De/construction sites: Romans and the digital playground

The Roman world as attested to archaeologically and as interacted with today has its expression in a great many computational and other media. The place of visualisation within this has been paramount. This paper argues that the process of digitally constructing the Roman world and the exploration of the resultant models are useful methods for interpretation and influential factors in the creation of a popular Roman aesthetic. Furthermore, it suggests ways in which novel computational techniques enable the systematic deconstruction of such models, in turn re-purposing the many extant representations of Roman architecture and material culture

A digital surreal

As architects, much of our work lives within our various computer softwares. Rendering within architectural practice allows us to fabricate highly calculated, realistic representations of our work- a method by which we place ourselves within a space, inhabit it, or make it familiar. “A Digital Surreal” seeks to explore how rendering can be employed as a space for the production of narratives that instead challenge our perceptions of space. Drawing from artwork from the Surrealist movement, the project considers the characteristics of work by artists including Rene Magritte, Kay Sage, and Conroy Maddox, amongst others, along with contemporary architectural precedents, using them to generate compositions of speculative moments and worlds where objects, scales, and stories come together to manipulate familiar environments. The result is a collection of images that challenge the preconceived notions of architectural rendering, re-purposing the everyday and hyper-real in order to produce a digital Surrealism. The images serve as a commentary on rendering by means of manipulations, distortions, and a co-existence of reality and unreality that push us to explore the role of the architect as not only a producer of said reality, but as an artist with the ability to highlight peculiar, unfamiliar visions of space. “A Digital Surreal” is composed of a collection of scenes built from digital models with a combination of self-built and sourced materials and objects, each exploring a marrying of architectural and Surrealist qualities. The collection pushes us to rethink our relationship with spatial imaginations, while producing content to be consumed by those familiar with architectural design, and those that are not. Looking forward, it seeks to serve as a point from which these visions may be pushed to take on concrete form, becoming spaces, objects, or experiences for engagement within the real world

Perspectival generation in/within the Sala della Pace: broadening the viewfield of spatialised images

It is everyday experience to look at a picture on a wall, (or on a computer screen) from a position that is out of alignment with its perspective, and then make a mental adjustment so as to allow for and ignore the distortion which results. To understand the limits and problem of this compensation it is necessary to look at works where there is an explicit attempt to relate the space of an image and the space in which the image exists. One such exemplar is the Sala della Pace, painted by Ambrogio Lorenzetti in 1338-40. The Sala della Pace may be of particular value today in helping us understand and evaluate the rapidly developing capacity of digital technology to represent dense visual and spatial information. Through Lorenzetti’s amalgam of multiple zones of extromissive generation within the images of the Sala della Pace, Lorenzetti‘s work suggests a potential compositional technique that subverts the reduction of spatial representation to a singular point of perspectival generation by broadening the viewfield in which to receive and construct multiple spatialised images. It is the aim of this paper to explore spatial concepts in Lorenzetti’s painting that may inform the way in which we conceptualise the spatial representation of both real and fictive space in/within images

3 case studies: a hybrid educational strategy for ART/SCI collaborations

In this paper we report on a transdisciplinary university course designed to bring together fine art/visual communication design and computer science students for the creation and implementation of collaborative visual/audio projects that draw upon the specialized knowledge of both these disciplines. While an overview of the syllabus and the teaching methodologies is undertaken in the introduction, the focus of the paper concentrates upon an in-depth discussion and analysis of 3 specific projects that were developed by 3 distinct teams of students comprised of one artist/designer and one engineer each

Space time pixels

This paper reports the design of a networked system, the aim of which is to provide an intermediate virtual space that will establish a connection and support interaction between multiple participants in two distant physical spaces. The intention of the project is to explore the potential of the digital space to generate original social relationships between people that their current (spatial or social) position can difficultly allow the establishment of innovative connections. Furthermore, to explore if digital space can sustain, in time, low-level connections like these, by balancing between the two contradicting needs of communication and anonymity. The generated intermediate digital space is a dynamic reactive environment where time and space information of two physical places is superimposed to create a complex common ground where interaction can take place. It is a system that provides awareness of activity in a distant space through an abstract mutable virtual environment, which can be perceived in several different ways – varying from a simple dynamic background image to a common public space in the junction of two private spaces or to a fully opened window to the other space – according to the participants will. The thesis is that the creation of an intermediary environment that operates as an activity abstraction filter between several users, and selectively communicates information, could give significance to the ambient data that people unconsciously transmit to others when co-existing. It can therefore generate a new layer of connections and original interactivity patterns; in contrary to a straight-forward direct real video and sound system, that although it is functionally more feasible, it preserves the existing social constraints that limit interaction into predefined patterns

GIS and urban design

Although urban planning has used computer models and information systems sincethe 1950s and architectural practice has recently restructured to the use of computeraideddesign (CAD) and computer drafting software, urban design has hardly beentouched by the digital world. This is about to change as very fine scale spatial datarelevant to such design becomes routinely available, as 2dimensional GIS(geographic information systems) become linked to 3dimensional CAD packages,and as other kinds of photorealistic media are increasingly being fused with thesesoftware. In this chapter, we present the role of GIS in urban design, outlining whatcurrent desktop software is capable of and showing how various new techniques canbe developed which make such software highly suitable as basis for urban design.We first outline the nature of urban design and then present ideas about how varioussoftware might form a tool kit to aid its process. We then look in turn at: utilisingstandard mapping capabilities within GIS relevant to urban design; buildingfunctional extensions to GIS which measure local scale accessibility; providingsketch planning capability in GIS and linking 2-d to 3-d visualisations using low costnet-enabled CAD browsers. We finally conclude with some speculations on thefuture of GIS for urban design across networks whereby a wide range of participantsmight engage in the design process digitally but remotely

Analysis domain model for shared virtual environments

The field of shared virtual environments, which also encompasses online games and social 3D environments, has a system landscape consisting of multiple solutions that share great functional overlap. However, there is little system interoperability between the different solutions. A shared virtual environment has an associated problem domain that is highly complex raising difficult challenges to the development process, starting with the architectural design of the underlying system. This paper has two main contributions. The first contribution is a broad domain analysis of shared virtual environments, which enables developers to have a better understanding of the whole rather than the part(s). The second contribution is a reference domain model for discussing and describing solutions - the Analysis Domain Model

The simultaneity of complementary conditions:re-integrating and balancing analogue and digital matter(s) in basic architectural education

The actual, globally established, general digital procedures in basic architectural education,producing well-behaved, seemingly attractive up-to-date projects, spaces and first general-researchon all scale levels, apparently present a certain growing amount of deficiencies. These limitations surface only gradually, as the state of things on overall extents is generally deemed satisfactory. Some skills, such as “old-fashioned” analogue drawing are gradually eased-out ofundergraduate curricula and overall modus-operandi, due to their apparent slow inefficiencies in regard to various digital media’s rapid readiness, malleability and unproblematic, quotidian availabilities. While this state of things is understandable, it nevertheless presents a definite challenge. The challenge of questioning how the assessment of conditions and especially their representation,is conducted, prior to contextual architectural action(s) of any kind