| id |
acadia20_160p |
| authors |
Scelsa, Jonathan A.; Birkeland, Jennifer |
| year |
2020 |
| title |
The Collective Perspective Machine |
| source |
ACADIA 2020: Distributed Proximities / Volume II: Projects [Proceedings of the 40th Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-95253-6]. Online and Global. 24-30 October 2020. edited by M. Yablonina, A. Marcus, S. Doyle, M. del Campo, V. Ago, B. Slocum. 160-163 |
| summary |
Since the age of humanism, both on the easel and our screens, the production of the architectural image has been conventionally governed by one individual, whom we might refer to as the drafter. As the primary author sitting in the chair of the vantage point, the drafter occupies the privileged position, for whom the translation between the second and third dimensions establishes an approximate realism. The viewers, or secondary participants, by contrast, are relegated to a subordinate position, subject to the residual distortions of the drafter’s vision, based on their relative vantage points. While perhaps cynical, our current condition does not share the same philosophical positivistic optimism of the Renaissance, nor the ideal faith in humanity that empowered the democratic universalisms of modernity. Rather, it is formed from an ambiguous inquiry into creating a new sense of truth, brought forth by the proliferation and amplification of multiple individual ‘perspectives.’ In his conclusion to The Projective Cast, Evans illustrates ten ‘transitive spaces’ of geometric projection towards the generation and representation of a designed object. The fifth “transitive space” describes the space between a building or object and its defined perspectival representations. Evans observes that this path typically follows the progression from the object to a photo or a drawing and is rarely reversed. This project and machine designed for an exhibition seeks to establish a new procedure for generating design, neither subjectively from a personal static individual point nor objectively in the round for all to experience equally. Instead, a new machine establishes form as the hybrid of multiple responsive perspectives wherein all viewers are simultaneously the generator of projective form and the receiver of distorted images. |
| series |
ACADIA |
| type |
project |
| email |
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| full text |
 file.pdf (3,483,176 bytes) |
| references |
Content-type: text/plain
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Oleksijczuk, Denise Blake (2011)
 The First Panoramas: Visions of British Imperialism
, Minneapolis, MN: Minnesota Press, 4
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| last changed |
2021/10/26 08:03 |
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