![]() ![]() Significantly, the design–based research demonstrations and analytical diagrams aim to make explicit the conceptual and technical implications of the space–image relation in Architecture that are rarely manifest in a clear, illustrative form by authorities in the field. ![]() Methodologically, this thesis primarily uses historical resources in order to instrumentally explore contemporary problems in Visual Culture and Architecture in parallel to the construction of a series of design–based research demonstrations and analytical diagrams constructed by the author. That is to say, it is both reflective and projective in attempting to provide a lens through which to suggest relevant techniques that could be applied in the conceptual and technical application of pictures on the interior and exterior surfaces of architecture today. This thesis both historicises and speculates on the changing relationship between pictures and viewers in Western Visual Culture in terms of the dynamic interchange between static and moving images, and stationary and moving viewers. This thesis makes a significant and original contribution to the discipline of Architecture by opening up issues of contemporary image-technology, exploring their impact on the tripartite relationship between images in space and space in/within images. This thesis presents a history of concepts and techniques that outline how viewers have engaged with pictures when displayed in space, how space was represented within the image’s composition (space in images) and, finally, how the space in which the image was displayed itself was subsumed within the composition of the image (space within images). In order to reveal potential insights concerning how emerging image–technologies might affect the conception and experience of spatial effects in Architecture, it is necessary to better understand how space was represented and incorporated within pictures through the lens of older relations between space and image in the History of Western Art. These fabrication technologies have allowed for the relatively cheap application of images onto almost any material and surface of a built form, with little to no consideration of the broader History of Visuality upon which these image–technologies are ultimately indebted. Further, the re–emerging interest in surface effects throughout the 1990s has-in no small part-materialised as a direct result of increasingly powerful computer processors in combination with the seamless transfer of information between the computer–based design and visualisation software that is used to conceive complex geometrical forms, and the fabrication technologies applied to manufacture these complex geometries as built architectural forms. For example, linear perspective’s influence upon how architectural space is constructed in computer-based environments today remains relatively unchallenged, whilst other creative disciplines apply alternative non-perspectival means of representing space. ![]() However, much of the knowledge that underpins how architecture is represented is derived directly from concepts and techniques indebted to Renaissance pictorial art. The context in which these propositions are explored and tested is conceptually framed by image-technologies, such as computer-based design and visualisation software. "Our visual relationships with architectural propositions are highly mediated by representations, and the image-technologies used to construct them. ![]()
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