Re-visions: Recording Architecture

This course introduces advanced digital techniques and motion graphics as primary emerging modes of architectural representation. Surprisingly little use of these approaches has been made to describe important projects and themes in architectural history. How can our understanding and interpretation of the historically significant in architecture, landscape architecture, and urban design be enhanced by using advanced digital techniques? How does montage, the assembling and synchronizing of motion pictures, relate to our human perception and the way we experience architecture? How might interactive technologies help us?Throughout history methodologies of architectural representation emerged parallel to technological developments; for instance the perspective was primarily able to surface as a representational construct thanks to new surveying technologies developed in the Renaissance. Although it was used in the beginning mainly to record antique architecture it soon shaped the perception on, and the future production of architecture and urban space. Today, new computer technologies have opened up novel ways of representation; i.e. digital models, animations, virtual and augmented realities, immersive environments, 3D prints, and so on. In a similar way to the perspective, these new emerging modes of representation alter our conventional visual constructs and impact our understanding of architectural history. In this course we will explore various modes of digital representation and documentation to record projects and themes in architectural history. Emphasis will be on motion graphics. The course will discuss precedents where digital techniques have been used within a context of historical studies. Examples include Oleg Grabar\'s study of early Islamic Jerusalem, and several projects that have focused on creating virtual \”reconstructions\” (e.g., the Palladio Project or the Unbuilt Monuments project). Other projects have sought to merge digital representations with views of actual sites (the augmented reality Ename 942 Project). These and other projects offer exciting glimpses into the power of conventional digital techniques. The course will further explore the potential and applicability of newer technologies. The aim is to understand what representational constructs are useful for what purpose. Applications in different areas, e.g., research or education, will be explored.[See GSD Courseware Site (link below) for the course web page that contains further information]. KeywordsMontage, motion, and perception are the keywords in the making of motion graphics; authenticity, memory, virtuality, and preservation are the keywords for the broader theoretical grounding of the end product; criticism and reasoning are the keywords for evaluation and discourse. Digital representation words include three dimensional modeling, animations, synchronization of image and sound, multimedia tools for building content and applications for DVDs, kiosks and other settings, immersive environments, and augmented reality systems,Aims1. To give a wider context of visual representation throughout the history of architectural representation2. To describe and explore emerging modes of representation 3. To introduce hands-on experience with motion graphics, interactive technologies, and other software4. To open a discourse on the evaluation and interpretation of new digital techniques in architectural representationTarget audience and PrerequisitesCompletion of the required History & Theory sequence or equivalent, and GSD 2107 in digital media or equivalent. Students from all departments are encouraged to apply. Students should have interest in the history of architecture, landscape architecture, or urban design; and in digital media, film theory, and hands-on processes of digital media production. While this is neither a history/theory course, n