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Dean’s Village, chosen for its prominence as a tourist destination in Edinburgh, serves as a canvas for digital manipulation and reinterpretation. Through lidar scanning and subsequent visual manipulation, Dean’s Village is depicted as spiraling into an alternate dimension, eliciting intrigue and personal engagement from the audience. This intervention not only offers a new perspective on a familiar space but also underscores the transformative potential of digital technologies in reshaping our understanding of urban environments
Data Acquisition and Preparation:
Lidar data of Dean’s Village was acquired and processed, resulting in a comprehensive digital representation of the environment.
The data, initially captured at various locations, was stitched together using Cycle 360 on an iPad, yielding files in .e57 and .las formats.
Subsampling Using Cloud Compare:
The lidar data was imported into Cloud Compare for subsampling, aiming to reduce point density for compatibility with TouchDesigner.
Subsampling techniques were employed to optimize the data while preserving essential details.
The subsampled data was then exported for further processing in TouchDesigner.
TouchDesigner Integration:
Upon import into TouchDesigner, the lidar data file was divided into distinct paths for visual and color input into the geometry.
These inputs were subsequently connected to the camera, facilitating visualization within the TouchDesigner environment.
Interaction Design:
Initially, noise elements were introduced to the data file to enhance visual complexity and dynamism.
Mouse input was incorporated to enable user interaction, allowing specific sections of the data to respond dynamically, such as spiraling movements.
Integration of Leap Motion:
To enhance audience interaction further, Leap Motion technology was integrated into the project.
The Leap Motion SDK was configured on a laptop, enabling seamless integration with the project environment.
Customization of the Leap Motion interface was undertaken to accommodate single-hand input, ensuring intuitive interaction.
The Leap Motion input was integrated into the feedback loop, enabling users to interact with the visual representation through gestures and hand movements.
Output Projection:
The final output, incorporating all interactive elements and visual manipulations, was connected to a window output within TouchDesigner.
This output was then projected onto a screen, providing a dynamic and engaging visual experience for viewers within the exhibition space.
Our project aimed to investigate various modalities for the dissemination of lidar data. Our exploration encompassed the following mediums:
Paper: The utilization of printed raw lidar data facilitated a tactile engagement, allowing users to physically interact with the information. This approach offered a tangible means of presenting the data, enhancing comprehension and immersive understanding.
2. 3D Printed Objects: Through the process of 3D printing, we rendered the lidar-scanned data into physical objects, such as the representation of a sheep’s hat. This reinterpretation of the data into tangible forms provided a novel perspective, transforming abstract data into palpable entities, thereby enriching the experiential dimension of the project.
3. Visual Objects: Employing various visual effects and manipulations, we presented processed lidar data in digital formats. By leveraging digital visualization techniques, we aimed to offer diverse perspectives and experiences of the scanned environment, enabling users to explore the data through different visual lenses.
4. Sound Objects: Our project incorporated both diegetic (field recordings) and nondiegetic (derived from lidar-scanned data) sounds from the scanned environment. These auditory elements were integrated with the visual objects, synergistically enhancing the overall experiential dimension. By intertwining soundscapes with visual representations, we aimed to provide users with a holistic and immersive sensory experience, enriching their understanding of the scanned environment.
In summary, our project engaged with a multidimensional approach to the dissemination of lidar data, encompassing tactile, visual, and auditory modalities. Through these diverse mediums, we aimed to offer users a comprehensive and immersive exploration of the scanned environment, transcending traditional data dissemination methods and fostering novel modes of engagement and understanding.
Paper:
The exhibition space incorporates the use of paper as a fundamental medium, symbolizing the unprocessed lidar data obtained from scans. Positioned strategically throughout the exhibition, these paper displays afford visitors direct access to the foundational data upon which the entire curated experience is based. Furthermore, the arrangement of these paper elements serves a dual purpose, guiding the flow of visitors through the space while also concealing undesirable negative spaces, thereby fostering a cohesive and immersive exhibition narrative.
3D Printed Sheep’s Hat:
Utilizing 3D printing technology, the project explores the transformation of traditional objects, such as the Edinburgh black face sheep’s hat. Through scanning and subsequent manipulation of size and color, the hat undergoes perceptual metamorphosis, transcending its conventional identity. This intervention prompts viewers to reconsider their preconceived notions of form and function, thereby enriching their engagement with the exhibited artifacts.
3D Printed Human Object:
A member of the group, Ming, serves as the subject for the 3D printed human object. Ming is captured amidst black dustbin bags and foil, creating data voids within the scan. The resulting 3D-printed representation encapsulates Ming’s movements, highlighting the interplay between presence and absence. This exploration not only captures Ming’s physicality but also underscores the expressive potential of material choices within the scanning process.
Vennel Staircase Visual Object:
The Vennel Staircase, a renowned photographic landmark in Edinburgh, undergoes reinterpretation through lidar scanning and digital manipulation. The staircase is visually reimagined as cascading downwards akin to a waterfall, a transformation further accentuated by accompanying auditory elements. This intervention not only reframes the familiar space but also invites viewers to contemplate the dynamic interplay between physical reality and digital representation, thereby fostering a renewed appreciation for the urban landscape.
Dean’s Village Visual Object:
Dean’s Village, chosen for its prominence as a tourist destination in Edinburgh, serves as a canvas for digital manipulation and reinterpretation. Through lidar scanning and subsequent visual manipulation, Dean’s Village is depicted as spiraling into an alternate dimension, eliciting intrigue and personal engagement from the audience. This intervention not only offers a new perspective on a familiar space but also underscores the transformative potential of digital technologies in reshaping our understanding of urban environments
ECA Visual Object:
The underlying principle governing the design methodology employed in crafting the point cloud data for the campus section was the reinterpretation of familiar vistas. First central to this endeavor was the conceptualization and realization of the Edinburgh College of Art (ECA), whose thematic essence revolves around the motif of “natural growth”. This initiative entailed a holistic amalgamation of disparate elements, including the West Court of the ECA’s main edifice, the intrinsic architectural configuration of the Sculpture Court, and the outward expanse of the ECA center courtyard. Leveraging the transformative capabilities inherent within the point cloud model, each constituent data point was imbued with characteristics reminiscent of verdant vitality, thereby evoking an imagery akin to the organic evolution of flora. By meticulously processing the point cloud model, each data point was rendered to emulate a dynamic graphic portrayal, exhibiting a continuous metamorphosis akin to that of a flourishing botanical entity. Consequently, the architectural ensemble of the ECA assumed an appearance reminiscent of a post-apocalyptic construct enveloped by lush vegetation. Furthermore, the experiential facet of this endeavor was enriched through the utilization of a third-person controller mechanism, facilitating player traversal and exploration within the designated environment. This immersive engagement afforded participants a departure from quotidian encounters, thereby fostering a transformative encounter with the built environment.
EFI Visual Object:
The next step was to process the point cloud model of the EFI building. Situated within the esteemed confines of the Old Royal Infirmary and constituting an integral facet of the University of Edinburgh, the Edinburgh Futures Institute (EFI) epitomizes a nexus of innovation and forward-thinking scholarship. In conceptualizing the design ethos for this visionary institution, paramount consideration was accorded to its futuristic orientation, encapsulated within the overarching theme of “fantasy and technology”. Accordingly, the aesthetic palette adopted for EFI’s particle representation exudes a pronounced technological ethos, characterized by an interplay of vibrant blues and yellows. Each datum within this milieu undergoes a distinct processing treatment, markedly divergent from the approach adopted for the Edinburgh College of Art (ECA). Herein, every data point assumes the form of a fluctuating piece of paper, symbolizing the transient nature of information dissemination and evolution. The chromatic spectrum exhibited by these particles extends beyond the predominant blue and yellow hues, encompassing an eclectic array of colors such as azure, emerald, amethyst, and citrine. Moreover, the dynamic positioning of each data point imbues the ensemble with an ethereal, ever-shifting quality, evoking a surreal, dreamlike ambiance. Ultimately, the integration of a first-person camera interface facilitates user immersion within the reimagined confines of the EFI edifice, offering a transcendent journey akin to traversing the realm of dreams.
Sound object:
The combination of visuals and sound in films brings us an immersive experience, where sound plays a crucial role in shaping immersive spaces.Michel Chion categorizes film sound into two parts in “Audio-Vision: Sound on Screen”: Diegetic, which is sound within the narrative space, and Nondiegetic, which is sound outside the narrative space. The interplay and transformation between these two types of sound create a sensory immersion for the audience.Meanwhile, Ben Winters mentions in “The Non-diegetic Fallacy: Film, Music, and Narrative Space” that Nondiegetic sound is partly a sign of the fictional state of the world created on screen.Therefore, can we apply the theories of Michel Chion and Ben Winters to art installations, making sound an indispensable part of sensory immersion and allowing sound to work with visuals to create a field within the “Place” of this installation?
Sound is divided into two parts: Diegetic and Nondiegetic. Diegetic refers to field recordings, while nondiegetic refers to LiDAR data sonification. In the Diegetic component, we use field recordings to reveal the unnoticed details in the real world, which can give the audience a sense of familiar unfamiliarity. This type of sound can shorten the distance between the audience and the space of the installation. In the Nondiegetic aspect, we primarily use sounds from synthesizers, which are very distinctive and can quickly capture the audience’s attention. Through the combination of diegetic and nondiegetic sounds, the entire installation’s field is placed at the intersection of reality and virtuality, making it both real and beyond reality.
The Vennel Staircase, a renowned photographic landmark in Edinburgh, undergoes reinterpretation through lidar scanning and digital manipulation. The staircase is visually reimagined as cascading downwards akin to a waterfall, a transformation further accentuated by accompanying auditory elements. This intervention not only reframes the familiar space but also invites viewers to contemplate the dynamic interplay between physical reality and digital representation, thereby fostering a renewed appreciation for the urban landscape.
Data Acquisition for Vennel Staircase:
The lidar data capturing the Vennel Staircase environment was meticulously acquired using specialized equipment and techniques.
The scanning process aimed to capture detailed spatial information, including the architectural features and contours of the staircase and its surroundings.
Subsampling for Vennel Staircase:
Subsequent to data acquisition, the lidar data underwent subsampling procedures to optimize its density and format for downstream processing.
Utilizing software tools such as Cloud Compare, the point cloud data was subsampled to reduce computational overhead while preserving essential details.
TouchDesigner Integration for Vennel Staircase:
Upon completion of subsampling, the subsampled lidar data was imported into TouchDesigner, a visual programming environment.
Within TouchDesigner, the imported data was processed and manipulated to create dynamic visualizations of the Vennel Staircase environment, incorporating elements such as color mapping and texture rendering.
Point Transformation for Vennel Staircase:
A critical component of the visualization involved the implementation of point transformation techniques to simulate specific visual effects, notably the waterfall-like motion.
Through customized algorithms and feedback loops, certain points within the lidar data representing the staircase were dynamically manipulated to create the desired visual impact.
Output Projection for Vennel Staircase:
The final output generated within TouchDesigner, incorporating all visual enhancements and interactive elements, was prepared for projection onto a display screen.
Utilizing appropriate projection equipment, the enhanced visualization of the Vennel Staircase was projected within the exhibition space, providing viewers with an immersive and engaging experience of the digitally transformed environment.
1. 3d printed model of the sculpture in Dean’s village
Lidar Scan of the Sculpture: Lidar scanning involves using laser pulses to measure distances and create a detailed 3D representation of an object or environment. In this case, a lidar scan was taken of the sculpture in Dean’s Village. This scan captured the external surface geometry of the sculpture.
Subsampling and Splitting in Cloud Compare: Subsampling refers to reducing the number of points in the point cloud dataset, often done to manage data size or processing requirements. Splitting the point cloud into halves likely involved isolating and manipulating different parts of the sculpture’s geometry. By splitting the point cloud, the interior hollow of the sculpture was exposed, revealing details that may not have been visible from the outside.
Manipulation in Rhino Software: Rhino is a powerful 3D modeling software commonly used for tasks such as CAD (Computer-Aided Design) and 3D modeling. In this step, the subsampled and split point cloud data was manipulated in Rhino to create an illusioned mesh of the sculpture. This process likely involved smoothing, sculpting, and possibly adding or modifying details to enhance the visual appeal or conceptual meaning of the sculpture.
3D Printing: Finally, the manipulated digital model was translated into a physical form through 3D printing. This process involves layer-by-layer deposition of material based on the digital model, resulting in a tangible replica of the digitally manipulated sculpture.
The phenomenon of showing manipulated objects, such as in the case of this sculpture, can evoke a sense of curiosity and wonder for several reasons:
Blurring Boundaries: By manipulating the digital representation of the sculpture, boundaries between physical reality and digital imagination become blurred. Viewers may be intrigued by the interplay between the original form of the sculpture and the creative reinterpretation facilitated by digital tools.
Unveiling Hidden Realities: Manipulating the point cloud data to reveal the interior hollow of the sculpture exposes hidden realities that are not immediately apparent from its external appearance. This revelation can spark curiosity about the structure and composition of the sculpture, inviting viewers to explore its hidden depths.
Engagement with Interpretation: The act of manipulating the digital model involves subjective interpretation and creative expression. Viewers may be curious about the intentions and motivations behind the manipulation, leading to deeper engagement with the artwork and its conceptual underpinnings.
2. Touch reactive point cloud
The concept of a bridge in Dean’s Village spiraling into space upon touch using TouchDesigner presents an intriguing fusion of physical infrastructure and interactive digital art.
Physical Structure: The bridge in Dean’s Village serves as the tangible, real-world foundation for the interactive experience. Its solid, fixed form represents stability, connection, and continuity. This physical structure is familiar and concrete, providing a tangible starting point for the interactive journey.
Spiraling into Space: The transformation of the bridge into a spiraling structure that extends into space introduces a sense of dynamism, movement, and transformation. This spiraling motion symbolizes a departure from the ordinary, a transcendence of physical constraints, and an exploration of new dimensions. It represents a departure from the mundane and an invitation to journey into the unknown.
Interactive Engagement: The use of TouchDesigner to enable the bridge to spiral into space upon touch adds an interactive layer to the experience. TouchDesigner is a powerful visual programming platform that allows for real-time interaction and manipulation of digital content. By incorporating touch input, the concept invites active participation and engagement from the audience, empowering them to shape and influence the unfolding narrative.
Symbolism and Metaphor: The concept of the bridge spiraling into space can be rich with symbolism and metaphor. It can evoke themes of exploration, discovery, and transcendence. The bridge represents a threshold between familiar and unknown realms, while the act of spiraling into space signifies a journey of transformation, expansion, and self-discovery. It prompts contemplation of boundaries, limitations, and the human capacity for exploration and innovation.
Aesthetic and Sensory Experience: Beyond its conceptual depth, the concept also offers a captivating aesthetic and sensory experience. The visual spectacle of the bridge spiraling into space, accompanied by sound, light, and possibly other sensory elements, creates a multisensory journey that captivates the imagination and stimulates the senses. It blurs the boundaries between physical and digital realms, inviting viewers to immerse themselves in a captivating world of imagination and possibility.
3. Human object crumbling into lines
The concept of a human object crumbling into lines with TouchDesigner, projected onto two pieces of black mirrored acrylic sheets placed perpendicular to each other, introduces a fascinating exploration of fragmentation, reflection, and multidimensional imagery. Let’s delve into the concept and its implications:
Human Object Crumbling into Lines: Using TouchDesigner to simulate a human object crumbling into lines offers a powerful metaphor for transformation, dissolution, and disintegration. This visual effect can evoke themes of impermanence, mortality, and the ephemeral nature of existence. The human form, a symbol of identity and corporeality, undergoes a process of deconstruction, breaking down into abstract lines that blur the boundaries between form and formlessness.
Projection onto Mirrored Acrylic Sheets: Projecting the fragmented imagery onto two pieces of black mirrored acrylic sheets positioned perpendicular to each other introduces a mesmerizing interplay of reflection and refraction. The mirrored surfaces create an illusion of depth and complexity, as the fragmented lines are multiplied and reflected in multiple directions. This multidimensional aspect of the installation adds a layer of visual richness and complexity, inviting viewers to explore different perspectives and interpretations.
Perpendicular Placement: Placing the mirrored acrylic sheets perpendicular to each other enhances the immersive and transformative nature of the installation. The intersecting angles create dynamic visual compositions, as the fragmented lines interact and intersect in unexpected ways. The viewer’s perspective becomes an integral part of the experience, as they navigate the shifting reflections and perspectives generated by the mirrored surfaces.
Multidimensional Image: The use of mirrored acrylic sheets to reflect the fragmented imagery results in the creation of a multidimensional image that transcends the physical boundaries of the installation. The viewer is immersed in a spatially expansive and visually immersive environment, where the boundaries between reality and illusion are blurred. This multidimensionality encourages contemplation of the interconnectedness of all things and the fluidity of perception.
Conceptual Depth: Beyond its visual spectacle, the concept of a human object crumbling into lines and reflected on mirrored acrylic sheets opens up a space for deeper contemplation and reflection. It prompts exploration of themes such as identity, transience, and the nature of reality. The juxtaposition of the human form with abstract geometric lines invites viewers to reflect on the relationship between the individual and the universal, the tangible and the intangible.
Case Study 1: LiDAR Scanning of the Old Medical School
Context and Objectives
The Old Medical School, one of the oldest medical schools with substantial architectural height, was selected as the primary site for implementing LiDAR scanning techniques acquired from uCreate training.
Technology Selection
The BLK360 G1, with its extensive range capabilities, was chosen for its ability to capture the full scope of the building’s façade, which was critical for the comprehensive data collection required for this historic structure.
Scanning Methodology Adjustment
Initial plans to conduct a central scanning operation were altered upon discovery that the extremities, specifically the corners, were not being captured effectively. A strategic decision was made to scan from point 2, facilitating a seamless integration with point 3’s scan for complete data stitching.
Adaptive Scanning Strategy
Faced with the challenge of scanning the entire site in one session, the team adapted their approach by employing multiple scanning points and conducting repeat scans to ensure accuracy. This underscored the importance of pre-planning scanning operations according to the unique characteristics of each site to achieve complete data acquisition.
Case Study 2: LiDAR Scanning at the Edinburgh Futures Institute
Selection Rationale
The Edinburgh Futures Institute was selected for the second case study due to its historic significance within the University of Edinburgh and its embodiment of modern challenges and educational methods in its architecture, providing a rich comparison to the Old Medical School.
Advanced Scanning with BLK360 G2
For this second scan, the advanced BLK360 G2 was utilized for its enhanced scanning speed and high-precision range. The process was divided into two distinct phases: classroom scans to establish building dimensions and detailed corridor scans to capture the finer architectural elements.
Classroom Scanning
The first phase involved scanning from each classroom corner, capturing detailed measurements to establish the building’s spatial dimensions. This provided a foundational layout from which further details could be extrapolated.
Corridor Detail Scanning
The second phase focused on the internal corridors, using an inside-out scanning approach. This comprehensive method yielded not only spatial data but also detailed color, intensity, and textural data, which would be vital for future design considerations.
Data Processing and Workflow
The data processing stage was crucial in understanding the storage and manipulation of point cloud data. The team gained expertise in selecting and filtering data, as well as in mastering the software workflow necessary for processing LiDAR data, which included:
Initial data capture with the LiDAR scanner.
Data synchronization via Cyclone FIELD 360 on an iPad.
Point linking and exportation in a specified format.
Importation into Cyclone REGISTER 360 for editing.
Selection of specific data attributes for final export, detailing key characteristics like distance, color, and material properties.
Visual Impact: Projections on water surfaces will ripple and distort, creating an ever-changing and ephemeral effect. Reflections add depth and complexity to the visuals, enhancing the overall immersive experience.
Sound Correspondence: Water sounds such as gentle waves or splashing add an auditory dimension to the installation, enhancing the sensory experience.
Stone:
Characteristics: Solid, textured, rough.
Visual Impact: Projections on stone surfaces will retain texture and may appear slightly muted or subdued. The roughness of the surface adds a tactile quality to the visuals, creating a sense of groundedness and solidity.
Sound Correspondence: Stone surfaces may evoke sounds of echoes or reverberations, enhancing the overall auditory ambiance.
Trees:
Characteristics: Organic, textured, irregular.
Visual Impact: Projections on tree surfaces will interact with leaves, branches, and natural contours, creating a layered and immersive effect. The irregularity of tree surfaces adds depth and complexity to the visuals, blurring the boundaries between nature and artifice.
Sound Correspondence: Tree surfaces may evoke sounds of rustling leaves or creaking branches, enhancing the naturalistic ambiance of the installation.
Visual Impact: Projections on curtain surfaces will appear diffuse and ethereal, with images subtly shifting and changing as the fabric moves. The semi-transparency of curtains adds a sense of mystery and intimacy to the visuals, inviting audiences to peer through layers of fabric.
Sound Correspondence: Curtains may evoke sounds of gentle rustling or swishing, enhancing the atmospheric quality of the installation.
Mirror:
Characteristics: Reflective, smooth, polished.
Visual Impact: Projections on mirror surfaces will be mirrored back to the audience, creating a sense of infinity and doubling the visual impact. The smoothness and polish of mirror surfaces enhance clarity and sharpness, allowing for precise and detailed projections.
Sound Correspondence: Mirror surfaces may amplify sounds, adding a sense of resonance and depth to the auditory experience.
Based on Ming’s idea for creating four dimensions, we came across a project called Cube Infinite. They used six mirror surfaces, which were put together into a cube shape. They explained that when they looked into it through an opening, it gave a vertigo-like sensation. This made me curious if a four-dimension feel could be achieved when the projection is made inside this cube which would feel like an infinity realm inside scanned buildings or created with scanned images of outside places.
This gave an idea of how different materials come together in the same place and give us different visual experiences. In this project, they use a specific kind of mirror that makes things appear concave when come closer and convex as you go further. At an optimum distance, it appears to be flat. How could this surface change the visual experience if the scanned projections are onto them?
This gave rise to another thought about surfaces that interact with human movement or touch. Exploring not only the movement but also enhancing it with projections and sounds that correspond would be something interesting to work on.
Ryoji Ikeda’s audiovisual in Amos Rex museum
The art of Japanese composer and artist Ryoji Ikeda (1966) consists of precise soundscapes and moving image. The artist approaches his materials in the manner of a composer. Whether a pixel, sound wave, space or data, Ikeda sees them all as part of the composition process.
Ikeda’s exhibition at Amos Rex draws inspiration from the museum’s extraordinary architecture. On view are five installations, which explore the invisible dimensions of the universe and pushes the limits of perception.
Data Translation : The work translates various data inputs into audio-visual outputs that reorder how we see and hear the world around us. This speaks to Ikeda’s broader artistic aim of revealing the hidden structures and patterns that underlie our reality.
Immersive environment: The 2,200 square meter domed underground space, combined with surround sound and large-scale projections, creates an immersive experience that envelops the audience. The industrial hum and vibrations add to this effect.
Hypnotic, meditative visuals: Works like “mass” feature repetitive, pulsing geometric animations that have a hypnotic, trance-like quality. They act as visual mantras that captivate attention and inspire imagination.
Perceptual phenomena: Many of the works leverage illusory effects, afterimages, and optical tricks to engage the viewer’s perception. For example, “spin” uses a rotating laser projection to create a flickering 3D/2D effect.
The proposed installation aims to redefine perceptions of Edinburgh by presenting its overlooked architectural elements through an amplified data-informed lens. Utilizing Lidar scanning technology, the project captures intricate details of iconic sites, dissecting them into abstract components. These elements are then projected onto unconventional materials, sourced from waste produced by the University of Edinburgh. By juxtaposing familiar landmarks with discarded materials, the installation challenges viewers to reconsider their preconceptions and engage with the city in a new light. Through this innovative approach, the project seeks to foster a deeper connection between the audience and the urban landscape, encouraging reflection on sustainability, consumption, and the inherent beauty of everyday spaces.
INTRODUCTION
The proposed installation seeks to offer viewers a pulverised perspective on Edinburgh’s architectural landscape, challenging conventional notions of beauty and significance. Often, iconic sites in the city are revered for their historical or cultural importance, yet the everyday elements that comprise these landmarks are overlooked. We aim to shift this narrative by leveraging advanced Lidar scanning technology to capture the intricate details and nuances of these structures, dissecting them into their fundamental elements.
In a collaborative effort with the University of Edinburgh, the installation addresses waste management by repurposing discarded materials collected from the university premises. This approach not only promotes sustainability by reducing waste but also adds layers of meaning and context to the project, emphasizing the symbiotic relationship between architecture and environmental stewardship.
At its core, the installation employs an innovative projection mapping technique. Rather than projecting conventional images onto screens or walls, abstract representations of the scanned architectural elements are projected onto the collected waste materials. This juxtaposition challenges viewers’ perceptions and prompts contemplation on themes of consumption, waste, and environmental responsibility. By visually intertwining Edinburgh’s architectural heritage with waste materials, the installation encourages audiences to critically examine the balance between preservation and progress.
The selection of materials for the installation is deliberate, aiming to create contrast and tension. On one hand, there is the timeless elegance of Edinburgh’s architecture, abstractly represented through projections. On the other hand, there is the tangible reality of waste materials, symbolizing the transient nature of human consumption and its environmental impact. This contrast encourages viewers to engage with the installation and reflect on the environmental implications of modern living.
Additionally, the interactive nature of the installation invites viewers to actively participate. As they navigate through the exhibit, they are prompted to consider the relationship between the projected images and the physical materials on which they are displayed. This experiential approach fosters a deeper connection between the audience and the urban landscape, prompting reflection on the intrinsic beauty of everyday spaces and the importance of sustainability in preserving them for future generations.
In conclusion, the proposed installation represents a novel exploration of Edinburgh’s architectural identity, blending technology, art, and sustainability in a thought-provoking manner. By recontextualizing familiar landmarks and repurposing discarded materials, the project challenges viewers to reconsider their perceptions of the city and its built environment. Ultimately, it advocates for a more conscious and responsible approach to urban living, inviting audiences to envision a sustainable future for cities worldwide.
The perception of the word place may vary from person to person. To me a place is always connected to the emotions i experienced which makes it a memorable experience.
During last meeting with Asad Khan, we discussed various ideas of how we could make an interesting immersive experience installation with the help of Lidar Scanner.
As we are a group with different cultural background, we wanted to take advantage of it. As we discussed an thought that i had in my mind a few days back popped in my head. A place can be used differently in different cultural background and the people, culture and emotions give the place a whole different meaning. For example, while i was walking through the meadows, I imagined how the whole place of meadows could be changed if it were placed back in my home town in India. It would had a very different use and feel to what it has over here. So the various cultural uses of the places could be captured to show how a same place can give a different feel and emotion. As Ming Du suggested, adding user interaction to this could keep the audience engaging and interested to test out different combinations which would provide a different feel every different time.
Another thought that popped in my head was could lidar scanned images be perceived in 3-dimention with stacking up various 2d images in the room , making us feel like we are walking into the actual place. The manipulation of shadows was also something that caught my mind when the nature of 3-dimension comes into play. The shadows give depth to what we perceive. But can this be manipulated by us into looking differently or being differently by different people? Capturing actual images and then mixing it with only shadows that are captured could give us a totally different feel. The whole viewpoint of an object and a manipulated shadow could cloud the image of the actual object in our mind. Could this be something that we can play with and manipulated? Also as Qinglig suggested, we could not only use the scanned images, but also mix the experience with real time objects which would give a different feel to the whole experience.
Combining these aspects with various sound interventions could alter our perception of an object which could be interesting as it is not something that can be captured by the naked eyes. Image manipulation could be perceived by different people by different methods.
