++ [ THESIS: MAJOR THESIS PROJECT ]
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Semester 2 – Thesis Stage 2
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Case Study – Palazzo Spada, Borromini, Rome
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Diagram – Geometry VS Visual Illusions – Relationships/Impact
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Motion Parallax :
Mouse and Keyboard Navigation Sketches – Processing
Research:
Parallax is an apparent displacement or difference in the apparent position of an object viewed along two different lines of sight,
Motion parallax is a depth cue that results from our motion. As we move, objects that are closer to us move farther across our field of view than do objects that are in the distance.
Depth perception arises from a variety of depth cues. These are typically classified into binocular cues that require input from both eyes and monocular cues that require the input from just one eye. Binocular cues include stereopsis, yielding depth from binocular vision through exploitation of parallax.
- Motion parallax – When an observer moves, the apparent relative motion of several stationary objects against a background gives hints about their relative distance. If information about the direction and velocity of movement is known, motion parallax can provide absolute depth information.
- Depth from motion – One form of depth from motion, kinetic depth perception, is determined by dynamically changing object size. As objects in motion become smaller, they appear to recede into the distance or move farther away; objects in motion that appear to be getting larger seem to be coming closer. Using kinetic depth perception enables the brain to calculate time to crash distance (aka time to collision or time to contact – TTC) at a particular velocity.
- Accommodation – This is an oculomotor cue for depth perception. When we try to focus on far away objects, the ciliary muscles stretches the eye lens, making it thinner. The kinesthetic sensations of the contracting and relaxing ciliary muscles (intraocular muscles) is sent to the visual cortex where it is used for interpreting distance/depth. Accommodation is only effective for distances less than 2 meters.
The Videos below are experimentations using Navigation outcome to show how depth perception arises from depth cues as well as the effect of navigating through a space can result to motion parallax from navigating.
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Grids: Perspective Patterns – Part 1
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Grids: Perspective Patterns – Part 2
Looking at areas in regent’s park I have noticed the way that the trees are positioned within divisions of an area. Examining different areas within the park as to get a further comprehensible understanding of the layout I wanted to examine the perspective they create. I used Google maps to collect the data more accurate. Obviously the positioning was some ways random and some ways geometrical.
To start with I thought what if the numbers of trees, in this case considering them as elements-posts, were placed in a geometrical sequence? I looked at various examples of effects of perceptiveness and the depth of field or the visual illusion and attenuation they construct.
I then decided to look at the natural elements within those areas as non-geometrical patterns, and visualized that if they are connected from random points they form various patterned grid.
Next step was to manipulate those distortions, which in theory they would create a distorted confused perceptiveness, and an uncomfortable situation. To do so I chose to manually construct a geometrical grid to fill the area where are the existing components.
Coming across the patterns that the elements construct I decided to formulate a selection of a few viewpoints and illustrate the outline of the perspective depths appearing. The white posts correspond to the trees as the existing elements.
Emerging Perspective Patterns
In addition to illustrating outlines of emerging fro perspective vision, instead of treating those sites in plan, Panoramic pictures was the next step forward.
Following is a selection of 3 panoramas of the regions between the park’s paths, highlighting the perspective generated from a standpoint.
The trees as elements are transformed and represented as posts. Then through the ‘posts’ appear the perspective illustrations. Colours represent the perspective view that is nearer , in turn clearer, with red colour being the most explicable and understandable.
Distorted Motion, using Flash
From various sources, persisting with investigation on Perspective Vision and Paralax motion i have found that in Peripheral vision, on the outer extremes of the visual field, parallel lines become curved, as in a photo taken through a fish-eye lens. This effect, although it’s usually eliminated from both art and photos by the cropping or framing of a picture, greatly enhances the viewer’s sense of being positioned within a real, three dimensional space.
Classical perspective has no use for this so-called “distortion“, although in fact the “distortions” strictly obey optical laws and provide perfectly valid visual information, just as classical perspective does for the part of the field of vision that falls within its frame.
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Emerging Perspective Patterns:
Illustrative Converted extraction to 3D
Isolating and Distinguishing
As mentioned above, athough I first took these panoramic pictures and drew the perspective outlines while looking at the gridded patterns from the exiting natural elements (trees) I again decided to convert not only these outlines but also the posts in place of the existing elements to 3d as to look have them isolated and distinguished.
The scene is visualized with the illustrated perspective outlines as an architectural element. This architectural element emerged by first visualizing those outlines as 3d and then converting them to 3d by extruding the perspective outlines that formed a variety of gridded patterns. The idea is to observe and perceive what would be present architecturally, by means of forming an internal or enclosed space that could be used to interfere with an occupants or users experience.
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Selected Area
After the earlier experimentations, below is the selected area in Regent’s Park for thesis progress and project development.
Aerial perspective – Is the effect of atmosphere on the perception of depth and distance. As particulate matter in the air gradually builds up over distance, the light reflecting off a particular object is filtered out to a greater or lesser degree. As a result, bright objects become duller and sharp edges become less distinct. And at the same time changes also occur, due to light scattering by the atmosphere, also resulting that objects that are a great distance away have lower luminance contrast and lower color saturation. ( Basic Perspective Drawing: A Visual Approach, By John Montague, Chapter 12, page 201)
In computer graphics, this is often called “distance fog“. The foreground has high contrast; the background has low contrast. Computer Images sometimes seem unrealistically sharp and well defined. Antiallasing makes an object presented more realistic by smoothing its edges. Objects differing only in their contrast with a background appear to be at different depths. And also that colours indicate the part of a form that curves away from the picture plane. [Additionally, an entire image can be made to appear more natural by adding ''fog''. This makes objects fade in to the distance>fog] (OpenGL Programming Guide: Version 1.4: The Official Guide to Learning OpenGL -Networking Technology-by OpenGL Architecture Review Board, Dave Shreiner, Mason Woo, and Jackie Neider (Paperback - 27 Nov 2003), page 255)
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Spatial analysis of perspective contours
The photographs below were taken within and around the selected area to carry further investigation and research regarding the project. However, the most significant part of the outcome below is that all the photographs were taken, having the camera aiming always at one certain mark/aim. additionally, the photographs not only the were taken from various points within the area but were also taken from various distances. The result is as below.
Overlay
An overlay of all the perspective grids/patterns that emerged above, as well as the camera aim {+} to show the starting point of the formed perpsective illustration
Added Dimensions
Extruding perspective illustration as to form an additional architectural shape or element in terms of an observers depth of view and visual experience. Visualizing architecturally the perspective outlines by conversion to 3D.
Overlay 3D
Illusory contours in line patterns with apparent depth due to either perspective or overlay.
An illusory contour along a partially delineated border in the form of an apparent ‘outside’ corner due to perspective was as strong as one along a similarly delineated border in the form of an edge due to overlay. An illusory contour along a border in the form of an apparent ‘inside’ corner, due probably to both perspective and overlay, was stronger than either. These outcomes suggest that apparent stratification from overlay is not necessary for the occurrence of illusory contours. They also accord with the view that apparent depth due to overlay or to perspective is equally effective in rendering partially delineated borders more prominent and, in consequence, the illusory contours that form along them stronger. Day RH, Kasperczyk RT. Perception. 1983;12(4):485-90.
In plan
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Perspective View Illustration from Movement and Area Viewpoint Marks
Click on the highlighted points to switch through Scene Viewpoints.
Multiple Perspective Lines through Movement
Mouse click to begin animation. Hold left mouse click for extra lines to appear through mouse movement. Also mouse click to change line colour.
{Note: In this animation I have realised that all lines (which in this case represent the perspective illustrations appearing through movement, they all have a meeting point.Here there exist 3 random Viewpoints and the Perspective illustrative lines meet at 3 further other points through the area, although they emerge from the first 3 points randomly created. For this to happened there were 6 lines created. Which I found that 3 points to 2 lines emerging = to 1 extra point. if there were more random points, ie 4 or 5 then there would be 2 times the number of the first point for the next point to appear as well as the number of lines emerging which wold be again x2 the number of the first points placed.}
Gridded Perspective Patterns
Flash switching through area points. In this flash video the points switching through are the marks where the photographs were taken and as mentioned in earlier posts, all photographs had one single camera target.
Click on {+} to get to the end of the animation where the flash buttons for switching between scenes are.
