Seminar Work / 2021
Collab. w/ Kenny Kim
Prof. Hyojin Kwon and Zach Seibold
The project starts with an interest in using facades to explore the discrepancy between the flatness of its surface vs. the spatial quality it possesses. When we think of an image, it is usually through its flatness, somewhat neglecting the complexities of its three-dimensionality. Thus, the separation of the layers exposes the illusions of pictures often depicted in orthographic projections.
Orthgraphic vs. Perspectival
We started questioning what exists in this discrepancy. What happens in-between? The transition from digital to physical, through photogrammetry, exposed mesh as a new medium to digitalize the physical. For us, paper became the medium that allows this transition from digital to physical, where image mapping is a way of materializing the mesh, digital projection is a way to set the material or the paper.
In addition, we found a few techniques for manipulating the paper, such as folding, crumping, rolling, and stacking. We found that although the initial expectation of some of the methods was to produce a clean surface, i.e., the rolling, the projection resulted in a much more textured surface.
With mesh and paper as mediums, and through the constant cycle or transition from digital to the physical, the boundary almost diminishes or blurs. As a result, the question is less about its origin or references, but it starts to become de-materialized and gain its aura. Yet, the question is more about what it is as an artifact and its infinite potentials.
We created a platform of experimentation for the model where the framework almost mimics the feeling of a mesh or the imperfection through paper. We then used the photogrammetry process to digitalize the physical, re-emphasizing this transition. Through this process, the project showcases individual artifacts, leading to a new artifact that is much more experiential.