spectator can still identify where they are because of the components reflected by mirrors.
Experimentation -The fragmentation of scenes viewing through the device.
10
Testing Model Light / Shadow
The project aims at re-understanding how spectators perceive space from 2-D surfaces by arranging the specific scene. This installation uses translucent acrylic panels which paste with tinted window films to let light penetrates through it. The angle of acrylic panels is flexible and easy to adjust so that it can create more possibilities of images. The identity of this material generates multiple effects which produce more level of layers. This scene can be considered as a threshold, bringing spectators to feel something unknown. So, this scene can be regard as a provocative to stimulate an extension of the feelings. Using light to illuminate the structure comes from the idea of removing texture and colour, which means the only way to demonstrate space is by light and shadow.
11
12
13
14
Reference Mirror and reflection
Figure 5: cross section of a film camera
Imaging technology : camera / camera obscura
Figure 6: Camera Obscura, Catalogue, William Y. McAllister, New York, c1890
15
City facade / window City landscapes reveal multiple identities in different districts. The City of London is the most extreme place in the world and has various historic buildings and modern architectures existing together. This district gives me a remarkable background to proceed with the project because it has the potential to generate contrasting pictures or videos. In city’s scale, the relationship between architectures becomes more complicated because of people’s intervention. For example, there are particular working hours in the commercial area, so that the presence of people causes different scenes as time changes (fig.6.). For the further process, I try to record scenes, which associate with the architectural facade and focus on how these surfaces are modified through exterior and interior factors. Imagining these facades as a mediation between people’s vision, they build a distinct boundary to delimit the character of subject and object. However, the character may shift depended on the position and place you situated. I will refer to Diller and Scofidio ‘ Loophole’ as an example to explain this idea. Concerning the city facade, windows are the fundamental element for people to see through different space. Based on previous knowledge, many contemporary architectural facades are constructed of glass covered with tinted window film. This material can change transparency depended on the proportion of exterior and interior light. As I mentioned the linear process before, if time is concerned in this situation, scenes can be created in an abundant way.
Night landscape in the City of London.
16
Experimentation Tinted Window Film
I began to build the model using tinted window film pasted on acrylic panels, which is inspired by the materials from city facades. Firstly, I wanted to experiment with the effect of how natural light came into the model but the light is not intense enough to penetrate or reflect the scene. As a result, I started to use artificial light from a projector to illuminate the model. The advantages of using a projector are that not only is the light source stronger than natural light, but it can also project the scene from other spaces. 9
17
After repeated attempts, I found that if I used a double layer of tinted window film, the first layer is penetrated by the light and the second layer reflects the first panel’s scene as a result of the illumination. The first surface also reflects some of the light source, and as a principle of two mirrors reflecting themselves, causes an infinity effect. Therefore, I extracted the words ‘reflection’, ‘penetration’ and ‘infinity’ (fig.7.) from the tinted window films as another potential way to develop the idea, and I realised that these identities generated by the model shows more possibilities compared to traditional mirrors.
18
Moving Image Testing
The image is projected through acrylic panel, which is divided into two parts. The first part will directly illuminate on the wall, and the second part is going to project and reflect by acrylic sheet. Two images will overlap together and generate a new scene.
material experimentation / acrylic panel / penetration / reflection
19
The principle of mirrors shows something we cannot see directly. However, the hidden thing can be revealed by the conscious arrangement, and the implication of that found moment demonstrates the particular connotation of narratives. I noticed that people who constantly pass through this historical religious building cause a conflicted scene. If I can highlight this relationship as my main idea, this movement may enhance the meaning between pedestrians and intervener.
20
Case Study
Diller and Scofidio
Figure 8: LOOPHOLE | diller scofidio + renfro, 1992
Figure 7: PARA-SITE | diller scofidio + renfro, 1989
21
If the thinking mirror is an analog way to transmit images, CCTV cameras is another system to experiment with because they can both change the quality of scenes. The main idea of my project is concerned with viewing and transforming the scenes in reality through devices. I am considering whether if I combine my devices with mirrors and CCTV cameras, the problem can be solved and it can possibly enhance the relationship between the spectator and viewed object.
Jan Dibbets - Perspective Correction The engaging notion he provides is that while the picture has been taken with a fixed angle and position, it displays an ambiguous twist between two and three dimensions. The photograph blurs the depth in the flat plane because the room and the square pattern exist in an incompatible way although we know they are in the same space.
Figure 9: Jan Dibbets, Perspective Correction - My Studio II, 1969
Peter Campus - Interface The emphasis of his point is that detaching the video camera can enhance another visual perception from our brain. The function of the camera here is to simulate people’s eyes but the difference is that the projected scene (from the camera) has been shown outside of our body. By the process of overlapping virtual video and the ‘reality’ we directly see in real-time, it may continuously cause the sense of confliction.
Figure 10: Peter Campus | Interface, 1972
22
Site Intervention Lincoln's Inn Chapel
1
2
3
1.Chapel 4
2.Undercroft 3.Side Arch 4.Entrance
Site Diagram
I took this model to the real site, trying to experiment how these identities can be applied in cities. The testing site was the Undercroft of Lincoln's Inn Chapel. The special character of this place is that when you walk into the entrance, it is an engaging semi-private space, which can provide pedestrians passage from one public place to another. The ambiguous identity of this site corresponds to the character of a mirror, which can be described as ‘in-between’ for both the real site (chapel) and the virtual space revealed by mirrors.
23
24
25
22
26
1 2 3 1.Mirror Glass 2.Film Camera 4
3.Projector 4.Surveillance
pedestrian route
Figure 11: Lincoln Inn Chapel - Plan
Site Intervention - Position of Device
Linclon Inn Chapel - Image Mapping Intervention
27
After the practical experiment, I reached some temporary observations. Firstly, the scene reflected from the projector has a strong digital part. So even though the video and reality overlapped each other, I can still feel the distinct difference. Secondly, because the position of site is open to public, sometimes pedestrians are captured through the surveillance camera and instantly reflected from the mirrors. When the video displayed how people passed through the space, I did not expect that to be one of the main reasons of causing the spatial conflicted sense. People’s movements are directional, however, it is also easy to break this because of the fragmented scene, which generated irregular displacement. Thirdly, we can see the difference before and after as the time factor has been involved, including the movement of pedestrians and the amount of light.
Linclon Inn Chapel - Video Mapping Intervention
28
Final Installation
Sketch of Installation
29
The site specific installation aims at capturing the scene outside of the window which is mounted with four mirror acrylic sheeets with different angles. Each mirror sheet reflects different objects including pedestrians, sky and architectures. Then the surveillance transmits the scene to the projecter and projects it on the wall. What I want to let spectator experiences is to compare the reality and the image which condenses different layers. The projected scene turns flat and loses depth which can be explained as "dilution" by the digital equipments. Another part I want to demonstarte is how spectators intervene into this device. People may be contained in the moving image when they stand in front of the surveillance. At the same time, the standing point also influences the route of light from the projecter which can generate shadow from the image, casuing double figures. When sunlight after 2PM, we can see light grids and shadow from the acrylic sheets illuminate on the floor, which affects the quality of projected image. After 4 PM, the light grids shift and overlap with the image, generating the interesting scene.
30
31
32
Installation Plan
33
34
List of Illustrations
Figure 1 - https://commons.wikimedia.org/wiki/File:Las_Meninas_01.jpg Figure 2 - http://ashcontextualpractice.blogspot.co.uk/2013/05/lecture-12-las-meninasafter-velazquez.html Figure 3 - http://www.eiroaarchitects.com/Analysis-Lorenzetti-Velazquez.htm Figure 4 - https://www.designisthis.com/blog/en/post/vanishing-point-renaissanceperspective-drawing-with-lasers Figure 5 - http://misterjtbarbers.com/gallery/single-lens-reflex-camera.html Figure 6 - https://martynjolly.com/2015/09/20/of-strange-glasses-camera-obscurasbrisbane-and-robyn-stacey/ Figure 7 - http://www.dsrny.com/projects/para-site Figure 8 - http://www.dsrny.com/projects/loophole Figure 9 - http://socks-studio.com/2016/04/25/perspective-corrections-by-jandibbets-1967-1969/ Figure 10 - https://frieze.com/event/peter-campus Figure 11 - http://www.british-history.ac.uk/rchme/london/vol2/pp43-63
35
MA Interior & Spatial Design
Yen-Ju, Wang WAN15467688