IMAGING - Fragmented Multiplicity

IMAGING

A MUSEUM MADE DIGITAL

FRAGMENTED MULTIPLICITY

JOHNNY JIA SHUN XU 762122

CONTENTS i. Preface 01. Capture Tasks 02. Reference Analysis 03. Mid Semester 04. Research 05. Design Development 06. Final Design ii. Reflection

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CAPTURE TASK 1

PHOTOCOPY - ELEVATION

Elevation of Ian Potter Art Gallery

This so-called blurred space generates new spatial qualities and details only possible in the realm of the digital. The reproductions produce mirrored moments extending its original spatial qualities; elongation of facades; displacement of people and objects; dimensional warping.

The original image captures a moment in space over a specific instant of time. The reproduction generates “slippages” which are moments of blurred stretching and elongation of the original frame. Producing this sense of ‘speed’ in the image. Adding complexity and velocity to the spatial qualities of the originally perceived image.

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The tasks generates new spatial qualities through rotating, pulling, stretching and folding to displace the original piece.

Reality vs. digital, what is the images reality if the original photo was taken by a machine eye digitally and then reproduced through digital means? Does the digitally reproduced photocopy then have an identity of its own, a cultural identity in the digital and so-called aura seperating itself from the original?

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CAPTURE TASK 1

PHOTOCOPY - PLAN

Ground Floor plan of Ian Potter Art Gallery

The process of photocopying, scanning and digital reproduction blurs the boundary of authenticity of the original. The piece tussles between this blurred boundary of being recognisable and legible to fine details of the original. Falls into this dynamic zone of intrinsic interpretation, almost a seperate digital entity with its own cultural, artistic value compared to the original reproduction. Where it no longer sustains that radical interpolation, as ARM puts it, limbos between this space of legibility and complete disintegration.

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JOHNN

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CAPTURE TASK 2

PHOTOGRAMMETRY

Point Cloud Representation

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Point Cloud Detail

Point Cloud Detail

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CAPTURE TASK 2

PHOTOGRAMMETRY

Wireframe Mesh Representation JIA SHUN JOHNNY XU

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Wireframe Mesh Detail

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CAPTURE TASK 2

PHOTOGRAMMETRY

Flat Light Render Representation

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Flat Light Render Detail

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CAPTURE TASK 2

PHOTOGRAMMETRY

Chiaroscuro Render Representation

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Chiaroscuro Render Detail

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CAPTURE TASK 3

LIDAR SCANNING

Point Cloud Representation of Cultural Rubble Christine O’Loughlin , 1993 Ian Potter Art Gallery

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Point Cloud Detail of Cultural Rubble, Perfect Man Christine O’Loughlin , 1993 Ian Potter Art Gallery

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Point Cloud Representation of Cultural Rubble

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IMAGE COMPOSITION PHOTOGRAPHY

Fifth Avenue Theatre, Seattle, 1997 Hiroshi Sugimoto

gelatin silver print, mounted on card 42.5 x 51.8 cm

“My dream was to capture 170,000 photographs on a single frame of film. The image I had inside my brain was of a gleaming white screen inside a dark movie theatre. The light created by an excess of 170,000 exposures would be the embodiment or manifestation of something awe-inspiring and divine”

IMAGE COMPOSITION

‘Fifth Avenue Theatre’ is image 13 of 25 from Sugimoto’s “Theatre” series. Sugimoto captures these stills by opening the camera shutter for the duration of a film, creating a white rectangle that both abstracts the film and illuminates the interior spatial conditions of the theatre.

Sugimoto’s works aimed to create suspended stills through the representation of time and how it was perceived. His ‘Theatre’ series curated to shift the way the audience is to observe the world from a different point of view by stimulating focused attention on a single element—a demonstration of the camera’s ability to capture what the eye cannot.

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-- ‘Hiroshi Sugimoto, Theaters’

The white light that emanates from the screen visually echoes representations of the divine but used here to represent the film that has played, suggesting that art and time have transcended. The pure rectangle of light appears to indicate the impossibility of capturing the power of the moving image through an isolated still. The Fifth Avenue Theatre is as a site that balances the glowing screen, suggesting it is a space with the power and dignity to contain the intangible and positioning it as a sacred space.

IMAGING - A MUSEUM MADE DIGITAL

Image Composition study of Sugimoto’s Fifth Avenue Theatre

Sugimoto lights the image by exposing the film for the duration of the screening. The result shows a blank screen, glowing in the centre of the photographic composition. The light projected from the screen illuminates the interior of the theatre, giving contrast to the architectural details that would typically not be accessible to the audience seated in the theatre as the space is dark. This composition firmly anchors the screen in the centre of the image and pulls the viewer in. The architecture

details of the theatre in the middle-ground are illuminated, playing with subtle contrast, texture and shadows all within the frame of the camera lens. The construction of composition commands the spatial relationships between the screen at the centre and the surrounding architecture determines the part the viewer’s eye travels – first in, and subsequently, back outwards.

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IMAGE COMPOSITION PAINTING

Narcissus, 1597-1599 Caravaggio Oil on Canvas 110 x 92cm

Caravaggio’s Narcissus scene is simple and minimalistic. Out of the pitch-black background appears the young pageboy, leaning over the dark waters in which his reflection can be seen—drawing from Greek Mythology about the tragic story, set over a millennium ago in the height of the Italian Renaissance. About a young handsome pageboy who falls in love with his reflection and tries to kiss it, but when his lips touch the water, the ripples hide his reflection. Afraid of losing his newfound love, he sits and stares at his reflection until he dies of thirst.

IMAGE COMPOSITION

In the painting Caravaggio experiments with Tenebrism - the extreme contrast of light and shadow; there is nothing but Narcissus and his reflection, highlighting the obsessive focus of the boy. Everything else is faded to black to bring forth the intense colours of the boys clothing and the subtle contrast of the reflection in the dark water. The painting is well balanced with its proportions and symmetry.

The golden ratio rule with the central focus being the boy, frame A. the viewers’ eyes slowly move towards frame C, where the subtle colours of the boy’s reflection can be seen.

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Image Composition study overlay on Caravaggio’s Narcissus

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II. Reference Analysis

JOHN SOANE MUSEUM 12-14 Lincoln Inn Fields 1837

Breakfast Room adja JIA SHUN JOHNNY XU

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acent to Dome Area

The Sir John Soane Museum A Museum Made Digital ScanLAB Projects

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JOHN SOANE MUSEUM

REFERENCE ANALYSIS

John Soane Museum street facing facade

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John Soane Museum Dome Area

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Early Section Drawing of John Soane Museum

Revised Section John Soane Museum Scale 1:100

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REFERENCE ANALYSIS

JOHN SOANE MUSEUM

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EARLY HAND DRAWN GROUND FLOOR PLAN

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STAIRS TO BASEMENT

DOME AREA

PICTURE ROOM

HOGARTH ROOM

GALLERY CORRIDOR

RECESS

BREAKFAST ROOM

ANTE ROOM

YARD

DRESSING ROOM

RECESS

STAIRS

HALL

DINING ROOM

LIBRARY

ENTRY

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REVISED JOHN SOAN MUSEUM GF PLAN SCALE 1:100

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SPATIAL ORGANISATION

Figure 7. Central axis treatment of interconnected spaces (Richardson, Stevens 1999)

REFERENCE ANALYSIS

CONNECTIONS ALONG MAIN AXIS

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Soane’s ingenuity is displayed in the layout of program within the house museum. As through the use of layering in art, light and furniture, Soane transforms these spaces into a story of style and the sublime. Some spaces are narrow and dark such as the recess corridors or landings.

He designs large open rooms or dome voids that span three floors into the basement with a sense of play and story-telling, which in itself is a journey through Soane’s troubled mind.

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Planes & Mirrors - Interconnected Program

RELATIONSHIP BETWEEN ART AND SOANE ARCHITECTURE Soane designs what appears to be perfectly symmetrical framed spaces and wraps layers of space around these skeletal frameworks (axis).

He proceeds to subvert the geometry of these conglomerate spaces by dematerialising the architecture. This is achieved by flooding the spaces and walls with light, which are often coloured from concealed spaces and broken surfaces with linear patterns.

Soane finally overlays the spatial constructions with a curation of art objects from his growing collection.

MSD - SEMESTER 1 2020 UNDERSTANDING THE SPACE DEMATERIALISING THE ARCHITECTURE

LIGHT PLANES The images showcase John Soane’s juxtaposition of space with curated, intricate atmospheres of his art collection through the sculpting of light. This dynamism between intimate secrecy and grand public gestures expresses the light and dark in his museum.

REFERENCE ANALYSIS

Figure 1. Drawing Office

Figure 3. Picture Room recess Figure 2. Dome Area with basement

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Figure 4. The Breakfast Room with concave mirrors

BREAKFAST ROOM The canopy appears to be weightless and floating, due to the intricate use of concealed, diffused lights flooding onto the walls and reflecting into the space.

The Breakfast Room explores how the walls, ceiling, enclosure and light have to precede each other. The centre raises an aspherical ceiling, springing from four segmented arches. These arches are supported by pilasters which form a rich canopy.

The concealed coloured skylights, mirrors and the views in the dome in succession constitute to the poetics of architecture.

Figure 5. Dressing Room recess

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Figure 1. Section Detail of the Dome Area and the Breakfast Room SCALE 1:100

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Figure 2. Dome Area

Figure 3. The Breakfast Room with mirrors

The section detail explores the two rooms most known for their picturesque interior atmospheres.

The use of shallow domes brings light into the space and the segmented arches resting on piers open up lighting constraints. The multi-layering of the space with art creates a poetic atmosphere.

The Breakfast Room uses small concave mirrors to frame the room’s curation. It shares the concept of the art fuses and complements nicely to form the architecture of the house museum.

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II. Reference Analysis

JOHN SOANE MUSEUM

Dome Area Skylight JIA SHUN JOHNNY XU

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t to Basement View

The Sir John Soane Museum A Museum Made Digital ScanLAB Projects

MSD - SEMESTER 1 2020 LIGHT | POETICS OF SPACE LIGHT AS A MULTI-LAYERED APPROACH Soane uses light through a variety of methods. These include overhangs, light shelves, diffused light and screens through different forms such as coloured glass, mirrors and skylights. This sculpts multi-layered optical atmospheres.

Combined with the carefully curated placements of artwork, the display of light invites a theatrical experience for those who visit.

SHALLOW DOME SKYLIGHT WARM COLOURED GLASS DIFFUSED LIGHT

FIRST FLOOR

GROUND FLOOR LEVEL

BASEMENT

Light Analysis - Section Detail of the Dome Area, John Soane Museum

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IMAGING - A MUSEUM Kuntskammer | Cabinet of MADE Curiosities DIGITAL

View of the Dome Area by Lamplight Looking South-East Joseph Michael Gandy, 1811

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Section cut of Dome Area to Picture Room recess Dome Area modelled in the virtual with real atmosphere parameters like lighting planes overlayed to generate real interiority JIA SHUN JOHNNY XU

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Virtual simulation of the lighting conditions in the Dome Area

Lighting conditions simulated in virtual space stripped of context

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Framework By stripping the framework of the museum and its surrounding art objects, a new relationship between space and artefact is formed. This presents the building itself as the artwork, therefore placing it on a different pedestal.

MSD - SEMESTER 1 2020 The image trace of the photogrammetry model is flattened as a UV texture map unwrapped. This process has created a digital landscape awaiting actualization. The reproduction of these mod-

els framed an exploration into the representation of digitized data and how the medium of digital technique can simulate real atmospheric conditions in the virtual.

Void A

Trough

Species A

Void B

Trough B

Species B Peak B

Image Trace Virtual Landscape UV Map Texture

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Trough C

Species C Peak C

hA Peak A

Void C

Void D

Image Trace represented as Virtual Landscape Jug with Red Slip UV Map Texture

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Dome Area Virtua

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al Fragmentation

The result is a meta-physical virtual gallery that uses Virtual Reality (VR) technology to enhance an experience with a multiplicity of fragmented pieces of digital content. One enters into a universal gallery space that is not limited to the real. Through the medium of VR, they are able to enter a virtual ‘cabinet’ of scanned digital content as the tectonics materialise the architecture within the virtual. The virtual gallery evolves and grows as the collection of scanned digital relics grow.

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HTC Vive Base Station HTC Vive Cable

HTC Vive VR Heads

HTC Vive VR Station

Section

Real & Virtual Ga

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set

n Detail

allery Scale 1:200

HTC Vive Base Station Gallery Down Lighting

nge

m ra

imu

max

120

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Gallery Down Lighting

HTC Vive Base Station

Concealed Gallery Strip Lighting

HTC Vive VR Headset Station

HTC Vive VR Headset

Entrance

Digital Trace Landscape

VR Boundary Clipping

Axonometric Real & Virtual Gallery Scale 1:200

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Fantastical view of the Via Appia Giovanni Battista Piranesi As Priranesi describes it, a mighty maze of chaotic confusion where nothing is defined, with one form running into another.

-- Giovanni Battista Piranesi

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Section Detail Dome Area Virtual Fragmentation Scale 1:200

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Montage Sequence through the Fragmented Multiplicity

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Fragmented Multiplicity Virtual Experience

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Mid Semester Reflection

Fragmented Multiplicity Through a series of capture tasks, the processes of digital representation through the means of digital technology were explored. Underpinning these explorations were ideas around authenticity, time, place, aura and its value in a world oversaturated with reproductions.

The digital representation of the points clouds from the scan data of both the statues and the artwork cultural rubble, on the Ian Potter Art Gallery façade, in Capture Tasks 2+3. The technique of digitally scanning produced errors and data voids. These data voids, and the opposing clusters of points produced this layering of data composing a contrast of spatial qualities.

The John Soane Museum by Soane explores the picturesque and the sublime with a deep focus on curating atmospheres using light and art to dematerialize the architecture. This is particularly evident in his treatment of the Dome Area and the arrangement of space in the Kunstkammer (the Cabinet of Curiosities).

The image trace of the photogrammetry model flattened as a UV texture map unwrapped. This process created a digital landscape, a field in flux, awaiting actualization. The reproduction of these models began to frame an exploration into the representation of digitized data and how through the medium of digital technique simulate real atmospheric conditions in the virtual to archive and exhibit this data for the users.

These processes particularly that of simulating virtual atmospheres based of the real conditions in the Soane Museum engages with the work of the Japanese Photographer, Hiroshi Sugimoto, specifically in the way he engages with light and composition. His series of “Theatres”

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produces a sense of ambiguity, sharp contrast of the theatre spaces highlighted with that of the subject being the film played to explore this quality of time in a single still image and provoke a sense of the sublime.

The result is a meta-physical virtual gallery that utilises Virtual Reality (VR) technology to experience a multiplicity of fragmented pieces of digital content. One enters a universal gallery space, through the medium of VR can enter the digital content, a virtual ‘cabinet’ of scanned digital content as the tectonics to materializing the architecture within the virtual.

The virtual gallery evolves and grows as the collection of scanned digital relics grow with the digital landscape.

Aggregated Multiplicity With a focus on context for the second half of the semester, being the Ian Potter Art Gallery, it should be interesting to see how I can push this concept of object to surface, and subvert the relationship between exhibition space, museum galleries with that of the art that’s displayed in the virtual.

An early idea might be the relationship between Fragmented Multiplicity and that of the Cultural Rubble, that was explored in an earlier capture task. Exploring more into this experience for the users, the transitional experience or moment between reality and that of virtual. Explore this idea of the aura and how this can be materialized into something tangible. The surplus value that an object emits, and how its projection into the space contributes to the overall experience within a digital gallery setting.

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Research Museum Studies & Ian Potter Museum Collection Classics and Archaeology

Reproduction with new media technological in the age of the digital is the act of finding new meaning and value to the fragmented ‘casts’ in new contexts. Past histories can be read in dialogue with one another, from different antipodes, all connected at the tip of your VR controller, read in the present moment of actualization in the digital realm, a temporal network in constant flux.

The Aura in the Age of Digital Materiality - Factum Foundation

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PRECEDENT STUDY ETERNAL RETURN

Eternal Return (2019) ScanLAB Projects VR Installation, Exhibtion, 3D Printing Virtual Real Physical Intervention (ScanLAB Projects)

“Without visitors, the installation of the gallery in virtual remains an archive of forms, sounds and scents in no particular hierachy. Living extensions of the work, adding intuition, temporal and choreographic structure to the VR interface.”

PRECEDENT STUDY

Eternal Return is an exhibition that pushes the boundaries of using digital technologies like Virtual Reality (VR), it explores this duality of placing the users in a limbo between real and virtual. It combines VR technology, physical objects and interactive performances to explore a new reality in the virtual. Interactive physical objects trigger experiences in the virtual installation, through touch and motionsensored thresholds.

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-- ‘The Memor’, Malin Zimm

The users tussle in this duality between both physicals and the virtual architectural spaces, where ones perception of either begin to slowly blur. This multitude of layering of experience; the narrative between the physical and virtual is crucial in exploration of my own modern day Grand Tour. A spectrum of virtuality for the user, through a multitude of experiences in the Real Virtual Gallery of the Potter.

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Moment of Virtuality Physical Intervention (ScanLAB Projects)

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PRECEDENT STUDY PAVILION OF REFLECTIONS

Pavilion of Reflections in Lake Zurich

Pavilion of Reflections (2016) Lake Zurich, Switzerland Studio Tom Emerson

Temporary Gallery, Prefab Construction

PRECEDENT STUDY

Event Space, Swimming Pool and Cinema at the Pavilion of Reflections

Early Iterations of Temporary Gallery Construction Methodology

The Pavilion of Reflections is a temporary floating timber pavilion in Lake Zurich, for the European Biennale of Contemporary Art. The temporary pavilion features a steel base, substructure and space frame roofs prefabricated off-site. The infill of prefabricated timber elements are installed later before the whole island is dragged onto the lake.

The construction methodology of temporary installations, galleries or pavilions need to consider the elements used in the process of construction. As for my temporary gallery, to not be intrusive to the surrounding context and museum.

Following the Pavilion of Reflections reference, temporary structures, require orthodox detailing in construction joinery and how the kit may be assembled, but also disassembled. Through a non-intrusive process to its original site.

A strategy for using modular prefabricated elements of steel space frames with polycarbonate wall panels as infill to seperate program of the internal temporary virtual gallery. Brings forward flexibilty, efficiency and touches the site ever so slightly. While the main building completes its construction.

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The approach serves as an interstitual space between land and the floating pavilion on water.

1:100

Pavilion of Reflections - Studio Tom Emerson Plan View Scale 1:200

Site Plan

1:200

1:100

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Pavilion of Reflections - Studio Tom Emerson Section Cut Section Detail Scale 1:100

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CONTEXT IAN POTTER MUSEUM OF ART

Cultural Rubble (1993) Ian Potter Museum of Art Melbourne Christine O’Loughlin Sculpture, Reinforced Polyester Resin Ian Potter Musuem of Art (Fender Katsilidis, 2008)

Original Cultural Rubble on Physics Annexe Building (UniMelb, 1993)

Christine O’Loughlin’s “Cultural Rubble” (1993), explores past artefacts and recombines them to create new meaning.

This process of deconstructing and reconstructing is similar to our approach in the digital reproduction of art and artefacts. It is to provide a new meaning, and identity.

The “Cultural Rubble” is the breaking point between the real and the virtual.

The content of the museum is spilling and overflowing out into the physical real. This detailed moment of realisation into the real, of museum culture being plagued with physical issues of storage. Whereby the gallery and exhibition spaces can be in itself a constraint to the potential of content being exhibited to the public. The “Potter” presents the perfect opportunity for digital technology, such as 3D scanning, virtual reality (VR) technology, as a means of archiving, storing and exhibiting these objects overflowing out of the museum.

IMAGING studio proposal at the Potter provides an opportunity to explore the discourse between representation and realisation. The kit-bashing, amalgamation of the Cultural Rubble is a means to further the Fragmented Multiplicity, and to enhance the representations of an object’s aura in the virtual gallery for its visitors.

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Perfect Man Cultural Rubble (IPMoA)

Perfect Pots

(i) Perfect Architectural Support (ii) Perfect Woman (iii) Perfect Man (iv) Perfect Pots

Cultural Rubble Digital Representation Ian Potter Museum of Art Facade

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SITE

Wider Site Context of the Ian Potter Museum of Art, surrounded closely in collaboration with the University of Melbourne

The selected site is the exisiting Cafe at the Ian Potter Museum of Art

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Site Approach - Buffer

Swanston Street (North-Bound)

Revelation of Cultural Rubble

Selected Site for Intervention

Spectrum of Virtuality with Cultural Rubble - Swanston St Facing

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DESIGN DEVELOPMENT TEMPORARY REAL VIRTUAL GALLERY

Street View Render of R

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Spectrum of Virtuality

Approach from Swanston Street view

Balance of Materials between exisitng and new

Entrance

Real Virtual Gallery

The Interstitial Space

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‘MUSEUM WITHOUT WALLS’ ANDRE MALRAUX

Musée Imaginaire (1947) Andre Malraux The “Musée Imaginaire”, or the “Museum without Walls” was a manifesto first presented

by Andre Malraux in 1947. It enacts the displace of physical art objects and the museum by photographic reproduction.

Andre Malraux chez lui, Photo: Maurice Jarnoux (1953)

“In a way we are already within Malraux’s imaginary museum. There is no end of beautifully produced artworks in monographs on particular artists, movements or epochs”

-- Matthew Kieran Revealing Art (2005)

The “Museum without Walls” is relevant for my conceptual approach to “Fragmented Multiplicity” and our studio theme. This concept of compiling significant works of art and artefacts from around the world was impossible in the real, as accessibility would always be a major constraint.

Malraux presented a solution that could document, archive and compile a resource to be shared, bridging the constraints of accessibility through photographic representations. Using this concept, I decided on a solution using virtual reality (VR) as a means to archive the ‘Museum without Walls’ and store it in the ‘cloud’. This increases accessibility to data through collating the geographical scattering of all major artworks from museums and galleries around the world into just one collection. It serves to begin a dialogue between works and encourages the possibility of artworks and artefacts to be compared, shared and viewed altogether in the one setting out of context.

This approach poses a critical analysis of two main questions. Firstly, what is the new purpose of museums? Do they serve as institutions for storage? Preservation? Learning? Secondly, what is the significance of walls and physical gallery spaces in our traditional understanding of curation and exhibition of art and artefacts?

What opportunity does limitless comparison present for us? Can we speculate this in a virtual museum without walls?

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Andre Malraux chez lui, Photo: Maurice Jarnoux (1953)

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Photocopy Process Real - Virtual Gallery

DIGITAL REPRODUCTION SCANNED PHOTOCOPY

Ian Potter Ground Floor Plan

Photocopy Iteration Result JOHNNY XU 762122

Image Trace Projections Site Plan with Virtual Space Scale 1:200

Ground Floor Plan of Ian Potter Art Gallery 1:100 1:200

Program Formal Organisation 1:100

1:200

Photocopy By using a process of Photocopying, explored earlier in the semester. A digital scan of the Potter plan is reproduced, to derive a new plan of which the Virtual Museum is overlaid on. This process warps and displaces the original, generating a new intrinsic interpretation of the Potter Museum. Blurring the boundaries between virtual, and real.

Reproduced Photocopy Result Presenting a New Virtual Plan

What if we dematerialised the museum context into that of a meta-physical virtual gallery that simulates a new gallery based on the old? With the artefacts within the space displaying artefacts removed from its reality constructing the virtual metaphysical gallery.

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Virtual Gallery Spaces Each Virtual Gallery space allows for curated exhibition of classics and archaeology collection.

An example can be the Egyptian classics collection, kit-bashed to generate the architecture of the virtual space.

Virtual Museum Plan Digital Representation of scanned gallery, creates a new virtuality of the real Ian Potter Museum.

Photocopy exercise opens new avenues of virtual space to exhibit and traverse through VR.

Real Ian Potter Museum The Real Temporary VR Gallery Exhibhit is the starting point for the virtual Grand Tour of Ian Potter whilst under construction.

Temporary VR Exhibit Detail the construction methodology and technology through sections and details.

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THE GRAND TOUR PEDAGOGICAL APPROACH

Grand Tourist arrives in Piazza di Spagna, Rome 1775, David Allen

21ST CENTURY GRAND TOUR

The virtual museum draws similarities as a modern day version of the 16th century Grand Tour trip, a pilgrimage for knowledge through art, history, place and time.

Virtual archive of digital content for learning and research

The museum becomes a curation of virtual gallery spaces based on era and geography. Visitors are able to traverse through place and time geographically and chronologically. Each space different spatially and ever-changing with content. The only difference being that visitors wouldn’t be able to acquire examples of the art as trophies or souvenirs for their own collections.

But in one sense, the availability, accessibility and preservation of the digital archive will forever be available and a personal collection at the Ian Potter.

In the globalised age of digital culture and access to information, the virtual museum draws further on the Ian Potter’s Mission Statement as a place to learn and research.

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Early Iteration of kitbashing of artefacts highlighting the blur between object and surface

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THE CABINET OF CURIOSITIES KUNTSKAMMER

SOANE MUSEUM Looking closely at Joseph Gandy’s depiction of the Dome Area, specifically at this idea of the Kuntskammer - or otherwise known as “the Cabinet of Curiosities”. How this object to surface relationship begins to blur our understanding of space within the Dome Area. I was interested in how one could subvert the architecture of gallery spaces and simulate purely object as a tectonic to construct the architecture.

View of the Dome Area by Lamplight Looking South-East Joseph Michael Gandy, 1811

Giovanni depiction of the Grand Hall captures multiple views of Modern Rome in the one scene, being a painting. In a similar matter when compared to the “Museum Without Walls” Manifesto presented by Malraux. Giovanni had captured a scene through a painting that archives an array of modern views in Rome. In a similar approach, our virtual gallery looks to become a space of archiving content. Without users is just a space to archive, and preserve the content in the cloud. As Soane and Piranesi desribes it as a “Virtual Ruin”.

JIA SHUN JOHNNY XU

Giovanni Paolo Panini, Modern Rome, 1757, oil on canvas (Metropolitan Museum of Art)

IMAGING - A MUSEUM MADE DIGITAL

Early Iteration of kitbashing of artefacts the archival hall of digital content

MSD - SEMESTER 1 2020

Steel Spatial Framework

Suspended Ceiling Panels

Intervention

Prefabricated Modular Walls

Virtual Real Gallery Polycarbonate Panels

Mirrored Ground Plane

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Ian Potter Museum of Art Exploded Axo Real Virtual Gallery JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

Formal Organisation Strategy

Image Trace Projected onto Surfaces for Object curation

1987.0260 Jug with Red Slip Cyprus Ceramic. 46.7cm (H), 30.5cm (D) 2300 - 2200 BCE The University of Melbourne Art Collection.

Purchased from the Australian Insititute of Archaeology

Projection Mapping Process Formal Organisation

MSD - SEMESTER 1 2020 Digital Scanned Objects as Tectonics Constructing the Virtual Archive

Exploded Axonometric

Image Trace Projected onto Surfaces for Object curation

1987.0260 Jug with Red Slip Cyprus

Photocopy Process Real - Virtual Gallery

Ceramic. 46.7cm (H), 30.5cm (D) 2300 - 2200 BCE The University of Melbourne Art Collection. Purchased from the Australian Insititute of Archaeology

Ian Potter Ground Floor Plan

Extruded Wall Surfaces of Virtual Gallery Space Photocopy Iteration Result

JOHNNY XU 762122

Image Trace Projections Site Plan with Virtual Space Scale 1:200

Program Formal Organisation

Steel Spatial Framework

Suspended Ceiling Panels

Prefabricated Modular Walls

Polycarbonate Panels

Intervention Virtual Real Gallery Mirrored Ground Plane

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Ian Potter Museum of Art

JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL Artefact Organisation Diagram

2009.0223.000.000 Breccia Vessel Limestone breccia. 8.3cm (H) x 18.0cm (W) x 12.5cm (D) c. 3300-2900 BCE

EA13 Sandstone Sphinx Statue Sandstone hierakosphinx. 33cm (H), 106.50cm (L) Temple of Ramses II (Abu Simbel) Egypt, 19th Dynasty British Museum. Purchased from Henry Salt 1821 JE 31628

The University of Melbourne Art Collection. Gift of David and Marion Adams, 2009.

0000.0629.000.000 Jug with Pointed Base Clay. 27.0cm (H) x 14.6cm (D) Egypt c. 3000-2686 BCE The University of Melbourne Art Collection. Flinders Petrie Collection

Statue of Ramses III with Horus and Seth Granite. 195cm (H), 72cm (W) Egypt c. 1187–1156 BC Egyptian Museum, Cairo.

JE 10062 Statue of Khafre Diorite. 1.68 m (H) Egypt Dynasty 4, reign of Khafre

04.1841

Egyptian Museum, Cairo

Head of Ankh-khonsu Greywacke. 19.5 x 18.5 x 15 cm Egypt, 664–525 B.C. Museum of Fine Arts, Boston. Emily Esther Sears Fund

JE49158

JE 36195 Statue of Mentuhotep II Painted sandstone.

Egypt c.2055–2004 BC The Egyptian Museum. From Howard Carter.

Ka Statue of King Djoser Limestone. 142cm (H), 45.3cm (W), 95.5cm (L) Egyptian Museum in Cairo, Egypt

EA1063 Granite head of Amenemhat III Black granite. 79 × 77 × 69 cm From Temple of Bastet, Bubastis, Egypt c. 1800 BC

1987.0294.000.000

British Museum. Donated by Egypt Exploration Fund 1889

Jug With Bichrome Decoration Ceramic 750-600 BCE The University of Melbourne Art Collection. Purchased from Australian Institute of Archaeology, 1987.

2009.0212.000.000

1987.0260 Jug with Red Slip Cyprus Ceramic. 46.7cm (H), 30.5cm (D) 2300 - 2200 BCE The University of Melbourne Art Collection. Purchased from the Australian Insititute of Archaeology

Shabti Limestone, paint. 14.5cm (H) x 6.0cm (W) x 4.0cm (D) 715-332 BCE The University of Melbourne Art Collection. Gift of David and Marion Adams, 2009.

29.1131

38.1395 Osiride Statue of King Mentuhotep III Sandstone. 213 x 36.8 x 146.1 cm Egypt c. 2010–1998 B.C. Museum of Fine Arts, Boston.

From Egypt Exploration Society 1938

Statue of Osiris Greywacke. 55cm (H) Egypt c. 664–525 B.C. Harvard University—Boston Museum of Fine Arts Expedition 1928

30.834b Sarcophagus lid of General Kheperre

EA520.520 Sekhmet Granodiorite. 155cm x 38cm x 35cm Thebes (Upper Egypt - archaic), ca.

1479–1458 B.C,18th Dynasty British Museum Egypt and Sudan, 2011 31.3.166

Greywacke. 76 x 108 x 226cm Egyptian Late Period 570–526 B.C.

Sphinx of Hatshepsut

Museum of Fine Arts, Boston.

Red granite. 164cm (H), 343cm (L) Egypt ca. 1479–1458 B.C Cairo Museum. From Rogers Fund, 1931

D 32 Hathor - Louvre 52.50cmx46cmx11,50cm.

Egypt 3rd Century BCE Musée du Louvre, Paris, France.

EA4 Seated statue of Amenhotep III Granodiorite.

Egypt 18th 1350 BC.

Dynasty,

about

British Museum. Purchased from Henry Salt 1823 2009.0217 Greco Roman Mummy Mask Plaster.

Egypt, Roman Period. First century CE The University of Melbourne Art Collection Gift of David and Marion Adams, 2009

EA81 Statue of Roy, High Priest of Amun Granodiorite. 113cm (H) Thebes, Egypt 19th Dynasty c.

1220 BC British Museum. From George III, King of the United Kingdom 1802

MSD - SEMESTER 1 2020

2009.0217 Greco Roman Mummy Mask Egypt, Roman Period c. Early 1st century CE Plaster The University of Melbourne Art Collection Gift of David and Marion Adams, 2009

0000.0629.000.000 Jug with Pointed Base Egypt c. 3000-2686 BCE Clay 27.0cm (H), 14.6cm (D) The University of Melbourne Art Collection. Flinders Petrie Collection

1987.0260 Jug with Red Slip Cyprus 2300 - 2200 BCE Ceramic 46.7cm (H), 30.5cm (D) The University of Melbourne Art Collection, Classics and Archaeology Collection, Purchased from the Australian Insititute of Archaeology

2009.0212.000.000 Shabti 715-332 BCE Limestone, paint 14.5cm (H) x 6.0cm (W) x 4.0cm (D) Plinth 1.5cm (H) x 17.0cm (W) x 17.0cm (D) The University of Melbourne Art Collection. Gift of David and Marion Adams, 2009.

1987.0294.000.000 Jug With Bichrome Decoration 750-600 BCE Ceramic The University of Melbourne Art Collection. Classics and Archaeology Collection. Purchased from Australian Institute of Archaeology, 1987.

2009.0223.000.000 Breccia Vessel c. 3300-2900 BCE Limestone breccia 8.3cm (H) x 18.0cm (W) x 12.5cm (D) The University of Melbourne Art Collection. Gift of David and Marion Adams, 2009.

JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

EA520.520 Sekhmet Thebes (Upper Egypt - archaic), ca. 1479–1458 B.C,18th Dynasty Granodiorite 155cm (H), 38cm (W), 35cm (D) British Museum Egypt and Sudan, 2011

0000.0629.000.000 Large Kneeling Statue of Hatshepsut Egypt, Thebes, Deir el-Bahri ca. 1479–1458 B.C. 18th Dynasty Granite 295.9 cm (H), 81.3 cm (D). 145.4 cm base (D) Rogers Fund, 1930, Met Museum, 30.3.1 Petrie Collection

04.1841 Head of Ankh-khonsu Egypt, 664–525 B.C. Greywacke 19.5 x 18.5 x 15 cm Museum of Fine Arts, Boston. Emily Esther Sears Fund

JE 31628 Statue of Ramses III with Horus and Seth Egypt c. 1187–1156 BC Granite 195cm (H), 72cm (W) Egyptian Museum, Cairo.

D 32 Hathor - Louvre Egypt 3rd Century BCE 52,50cmx46cmx11,50cm.

Musée du Louvre, Paris, France.

JE 10062 Statue of Khafre Egypt Dynasty 4, reign of Khafre Diorite 1.68 m (H) Egyptian Museum, Cairo

MSD - SEMESTER 1 2020

JE49158 Ka Statue of King Djoser Limestone 142cm (H), 45.3cm (W), 95.5cm (L) Egyptian Museum in Cairo, Egypt

EA13 Sandstone Sphinx Statue Temple of Ramses II (Abu Simbel) Egypt, 19th Dynasty Sandstone hierakosphinx.

33cm (H), 106.50cm (L) British Museum. Purchased from Henry Salt 1821

EA81 Statue of Roy, High Priest of Amun Thebes, Egypt 19th Dynasty c. 1220 BC Granodiorite 113cm (H) British Museum. Donated by George III, King of the United Kingdom 1802

30.834b Sarcophagus lid of General Kheperre Egyptian Late Period 570–526 B.C. Greywacke 76 x 108 x 226cm Museum of Fine Arts, Boston. Findspot: Egypt, Giza, tomb G 7757 A, room X, debris

EA4 Seated statue of Amenhotep III Egypt 18th Dynasty, about 1350 BC. Granodiorite British Museum. From the mortuary temple of Amenhotep III, Thebes, Egypt. Purchased from Henry Salt 1823

EA520 Sekhmet Egypt 18th Dynasty Granodiorite 155cm (H), 38cm (W), 35cm (D) British Museum. Excavated: Thebes (Upper Egypt archaic). Purchased from: Henry Salt

JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

31.3.166 Sphinx of Hatshepsut Egypt ca. 1479–1458 B.C Red granite 164cm (H), 343cm (L) Cairo Museum. From Rogers Fund, 1931

EA1063 Granite head of Amenemhat III From Temple of Bastet, Bubastis, Egypt c. 1800 BC Black granite 79 × 77 × 69 cm British Museum. Donated by Egypt Exploration Fund 1889

38.1395 Osiride Statue of King Mentuhotep III Egypt c. 2010–1998 B.C. Sandstone 213 x 36.8 x 146.1 cm Museum of Fine Arts, Boston. From Egypt Exploration Society 1938

29.1131 Statue of Osiris Egypt c. 664–525 B.C. Greywacke 55cm (H) Harvard University—Boston Museum of Fine Arts Expedition 1928

JE 36195 Statue of Mentuhotep II Egypt c.2055–2004 BC Painted sandstone The Egyptian Museum. From Howard Carter.

MSD - SEMESTER 1 2020 1987.0260 Jug with Red Slip Cyprus Ceramic. 46.7cm (H), 30.5cm (D) 2300 - 2200 BCE The University of Melbourne Art Collection. Purchased from the Australian Insititute of Archaeology UV Image Texture

2009.0217 Greco Roman Mummy Mask Plaster.

Egypt, Roman Period. First century CE The University of Melbourne Art Collection Gift of David and Marion Adams, 2009

30.834b Sarcophagus lid of General Kheperre Greywacke. 76 x 108 x 226cm Egyptian Late Period 570–526 B.C. Museum of Fine Arts, Boston.

29.1131 Statue of Osiris Greywacke. 55cm (H) Egypt c. 664–525 B.C. Harvard University—Boston Museum of Fine Arts Expedition 1928

JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL EA520.520

31.3.166

Sekhmet

Sphinx of Hatshepsut

Granodiorite. 155cm x 38cm x 35cm Thebes (Upper Egypt - archaic), ca.

1479–1458 B.C,18th Dynasty

Red granite. 164cm (H), 343cm (L) Egypt ca. 1479–1458 B.C

British Museum Egypt and Sudan, 2011

Cairo Museum. From Rogers Fund, 1931

EA81 Statue of Roy, High Priest of Amun Granodiorite. 113cm (H) Thebes, Egypt 19th Dynasty c.

1220 BC British Museum. From George III, King of the United Kingdom 1802

38.1395 Osiride Statue of King Mentuhotep III Sandstone. 213 x 36.8 x 146.1 cm Egypt c. 2010–1998 B.C. Museum of Fine Arts, Boston.

From Egypt Exploration Society 1938

2009.0212.000.000

1987.0294.000.000

Shabti

Jug With Bichrome Decoration

Limestone, paint. 14.5cm (H) x 6.0cm (W) x 4.0cm (D) 715-332 BCE

Ceramic 750-600 BCE

The University of Melbourne Art Collection. Gift of David and Marion Adams, 2009.

The University of Melbourne Art Collection. Purchased from Australian Institute of Archaeology, 1987.

MSD - SEMESTER 1 2020

JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

MSD - SEMESTER 1 2020

JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

MSD - SEMESTER 1 2020

JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

MSD - SEMESTER 1 2020

Section

sc

JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

n Detail B - B

cale in mm

MSD - SEMESTER 1 2020

The Ap Real Virtu JIA SHUN JOHNNY XU

pproach ual Room

IMAGING - A MUSEUM MADE DIGITAL

MSD - SEMESTER 1 2020

Suspe Real Virtu JIA SHUN JOHNNY XU

ension ual Room

IMAGING - A MUSEUM MADE DIGITAL

MSD - SEMESTER 1 2020

Intervention Detail Model

JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

Intervention Detail Model

MSD - SEMESTER 1 2020

Virtual Cabine JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

et of Curiosities

MSD - SEMESTER 1 2020

Metaphysical JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

l Virtual Space

MSD - SEMESTER 1 2020

Surface Ob JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

bject Detail

MSD - SEMESTER 1 2020

Fragmented JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

d Multiplicity

MSD - SEMESTER 1 2020

TRANSITIONING BETWEEN VIRTUAL

Frame 01

Frame 04

Frame 02

Frame 05

Frame 03

Frame 06

Animating the Virtual

JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

Fragmented Multiplicity

MSD - SEMESTER 1 2020

JIA SHUN JOHNNY XU

IMAGING - A MUSEUM MADE DIGITAL

Reading References 1. Digital Doppelgangers - Future Scanscapes, Matthew Shaw and William Trossell 2. New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites 3. ReACH, V&A Cast Courts 4. The Aura in the Age of Digital Materiality, Factum Foundation 5. Soane Architect Master of Space and Light 6. Negotiating Copyright and Copy-wrong in Architecture, Kelly Chan 7. Copy Culture, Sharing in the Age of Digital Reproduction, Brendan Cormier 8. Mongrel Rapture, ARM 9. Art in the Age of Mechanical Reproduction, Walter Benjamin

Jia Shun (Johnny) Xu 762122 Tutor: Ben Waters Studio 19, Sem1, 2020