家 | homes Tamas Waliczky 攝影及新媒體藝術 ｜ Photography and New Media Art
2015.10.17 - 2015.11.29 研究計劃主持人 Project Investigator...Tamas Waliczky | 意念及概念 Idea & concept...Anna Szepesi, Tamas Waliczky | 藝術總監 Artistic Supervisor...Anna Szepesi | 聯合調查 Co-Investigator...Jane Prophet | 攝影 Photography...Tamas Waliczky， Tong Yee Tak， Anna Szepesi | 3D模型及紋理貼圖 3D models & texture map...唐懿德 Tong Yee Tak， 李單吾丹 Li Danwudan， 文駿業 Man Chun Yip， 陳心怡 Chen Xinyi， 張子南 Zhang Zinan 英文翻譯 English translation...Adele Eisenstein | 中文翻譯 Chinese translation...鍾德勝 Simon Chung | 設計 Design...林嘉雯 Kaman Lam
地點 Address L2-10 賽馬會創意藝術中心石硤尾白田街30號
L2-10, JCCAC, 30 Pak Tin Street, Shek Kip Mei, Kowloon 開放時間 Opening Hours 星期二至日 Tuesday to Sunday | 11am-1pm & 2pm-6pm 逢星期一及公眾假期休館 Closed on Mondays & public holidays 免費入場 Free Admission 查詢 Enquiries 852. 3177 9159 | info@lumenvisum.org | www.facebook.com/lumenvisum.hk | www.lumenvisum.org
主辦
Organiser
項目資助
Sponsors
大學教育資助委員會優配研究金
General Research Fund (GRF), Research Grants Council (RGC) of HK
利銘澤黃瑤璧慈善基金
Drs Richard Charles & Esther Yewpick Lee Charitable Foundation
攝影及新媒體藝術 | Photography and New Media Art
Tamas Waliczky | homes
設計師從原來的照片中抽取各式細 節，覆蓋在模型的表面上。這種紋理
映射過程能把虛擬三維物體的質感 真實地呈現出來。因此，可以說最後
的裝置實際上是三維照片拼貼，把 原來照片的細節根據實物的位置與 大小，剪裁並放置在三維空間內。
香港是個不斷快速改變的城市，舊
有的樓宇很快消失，隨之失傳的是
生活方式。參與這個項目的創作人
嘗試盡量詳細和準確地紀錄這些空
間，花了很多時間和心血，令這些空 間得以再現，將成為大眾常識的一 部份，而這些作品將長存於世上，甚 至日後作為更進一步研究的基礎。
在這個項目中使用的技術並不是新
的。許多文化保育項目都使用類似 的軟件和硬件，但和以往類似的項
目有兩點不同之處。首先是研究計
劃主持人Waliczky先生故意使用廉
價、平民化的技術，例如開源軟件、 一般的攝影機等。第二點是過往類 是次展覽通過攝影和新媒體形式， 呈現大澳漁村的生活空間，展覽採
用傳統快拍攝影，並加入虛擬三維
技術。 展出的圖像和裝置是一個名為
「利用數碼視覺化以保護本土文化
傳統：大澳太平街個案研究」的優配
研究金研究項目的初步成果，這項
目亦得到利銘澤黃瑤璧慈善基金及 香港城市大學支持。這次展覽後，項
目仍會繼續，在不久的將來也有其 他類似的裝置面世。
展覽展出的兩個互動裝置呈現兩個 大澳家居室內的每項細節，觀眾可 以使用互動介面視察屋內環境，以
及近距離檢視各樣家具。通過數碼
技術的可能性和局限性，把屋內的
細節精確和豐富地展示出來，而在 裝置中出現的家居內部環境，是根 據真實的情況複製而成。
這些虛擬三維景物均以照片作為基
礎。當選擇了合適的房子，並與屋主 達成協議後，創作人拍攝了幾百張
屋內的照片，並在可能的情況下，屋
內每件物件都從多角度拍攝。這展 覽亦選取部份這些照片於畫廊牆壁
上展示，除了充份顯現屋內的原貌， 也凸顯拍照時所採用的不同視點。
這批照片是製作裝置不可或缺的原 素，通過攝影測量技術，電腦能從不
同角度拍攝的照片，自動地計算出 三維模型。雖然模型可能非常美麗 和精細，但正因為有太多的細節而 變得過於複雜，它不能直接在互動
裝置中使用，模型的作用主要是用 於確定各景物的準確位置和大小。
照片測量的模型必需加以簡化，或 者跟據照片重新手繪，建構出最終 版本的模型。這是一個非常耗時、複 雜的工作，要具備特殊的知識。這項
工作佔去負責這項目的創作人員大 部份時間。
似的項目大多用作展現具歷史意義
和著名的建築物或場所，而這項目 則介紹現今社會的日常生活方式。
這項目的目的並不是紀念，而是紀
錄。正如紀錄片導演用攝影機刻劃 人們的生活，在過程中可能故意遺 漏某些細節並偏重另外一些，但整
體盡可能準確地表現主題，同樣地
Waliczky先生也是如此，他通過新
媒體藝術，用他特有的技巧，並配合
與適合於這項目的技術和美學，試 圖把他選取和觀察到的現實再現。
Tamas Waliczky | homes
攝影及新媒體藝術 | Photography and New Media Art
The exhibition through the means of photography and new media, presents the living space of the fishing village Tai O, with snapshots produced both with traditional techniques and with virtual three-dimensional technology. The images and installations on view here are the first results of the research project, “Using digital visualisation to preserve local cultural heritage: a case study of Tai Ping Street, Tai O” GRF (General Research Fund). The work was supported by Drs Richard Charles & Esther Yewpick Lee Charitable Foundation and the City University of Hong Kong. The project will continue beyond this exhibition, and there will soon be other similar installations produced.
The two interactive installations on view in the exhibition present individual details of the interiors of two family houses in Tai O. With the interface connected to the installation, the viewer can look around the interiors and examine the details of the furnishings and household objects up close. The appearance of the interiors, in accordance with the possibilities and limitations of digital technology, is precise and rich in detail. The home interiors presented in the installations are virtual reproductions of the real ones. These virtual 3D objects were realised on the basis of photos. Once they selected the suitable houses and came to an agreement with the homeowners, the artists took several hundred photos of the interiors, and wherever possible, of each object from many angles. There is a selection of these photos on view alongside the installations. The placement of the photos on the walls of the gallery makes palpable the situation of the original objects in the house and the various viewpoints of the shots. The photos were indispensable in the production of the installations in a number of ways. With the application of photogrammetry technology, the computer is capable of automatically calculating a three-dimensional model on the basis of the photos taken from many angles. While this model could be extremely beautiful and rich in detail, unfortunately, it could not be used in the interactive installation. It was composed of too many details and became overly complicated. It was mainly effective in determining the precise position and dimensions of the objects. The final models can be realised with either the reconstruction, simplification and paring down of the photogrammetry models, or to design them on the basis of the photos with handiwork. This is an extremely time-consuming, complex work that demands special knowledge. This work added up to a large portion of the time of the artists working in the project. The designers cover the surface of the models with details taken from the original photos. This texture mapping procedure renders the virtual 3D object true to life. Thus, we might say that the final installation is, in fact, a three-dimensional photo-collage, placing the details cut out from the original photos into the three-dimensional space, in accordance with the dimensions and position of the real objects.
Hong Kong is an extremely rapidly changing city. The old buildings quickly vanish, and with them, so do lifestyles. By the fact that the artists participating in the project attempted to document these spaces with as much detail as possible, and tried to model these objects as precisely as possible, with time-consuming precise work, the visual representation of these spaces will become a part of the material of a general knowledge, and they will be able to live on, and even constitute the basis for further research. The technology employed in this project is not new. Many heritage projects use similar software and hardware. This project perhaps differs from the familiar similar projects in two respects. The first is that Waliczky has intentionally tried to use inexpensive technology that is accessible to everyone: for instance, open source software, typical cameras. The second is that while most similar projects present historically
important and well-known buildings or locations, this project would like to introduce an everyday lifestyle of people living contemporaneously with us. This work, then, is not a submission for a memorial, but a documentary endeavour. Just as the documentary filmmaker tries with her/ his camera to present the lives of people, and just as, in the interest of this, s/he leaves out certain details and emphasises others, and in general tries with the devices of film to give as precise as possible a picture of the subject, in the same way Tamรกs Waliczky, too, in his own way as a new media artist, with his own special devices, and with the techniques and aesthetics that are suited to it, attempts to represent as precisely as possible the reality that he has selected and observed.