@misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {How Physical Models Complete Virtual Multimediality}, series = {Proceedings of EVA London 2023}, journal = {Proceedings of EVA London 2023}, editor = {Bowen, Jonathan P. and Weinel, Jon and Diprose, Graham}, address = {London}, doi = {10.14236/ewic/EVA2023.7}, pages = {47 -- 52}, abstract = {This paper is based on the two papers of 2021 and 2022 and shows how the use of haptic models can take the mediation of architectural concepts from the fields of archaeology, building research and art history to a new level. Unlike the primarily visual mediation strategies that are common above all in the field of architecture, simply because architecture can only be experienced in its entirety when actually visited on a full scale, the method presented here pursues the use of haptic models in physical reality not with the aim of reproducing the architecture itself, but its architectural concept. It is thus in the tradition of the visualisation of uncertainty developed by the authors, which already concentrated on conveying the concepts, the architectural ideas, in the visual as well. This excludes not only the use of relics, but also many speculative approaches, as they are often used in the film and games industry as photorealism. Their use serves solely to convey a certain atmosphere of being, whereas here it is a matter of conveying spatial concepts with a clear reference to the respective science. The scientific nature itself is also the content of the communication, and therefore it fits in with the visual strategy that the haptic models do not merely reproduce an external appearance, but also convey a deeper level, in this case that of the circulation concept. The object of the investigation, an amphitheatre of unique construction, is particularly suitable for this special kind of mediation, as it deliberately resists the usual advantages of an arrangement that submits to the terrain and thus consists almost entirely of extraordinary solutions.}, language = {en} } @incollection{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {New Media for the Visualization of Architecture}, series = {New Media in Art History - Tensions, Exchanges, Situations}, booktitle = {New Media in Art History - Tensions, Exchanges, Situations}, editor = {Bonnefoit, R{\´e}gine and R{\´e}rat, Melissa and Schellenberg, Samuel}, publisher = {De Gruyter}, address = {Berlin, Boston}, isbn = {978-3-11-118600-9}, doi = {10.1515/9783111186009-009}, pages = {116 -- 134}, 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} } @incollection{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Visualization [DL/CT]}, series = {The House of the Two Skeletons at Morgantina}, booktitle = {The House of the Two Skeletons at Morgantina}, editor = {Dally, Ortwin and Zimmermann, Norbert}, edition = {1}, publisher = {Harrassowitz Verlag}, address = {Wiesbaden}, isbn = {978-3-447-11846-0}, pages = {405 -- 406}, language = {en} } @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 = {An architect's view on antique vases and their paiting}, series = {Myths, gods \& heroes : Greek vases in Portugal = Mitos, deuses \& her{\´o}is : vasos Gregos em Portuga}, booktitle = {Myths, gods \& heroes : Greek vases in Portugal = Mitos, deuses \& her{\´o}is : vasos Gregos em Portuga}, editor = {Morais, Rui and Centeno, Rui M. and Ferreira, Daniela}, edition = {1}, publisher = {Imprensa da Universidade de Coimbra [u.a.]}, address = {Porto [u.a.]}, isbn = {978-989-8183-25-5}, pages = {292 -- 305}, language = {en} } @incollection{LengyelToulouseLocheretal., author = {Lengyel, Dominik and Toulouse, Catherine and Locher, Hubert and Henrich, Florian}, title = {Architecture Transformed : das Forschungsprojekt}, series = {Architecture Transformed : das digitale Bild in der Architektur 1980-2020}, booktitle = {Architecture Transformed : das digitale Bild in der Architektur 1980-2020}, editor = {Lengyel, Dominik and Toulouse, Catherine and Locher, Hubert and Henrich, Florian}, edition = {1}, publisher = {arthistoricum.net}, address = {Heidelberg}, isbn = {978-3-98501-162-9}, doi = {10.11588/arthistoricum.1156.c15953}, pages = {9 -- 12}, language = {de} } @incollection{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Der Produktionsprozess des digitalen Bildes in der Architektur}, series = {Architecture Transformed : das digitale Bild in der Architektur 1980-2020}, booktitle = {Architecture Transformed : das digitale Bild in der Architektur 1980-2020}, editor = {Lengyel, Dominik and Toulouse, Catherine and Locher, Hubert and Henrich, Florian}, edition = {1}, publisher = {arthistoricum.net}, address = {Heidelberg}, doi = {10.11588/arthistoricum.1156.c15954}, pages = {13 -- 20}, language = {de} } @incollection{LengyelToulouseHenrich, author = {Lengyel, Dominik and Toulouse, Catherine and Henrich, Florian}, title = {Die Evolution des digitalen Bildes : das digitale Bild in der Architektur 1980-2020}, series = {Architecture Transformed : das digitale Bild in der Architektur 1980-2020}, booktitle = {Architecture Transformed : das digitale Bild in der Architektur 1980-2020}, editor = {Lengyel, Dominik and Toulouse, Catherine and Locher, Hubert and Henrich, Florian}, publisher = {arthistoricum.net}, address = {Heidelberg}, isbn = {978-3-98501-162-9}, doi = {10.11588/arthistoricum.1156.c15956}, language = {de} } @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 = {The Visualisation of Unseen Planning States : The Planning and Building States of Early Bern Minster in Visual Comparison}, series = {Artificial Intelligence : New Pathways Towards Cultural Heritage}, volume = {2022}, journal = {Artificial Intelligence : New Pathways Towards Cultural Heritage}, editor = {B{\"o}rner, Wolfgang and Rohland, Hendrik and Kral-B{\"o}rner, Christina and Karner, Lisa}, publisher = {Propylaeum}, address = {1}, doi = {10.11588/propylaeum.1045.c14497}, pages = {173 -- 182}, 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} } @misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Visualized Hypotheses - Architectural Ideas as Intellectual Legacy}, series = {World heritage and legacy: culture, creativity, contamination : le vie dei mercanti, 17 / Carmine Gambardella}, journal = {World heritage and legacy: culture, creativity, contamination : le vie dei mercanti, 17 / Carmine Gambardella}, publisher = {Gangemi}, address = {Roma}, isbn = {978-88-492-3751-1}, pages = {98 -- 98}, language = {en} }