Nowadays, In our contemporary world, images are performing an important role in our lives and we have interaction with them every day. This importance caused this philosophical question: what is image exactly? “We can’t understand the existence of images at all, because understanding needs classification and it’s impossible for images because each image is not splitting into its content and each content is unique.” Roland Barthes said in Camera Lucida. This project is questioning the existence of image and space and tries to define a new relationship between them. We tried to discover the new possibilities of using images in architecture to find new answers for these basic questions: what is the image? What is space? And how they can help each other to define themselves? Tehran museum of digital art is a good opportunity to rethink about these fundamentals in art and architectur
We’ve had two strategies in designing level which each of them helps to design different parts of the project:
1.objective approach: to design the platfomrs of the programms (low poly)
2.subjective approach: to design the skin of the project (high poly) : This part of our design strategy developed the techniques to relate the architecture with the images.
These design strategies make the three types of qualities in the project which each of them can be understood from the different distances of the project. For example, when you have a long-distance with projcet the overlaying of patterns can be recognized, you get closer and the patterns themselves (high poly) can be recognized and then when you enter the low-poly can be understood. from this point of view in our design strategy, we›ve developed 3 techniques that organize the mass and void of the project.
from our point of view in the design strategy, we have developed 3 techniques that organize the mass and void of the project.
1. boolean difference: this technique which we developed is based on the boolean difference method. We thought this method is representing the origin of the image and create space parallelly. Subtracting our 3d pattern from another 3d pattern creates our skin for galleries. This technique lets us create a mass with varieties of recognition for users. In Aliqapu in Isfahan we see the same technique, Dariush Shayegan talked about Henry Corbin’s perspective in his book when he saw the Aliqapu: “You see the image but when you get closer, you can’t find any physics. This is representing of virtuality. “
2. image contour: tthis technique is based on the contour method and helps to create the canopies of the project. after splitting the volume and select them alternately, we project two images, one for outside and another for inside.it likes Jiriti Kolar artworks but in the 3-dimensional space. From a far distance of the project when you see this part, you see 2 different images but can’t recognize them completely. And when you enter, you see one image clearly. We reached a hybrid quality of paintings that procrastinate the understanding of art and space by separating apart paintings to little pieces.
3. Regular projection: this technique is just for landscape and not creating space.
Part to whole / Whole object
As a result of our techniques which we’ve developed, this project changes the relationship between part and whole fundamentally. If before that, we’ve known an artwork as a whole image, because of these techniques which we’ve developed, our understanding of painting changed and now we can see a little part of an image as a whole part of the artwork. This is questioning the existence of art basically.
Reality vs. Illusion
This project change the meaning of reality and imagination too. You can’t understand the whole paintings or whole space. Procrastination of user’s understanding of space and art causes of reality misreading. When users see a part of a painting and wnat see the whol, should move and discover the rest, but in his journey, he lost the first painting by a discovery of a new image.