@book{LengyelLocherHenrichetal., author = {Lengyel, Dominik and Locher, Hubert and Henrich, Florian and Toulouse, Catherine}, title = {Architecture Transformed - The Digital Image in Architecture 1980-2020}, edition = {1. Auflage}, publisher = {Birkh{\"a}user Verlag GmbH}, address = {Basel}, isbn = {978-3-0356-2448-9}, pages = {160}, abstract = {Das digitale Bild in der Architektur Das Buch untersucht die zentrale Rolle des digitalen Bildes in der Architektur {\"u}ber vier Jahrzehnte - im Prozess der Digitalisierung von Wissen in Theorie und Praxis - sowie seinen Einfluss auf das architektonische Entwerfen und Visualisieren: Der Wandel vom analogen zum digitalen Zeitalter wird anhand von 51 Entwurfsvisualisierungen analysiert, von der Handzeichnung {\"u}ber die Fotomontage bis zum Computerrendering, um die medienspezifische Pr{\"a}gung der Architektur durch digitale Methoden zu verdeutlichen. Architecture Transformed ist Resultat einer Kooperation des Deutschen Dokumentationszentrums f{\"u}r Kunstgeschichte - Bildarchiv Foto Marburg mit dem Lehrstuhl f{\"u}r Architektur und Visualisierung der Brandenburgischen Technischen Universit{\"a}t Cottbus-Senftenberg als Teil des DFG-Schwerpunktprogramms „Das digitale Bild".}, language = {en} } @misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {A Political Narrative in the Relationship between Artwork and Recipient}, series = {Izkustvovedski Četenija = Art Readings}, volume = {2023}, journal = {Izkustvovedski Četenija = Art Readings}, number = {1}, issn = {1313-2342}, pages = {71 -- 86}, abstract = {Sometimes a single work of art can tell a whole story. The Ludovisi group presented here originally stood on a long sculptural plinth on the terrace of the Athena sanctuary in the ancient metropolis of Pergamon. Viewed from its back, one sees a Gaul with raised sword and his defeated opponent to the left. This impression remains until the moment when the front of the warrior can be seen. There, in fact, the sword is being used to commit suicide in order to escape slavery; the dying woman is apparently his wife. This way art becomes a repository of collective memory.}, language = {en} } @incollection{LocherLengyelHeinrichetal., author = {Locher, Hubert and Lengyel, Dominik and Heinrich, Florian and Toulouse, Catherine}, title = {Architecture Transformed. Der Anteil des digitalen Bildes}, series = {Rendering/Visualisierung}, booktitle = {Rendering/Visualisierung}, editor = {Florian, Heinrich and Lengyel, Dominik and Locher, Hubert and Toulouse, Catherine}, publisher = {Open Publishing LMU}, address = {M{\"u}nchen / Wien}, isbn = {978-3-99165-386-8}, doi = {10.5282/ubm/epub.109215}, url = {http://nbn-resolving.de/urn:nbn:de:bvb:19-epub-109215-0}, pages = {4 -- 23}, language = {de} } @incollection{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Seminararbeiten - zum Produktionsprozess des digitalen Bildes}, series = {Rendering/Visualisierung}, booktitle = {Rendering/Visualisierung}, editor = {Heinrich, Florian and Lengyel, Dominik and Locher, Hubert and Toulouse, Catherine}, publisher = {Open Publishing LMU}, address = {M{\"u}chen / Wien}, isbn = {978-3-99165-386-8}, doi = {10.5282/ubm/epub.109216}, url = {http://nbn-resolving.de/urn:nbn:de:bvb:19-epub-109216-6}, pages = {24 -- 25}, language = {de} } @incollection{HeinrichLengyelToulouse, author = {Heinrich, Florian and Lengyel, Dominik and Toulouse, Catherine}, title = {Bildessay - das digitale Bild in der Architektur 1980-2020}, series = {Rendering/Visualisierung}, booktitle = {Rendering/Visualisierung}, editor = {Florian, Heinrich and Lengyel, Dominik and Locher, Hubert and Toulouse, Catherine}, publisher = {Open Publishing LMU}, address = {M{\"u}nchen / Wien}, isbn = {978-3-99165-386-8}, doi = {10.5282/ubm/epub.109217}, url = {http://nbn-resolving.de/urn:nbn:de:bvb:19-epub-109217-1}, pages = {26 -- 27}, language = {de} } @incollection{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Digital Natives - Pl{\"a}doyer f{\"u}r eine strukturierte Lehre der Visualisierung in der Architektur}, series = {Rendering/Visualisierung}, booktitle = {Rendering/Visualisierung}, editor = {Heinrich, Florian and Lengyel, Dominik and Locher, Hubert and Toulouse, Catherine}, publisher = {Open Publishing LMU}, address = {M{\"u}nchen / Wien}, isbn = {978-3-99165-386-8}, doi = {10.5282/ubm/epub.109219}, url = {http://nbn-resolving.de/urn:nbn:de:bvb:19-epub-109219-6}, pages = {55 -- 73}, language = {de} } @incollection{LocherLengyelHeinrichetal., author = {Locher, Hubert and Lengyel, Dominik and Heinrich, Florian and Toulouse, Catherine}, title = {Architecture Transformed - zehn Thesen zum digitalen Architekturbild}, series = {Rendering/Visualisierung}, booktitle = {Rendering/Visualisierung}, editor = {Heinrich, Florian and Lengyel, Dominik and Locher, Hubert and Toulouse, Catherine}, publisher = {Open Publishing LMU}, address = {M{\"u}nchen / Wien}, isbn = {978-3-99152-386-8}, doi = {10.5282/ubm/epub.109221}, url = {http://nbn-resolving.de/urn:nbn:de:bvb:19-epub-109221-2}, pages = {93 -- 98}, language = {de} } @incollection{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {The new physical model about the ancient city of Pergamon for the Pergamon Museum Berlin}, series = {Abitare la Terra Quaderni 10 - Supplemento alla Rivista di geoarchitettura}, booktitle = {Abitare la Terra Quaderni 10 - Supplemento alla Rivista di geoarchitettura}, publisher = {Gangemi Editore S.p.A.}, address = {Rom (Italien)}, isbn = {9788849251371}, pages = {30 -- 32}, language = {en} } @incollection{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Virtual photography as a visual method of communicating scientific hypotheses about architecture}, series = {Virtual Photography - Artificial Intelligence, In-game, and Extended Reality}, booktitle = {Virtual Photography - Artificial Intelligence, In-game, and Extended Reality}, editor = {Shobeiri, Ali and Westgeest, Helen}, publisher = {transcript Verlag}, address = {Bielefeld}, isbn = {978-3-8376-7203-9}, doi = {10.14361/9783839472033}, pages = {203 -- 219}, language = {en} } @incollection{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Design for science: a cross-disciplinary approach to disseminate archaeology online}, series = {New Ways of Communicating Archaeology in a Digital World. Interdisciplinary Contributions to Archaeology}, booktitle = {New Ways of Communicating Archaeology in a Digital World. Interdisciplinary Contributions to Archaeology}, editor = {Fonseca, Sofia and Thomas, Ben and Basterrachea, Aur{\´e}lia}, publisher = {Springer}, address = {Cham}, isbn = {978-3-031-71275-3}, doi = {10.1007/978-3-031-71276-0_11}, pages = {195 -- 211}, abstract = {Archaeology has a lot in common with architecture. Both disciplines deal with the unknown and the uncertain—archaeology because it seeks to create knowledge about an unknown past and architecture because it gives form to ideas and proposals that have no physical form. Both disciplines argue with abstraction, archaeology primarily through verbal expression and architecture through visual expression. By its very nature, architecture is focused on public communication—architectural representation is designed to meet the public's needs. Our approach adapts methods of architectural design and visualization to the needs of archaeological dissemination and sustainability. As both disciplines evolve in the digital world, the necessity for online approaches to content management is obvious. The growing availability and acceptance of VR experiences, especially, allow for a spatial impression that is equaled only by on-site visits accompanied by guidance and the strong ability of vivid imagination. VR experiences can raise knowledge, awareness, responsibility, and inspiration for heritage education, research, and design work respectively.}, language = {en} } @misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {The design in the visualization of uncertainty, abstract modelling and virtual photography}, series = {Imaginations: Journal of Cross-Cultural Image Studies}, volume = {15}, journal = {Imaginations: Journal of Cross-Cultural Image Studies}, number = {1}, issn = {1918-8439}, doi = {10.17742/IMAGE29710}, pages = {145 -- 204}, language = {de} } @misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {The design of the tactile model of Pergamon}, series = {Electronic Media \& the Visual Arts 27 May 2024 Edited by Vito Cappellini}, journal = {Electronic Media \& the Visual Arts 27 May 2024 Edited by Vito Cappellini}, editor = {Cappellini, Vito}, edition = {1}, publisher = {Edizione Polistampa}, address = {Florenz}, isbn = {9788859624240}, pages = {88 -- 93}, language = {en} } @misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {The challenges of a tactile model with scientific uncertainty}, series = {EVA London 2024 Proceedings}, volume = {2024}, journal = {EVA London 2024 Proceedings}, editor = {Bowen, Jonathan}, publisher = {BCS The Chartered Institute for IT}, address = {London}, doi = {10.14236/ewic/EVA2024.8}, pages = {39 -- 44}, language = {en} } @incollection{LengyelToulouse, author = {Lengyel, Domink and Toulouse, Catherine}, title = {On spatial paintings}, series = {Reading ancient objects inside out : greek figure-decorated pottery in Portugal}, booktitle = {Reading ancient objects inside out : greek figure-decorated pottery in Portugal}, editor = {Morais, Rui and Le{\~a}o, Delfim and de F{\´a}tima Silva, Maria and Ferreira, Daniela and Wallace-Hare, David}, publisher = {Archaeopress Publishing Ltd.}, address = {Oxford}, isbn = {978-1-80327-861-2}, pages = {163 -- 170}, language = {en} } @incollection{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {The construction of knowledge through virtual photography of Abstract Geometry}, series = {FORMATS OF (NON)SEEING}, booktitle = {FORMATS OF (NON)SEEING}, editor = {Krizič Roban, Sandra and Kovač, Leonida and Šeparović, Ana and Kuhar, Martin}, publisher = {Institute of Art History}, address = {Zagreb}, isbn = {9789533730424}, doi = {10.31664/9789533730530.16}, url = {http://nbn-resolving.de/urn:nbn:hr:254:851635}, pages = {334 -- 347}, abstract = {Photography is a position. It is the conscious composition of images in interaction with the scene in front of the camera and the technical options of its projection. The underlying relationship to photography in this paper is precisely this ideal one, since it is the same attitude, though under technically quite different conditions, namely the application of the methods of classical photography in virtual space. This method, called "virtual photography" by the authors, treats virtual space just as if it were physical reality. The aim of this self-restriction is the referentiality of the images thus created, trusting that their reception will thereby follow in the tradition of the reception of classical photography and that the images will thus be received as naturally as possible. This, in turn, is intended to ensure that the content of the images is the focus of perception. For the pictures are about complex spatial facts, not about imitating physical reality. This will be explained in the following.}, language = {en} } @misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Media Art as a Mediator of Scientific Uncertainty}, series = {RE:SOURCE - The 10th International Conference on the Histories of Media Art, Science and Technology - Proceedings}, journal = {RE:SOURCE - The 10th International Conference on the Histories of Media Art, Science and Technology - Proceedings}, editor = {Franco, Francesca and Burbano, Andres}, address = {Venezita, Italy}, isbn = {979-12-210-6571-8}, pages = {658 -- 659}, abstract = {Art changes perception, and just as it is difficult to grasp the concept of art, it is equally difficult to exclude adjacent fields. Design is such a term, and when it comes to architecture, traditionally commonly referred to as a discipline between art and science, but in fact at least as much between applied technology and engineering, the transitions become increasingly fluid. In the case presented here, we are dealing with an expansion of the term design into the interdisciplinary area between the architecture that conceives and finds form and the humanities disciplines of archaeology, historical building research and art history. The fact that the results of these highly fruitful collaborations are essentially concretised through the use of new media, and that they neither correspond to the mainstream nor can be adequately received without some degree of openness to abstract art as well, makes them appear as media art in this respect. The key to archaeology, however, lies in its scientific nature: not only is archaeological knowledge fragmentary, but here this becomes particularly evident. The interpretation of finds in the sense of a spatial hypothesis of an architectural structure on the basis of a few fragments is a generation of knowledge that is inevitably based on conclusions of varying firmness and on analogies. These are hypothetical, but precisely scientifically based and by no means merely speculative. Generally formulated verbally, entire cities that have long since disappeared are described in this way within the limits of what is scientifically justifiable, but just usually only described, not illustrated. It is often conceded that too little is known to visualise it. The misconception lies in the practice that archaeological hypotheses are often visualised in a form familiar to the film or games industry, namely photorealistically and thus highly speculative. But if the objective of visualisation is to visualise the actual scientific hypothesis, to translate the verbal hypothesis as faithfully as possible from the text into the image, then visual translation cannot avoid translating those abstractions that are completely natural in language into the image as well. But this act, the creation of visual artefacts, abstract in form and content, is a creative act of design, as is inherent in all formally creative disciplines from architecture to design to art. It is perhaps more of an applied art, but this term is also already occupied and falls short here. In the end, the visualisation of scientifically based hypotheses of archaeology is a phenomenon that the authors call visualisation and uncertainty, a kind of media art whose content is a transferred, if not subtle, mediation of architectural intentions. This initiates a development that opens up a new field of activity for media art and thus contributes to the creation of future memories. The paper illustrates this method by means of selected projects that have been created in close collaboration with research and cultural institutions and have been exhibited in renowned museums, including Cologne Cathedral, Bern Minster, the Palatine in Rome, Pompeii, Pergamon, Jerusalem and more.}, language = {en} }