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dc.contributor.advisorTakehiko Nagakura.en_US
dc.contributor.authorVairani, Franco, 1973-en_US
dc.contributor.otherMassachusetts Institute of Technology. Dept. of Architecture.en_US
dc.date.accessioned2012-04-26T18:41:18Z
dc.date.available2012-04-26T18:41:18Z
dc.date.copyright2001en_US
dc.date.issued2001en_US
dc.identifier.urihttp://hdl.handle.net/1721.1/61548en_US
dc.identifier.urihttp://hdl.handle.net/1721.1/70338
dc.descriptionThesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.en_US
dc.descriptionIncludes bibliographical references (leaves 77-78).en_US
dc.description.abstractRepresentations 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.en_US
dc.description.statementofresponsibilityby Franco Vairani.en_US
dc.format.extent84 leavesen_US
dc.language.isoengen_US
dc.publisherMassachusetts Institute of Technologyen_US
dc.rightsM.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission.en_US
dc.rights.urihttp://hdl.handle.net/1721.1/61548en_US
dc.rights.urihttp://dspace.mit.edu/handle/1721.1/7582en_US
dc.subjectArchitecture.en_US
dc.titleBehind the screen : [on the perception of computer-generated architectural representations]en_US
dc.title.alternativeOn the perception of computer-generated architectural representationsen_US
dc.typeThesisen_US
dc.description.degreeS.M.en_US
dc.contributor.departmentMassachusetts Institute of Technology. Department of Architecture
dc.identifier.oclc48087632en_US


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