Behind the screen : [on the perception of computer-generated architectural representations]
Name
48087632-MIT.pdf
Description
Full printable version
Size
3.37 MB
Format
Adobe PDF
Checksum (MD5)
32685de5182ab0ac8cf935ec90b5c63e
Author(s)
Vairani, Franco, 1973-
Advisor(s)
Takehiko Nagakura.
Alternative Title
On the perception of computer-generated architectural representations
Date Issued
2001
Publisher
Massachusetts Institute of Technology
Abstract
Representations of an architectural space have a diversity of purposes and their implementation should be carefully evaluated in order to be coherent with those objectives. Some of them are analytical descriptions, where its components are easily identifiable but relations among them may appear distorted to enhance a particular attribute. Methods used to represent a space, however, are also capable of a more expressive nature, as in art. Those expressions need not be an attempt to evoke the experience of the space in consideration, but just ideas the architect wants to share with his reality. The use of digital media allows incorporating time as another component to the spatial properties that static media has, expanding its possibilities both in terms of content as well as of form. This thesis suggests the use of diverse film theories as referential background for the creation of motion graphics, as a newly developed kind of architectural representations. Film theory and practice should help understand the implications of adding this other dimension to static images, as it resembles a proportional similarity to motion graphics. This does not imply that these two channels are the same or incomparably different. Hypothetically, there is a common field that brings them together and from which we can learn similarities as well as differences. A number of experiments were performed to test the validity of some of the notions expressed by several film theories in the realm of computer-generated motion graphics. A case study was selected to work with and a number of experiments would render several alternative representations of this particular architectural event, in this case, the church of Saint Pierre, in Firrniny, France, designed by Le Corbusier in 1962. They represented the same object, but these representations would have a completely different character and, arguably, might evoke a different reading of the space. These studies are an attempt to understand how to synthesize visually different ideas and convey distinct meanings to provoke the reading of the building in divergent directions.
Description
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.
Includes bibliographical references (leaves 77-78).
Subjects
Architecture.
MIT Department
Massachusetts Institute of Technology. Department of Architecture
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