| id |
acadia20_198p |
| authors |
Birkeland, Jennifer; Scelsa, Jonathan A. |
| year |
2020 |
| title |
Live L’oeil – Through the Looking Ceiling |
| 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. 198-201 |
| summary |
Following the proliferation of linear perspective during the Renaissance, the hegemony of the vantage point was often problematically used to signify the patron’s dominance. During the mannerist era, we witnessed the creation of elaborate rooms, painted in architectural linear perspective establishing the illusionary space of faraway lands - a measure of optic imperialism wherein the conquests of the west played out in the domestic decoration of the elite later provided to the public as a societal spectacle in the form of the panorama. Within these architectural illusions, or Quadratura as they were named in Italy, lies the most notable and justifiable critique of design by vantage point, the question ‘which vantage point is privileged?’ History not surprisingly reveals that the typical vantage point was most problematically centered at one and three-quarter meters above the ground – coincident with five centimeters below the average height of a human European male. The design of architectural form through view or spatial image has arguably perpetuated this act of optic bias. This project addresses this problematic practice of design by vantage point by utilizing motion sensors to liberate the virtual space of a canonic example of quadrature from its confines within a singular vantage point. The authors digitally modeled the projective space of Andrea Pozzo’s vision for the Church of Sant’Ignazio di Loyola in Rome, scaled and fit to a gallery space outfitted with a canvas to inform a ceiling plane. Anamorphic images of the virtual heavenly space, as seen through the canvas ceiling picture plane, were created from the digital model and encoded to the individual moments in the room. Individuals who moved through the gallery were followed by the illusion of the heavenly space, creating a live l’oeil distortion. |
| series |
ACADIA |
| type |
project |
| email |
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| full text |
 file.pdf (2,056,487 bytes) |
| references |
Content-type: text/plain
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Evans, Robin (2000)
 The Projective Cast: Architecture and its Three Geometries
, Cambridge, MA: MIT Press
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| last changed |
2021/10/26 08:08 |
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