Studio E| IMG_ING Digital Mediums : Art Gallery Design Concept

.IMG.ING processing new mediums

DIFFUSION 1

sem 2 2017 holly tepper

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CONTENTS individual research

medium 1_ photo part a

medium 1_ photo part b medium 2_ print mid semester project

group 4 research

lidar scan analysis

idea development digital threshold spatial development final proposal final flythrough final models

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thomas demand, diving board (sprungturm) 1994

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replica photo, raymond priestley 2017

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photogrammetry model_staged photo

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photogrammatry model_patched surface

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detail analysis _ defined and distorted edge and surface revealing medium process and glitch

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photogrammetry model_patch analysis

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photogrammatry model_data density

3d print model pre-edit and patched

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3d print outcome

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“Decoding”

MID SEMESTER PROPOSAL

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Entering a Demandian landscape The main idea behind my research so far has been about representing the transition between reality and virtuality. In contemporary technology, this transition or blending of states has produced landscapes in virtual and augmented realities that can be used to teach, communicate and entertain. As the link between reality and digital landscapes only continues to strengthen, this project plays with the idea of a user transitioning into the virtual space by using a staircase as a portal, an adaption of how one uses a staircase to transition between rooms.

A transition traditionally describes gradually moving from one state to another but this project explores how those states might be physically connected, like two sides of a coin.

We’ve been talking about the Demand reference as a image that explores the idea of surface, but because of the way that Demand has composed the image, hes only showing us one side or one half of his model. What would Demands model look like as a 3D object in the digital context of his photograph and what would that object look like if it was designed by a computer?

These ideas have been inherited by my design process. Because of the staircases location against a building, it has only allowed itself to be recorded from one direction throughout the data collection stages. This has meant that the back surfaces of the model have been designed by the digital processes themselves. The model adopted a singular surface structure from the photogrammetry process. The print gave the surface thickness and patched holes while the scan constructed jagged edges and landscapes of reference models and data.

Therefore, a comparison can be made in the current model of two parallel worlds where the front surface is a representation of reality and the back is a presentation of virtuality.

So the proposition involves communicating how the physical process of walking through the stair can connect real and virtual ideas.

The animation takes the viewer through a simulation of a patched Demandian landscape of smooth surface space with minimal context but quickly pivots to the back side of the model to reveal computational creativity in surface thickness, protrusion, context and augmentation.

The data has been represented by overlaying the different models and organising the different outcomes, ‘the expected’ and ‘the spontaneous’. The flythrough features a sequence that glitches between models from different processes. This also represents the growing connectivity between real and virtual processes and outcomes, as well as the notion that virtual can often pass as real and what artificial intelligence could mean for design and representation.

In more practical terms, a user could interact with the project on site through VR goggles. This technique of linking VR with reality could be used to link architectural projects to their digital design processes on site to educate users about design processes and the role of digital media in iteration, representation and construction.

The aim of the project is to communicate ideas about digital control in design, transitions between real and virtual worlds and the transitions between architecture and representation.

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edited process outcomes

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raw process outcomes

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3d printable model photogrammetry model pre- edit photogrammetry model handscanner model post- edit

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hand scanner glitch

hand scanner glitch

hand scanner glitch

hand scanner model pre- edit

edited surface analysis

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raw surface analysis

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all process outcomes

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project flythrough

Hand Scanner Pre-Edit

3D Model Print Edit

Hand Scanner Pre-Edit Glitch

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All work included is completed by myself unless noted otherwise

GROUP 4_DIFFUSION

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BLACK BOX PLANAR/ SPATIAL Black, fixed or flexible, blank surfaces to project onto or display on.

3D object projections and overlays may also be exhibited.

PLANAR/ SPATIAL Digital art is projected onto a 2D or 3D surface.

Light installations are also projected into 3D space while physical forms digital process can be exhibited as digital sculptures in 3D space.

STATIC/ MOVING Artwork may include static lighting installations or sculptures that capture digital processes.

incorperating digital mediums into exhibition repurposing the carpark as an exhibition space to house and merge black and white box events.

CONCEPT ITERATION

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Artwork may also be moving images, projections, films and visual overlays.

ARTIFICIAL/ NO LIGHTING Direct and indirect lighting required for physical representations of digital processes Minimal lighting is required around digital artwork, the art is often a source of lighting (projections, films, installation).

OBSERVE/ CONTRIBUTE TO DATA Users can observe digital art in the form of projections, films and installations.

Data from the users may also be collected and used to control the exhibition by recording user spatial positions and adjusting the threshold projections.

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WHITE CUBE SURFACE

ARTWORK MEDIUM

PLANAR Fixed, white, blank walls or ground surfaces for hanging and placing work.

PLANAR AND/OR SPATIAL Planar art is exhibited on planar surfaces.

3D sculpture exhibited in 3D space.

ARTWORK MOVEMENT

LIGHTING

STATIC Art is traditionally static whether its planar or 3D. However, some interaction may occur.

ARTIFICIAL Direct and indirect white lighting around artwork and circulation

SPATIAL REQUIREMENTS SURFACE___The space needs to include blank, planar surfaces for traditional art and to accommodate a surface for digital projections.

ARTWORK MEDIUM___Open space is also required to exhibit both static, 3D artwork as well as to provide space to project across and within onto digital sculptures.

ARTWORK MOVEMENT___Traditional and digital artwork can be static, but the gallery needs to facilitate equipment to allow moving images and projections.

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LIGHTING___Lighting needs to be flexible to be able to swap between well lit, indirect white box events and low to no lighting for black box events.

USER INTERACTION___Equipment is required to collect data from the exhibition users to control the threshold projections.

This may include motion or heat sensors.

COMMENTARY USER INTERACTION

OBSERVE Users traditionally observe planar or spatial artwork. However, some engagement may occur.

How can digital processes be implemented into art and the exhibition of art?

How can a space accommodate both white cube and black box events?

How can this space facilitate and invent hybrid exhibitions of both traditional and digital material?

If a classical gallery like the Louvre forces artists to create two dimensional art, how can the flexibility of a black box should allow artists to exhibit any form of media and control the entire exhibition experience?

incorperating digital mediums into exhibition scanning and projection visitor movements

CONCEPT ITERATION 32

Entry

Projecting

Exit Projecting

User

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Scanning Scanning

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user scanning and projection concept

Sanaa 21st Century Museum plan analysis Analysing the use of circulation and Gallery Space, positive and negative space

CONCEPT ITERATION 36 Entries and Exits Entries and Exits

Passage Through thePassage Museum Through the Museum Gall

Gall

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Gallery and Circulation Space

Gallery

Gallery and Supporting Space

Gallery and Circulation Space Relationship

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20 m

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SCAN ANALYSIS

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AI SCAN PLANS

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DATA TRANSITION surface to sub surface

Surface Connection

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one surface ground plan to structure

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lidar san capture original image

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lidar san capture car removal for surface analysis

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cars removed by holly

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initial data void trace

data void outline and flexible wall analysis

existing shortcut circulation and surface activity locations

zig zag trace projection, void trace, surface activity and existing circulation

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iteration 1: black and white box gallery with flexible walls to transition between events. Solid walls formed by tracing the scan data - void boundaries and flexible transition walls acting as infill between.

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flexible and fixed wall space transformation

SIMPLIFICATION

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ITERATION

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iteration 2: retracing and simplifying the data boundary produces 6 enclosed exhibition spaces and a more ambiguous exhibition zone to the north of the plan

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the idea is that the data voids of the scan will be in-filled with digital exhibition spaces, patching the collected data through the addition of artwork

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data void outline tracing data with light

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iteration 2 was explored further by cutting the boundary walls of each of the 6 spaces and trimming the zig zag wall to guide light over the same paths as the data

wall type analysis light analysis

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the point cloud is represented by light to capture the diffusion and fragility of the medium and produce a space that a translates the scan data into a experiential environment

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final exhibition plan

hologram photogrammetry doors

projection images on physical sliding doors

plan by holly, annotation by hidy

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skylight plan connecting southlawn with exhibition space below

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lights added to model by hongmin and nicole

theshold consisted of photogrammetry models and photograph projected into entries and onto surfaces

user interaction with digital mediums and circulation identification

DIGITAL THRESHOLDS 70

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projection concept diagram transition between open and closed

photogrammetry models of melbourne university thresholds. the contemporary examples were carried through to the final project

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the second medium to be explored was the process of photogrammetry which we used to create the thresholds into the six exhibition spaces.

Models of different contemporary doorways were captured across campus and allocated to the different spaces. the project required two doorway types that would exhibit the same qualities as the two lighting environments to hint at the kind of spatial qualities within the rooms. So we used holograms of photogrammetry models for the light spaces as their transparency matched the highly transparent conditions of the glassed rooms.

Alternatively, we wanted physical sliding doors for the black box to not only block out maximum light when closed, but to create a linear light beam as the door opens to simulate the laser beam of the 3d scanner projecting into void.

South Old Arts Door

West Old Arts Doors

Carpark Office Door

Carpark Column

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Court Room 1 Door

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Metail Door

North Old Arts Door

Science Geology Door

MSD 2nd Floor Studio Room

MSD 1st Floor Studio Room

MSD Vertical Locker Door

Court R

MSD Horizontal Locker Door

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photogrammetry doors

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sliding door projections

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digital threshold allocation

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while there was little variation in the images of sliding doors for the black boxes, the allocation of each photogrammetry model needed to be rationalised. so we measured the ratio of data to void within each of the six spaces and ranked them accordingly. spaces 1-3 were allocated hologram photogrammetry doors and 4-6 were allocated sliding doors with digital projections. Each photogrammetry door was also ranked most to least fragmented and allocated to the most void space etc.

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light box digital thresholds holograms of photogrammetry door

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black box digital thresholds projection onto physical door

projection render by hongmin

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SPATIAL DEVELOPMENT infilling black box exhibition spaces between column bays

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black box development

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black box exhibition space

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render export by hongmin, edit by hidy

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light box exhibition space

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render export by hongmin, edit by holly

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render export by hongmin, edit by hidy

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zig zag wall data translated to light

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render export by hongmin, edit by holly

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interactive diagram by hidy

FINAL OUTCOME: 94

DIFF

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the main idea behind this proposal is about analyzing and interrogating the data collected in and around the site using primarily a 3d scanner and photogrammetry modeling. the processes and outcomes of these different digital mediums have been used to inform aspects of the projects physicality like massing and materiality but also its conceptual ideas like how people experience digital landscapes and how the relationship between real and digital environments may change the way we experience space in the future. we wanted to continue the process of translating data between mediums from the first half of semester where we translated architecture around melburne university from physical to photogrammetry to point cloud and back to the physical again in the form of a 3d print. just like our mid semester projects, our final proposal has explored and accentuated the glitches between medium. however, this project aims to produce spaces that exhibit the processes of the mediums themselves.

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SCANNER LOCATION

looking at how the 2 processes of 3d scanning and photogrammetry work: glitches in 3d scan data are produced when objects block the path of the rotating laser scanner, preventing it from recording data. for example, in the southlawn carpark, the scanner cant record underneath and behind the cars or behind the columns. this creates the effect of diffusing data and an aesthetic of beam like patterns across the ground plane as the scanner reaches out into space. similarly, glitches in photogrammetry occur when a program stiches multiple photos together incorrectly or when the photos fail to capture enough information, leading a program to branch between the recorded data.

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scanner locations within the scan

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SECTION A 0

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10 m

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SECTION B 0

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10 m

section exports by holly, edit by hidy

PROJECT FLYTHROUGH 104

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flythrough by holly

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PROJECT PRESENTATION

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QR code by hongmin

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113 material sample models

- vacform site model with massing and lighting (AR overlay) -hologram model for threshold presentation -3d print fragment model of threshold models

FINAL MODELS:

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