@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{OPUS4-35460, title = {EASA Expert Group: Science, Technology, Engineering, Mathematics (STEM) in Arts \& Culture (STEMAC)}, series = {Proceedings of the European Academy of Sciences and Arts}, volume = {2024}, journal = {Proceedings of the European Academy of Sciences and Arts}, number = {3}, editor = {Mainzer, Klaus}, publisher = {PagePress}, address = {Salzburg}, pages = {43 -- 54}, language = {en} } @incollection{Lengyel, author = {Lengyel, Dominik}, title = {On the particularity of the visualisations of the amphitheatre}, series = {A Short History of Durr{\"e}s}, booktitle = {A Short History of Durr{\"e}s}, editor = {Shehi, Eduard}, edition = {1}, publisher = {Jozef Publishing}, address = {Durr{\"e}s}, isbn = {9789928811042}, pages = {98 -- 99}, language = {de} } @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} } @misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {The Cultural Heritage of Roman Baths from an Architectural Perspective}, series = {World heritage and design for health : Le vie dei mercanti : 19. International forum / Carmine Gambardella}, journal = {World heritage and design for health : Le vie dei mercanti : 19. International forum / Carmine Gambardella}, publisher = {Gangemi}, address = {Roma}, isbn = {978-88-492-4088-7}, pages = {88 -- 88}, language = {en} } @misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Abstract architectural design for the contamination by cultural ideas}, series = {Le Vie dei Mercanti, XVIII International Forum, World Heritage and Contamination / Carmine Gambardella}, journal = {Le Vie dei Mercanti, XVIII International Forum, World Heritage and Contamination / Carmine Gambardella}, address = {Napoli}, isbn = {978-88-492-3937-9}, pages = {102 -- 102}, language = {en} } @misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Landscapes in visualisations of architectonic hypotheses}, series = {XXI International Forum Le vie dei Mercanti World Heritage and Dwelling on Earth}, journal = {XXI International Forum Le vie dei Mercanti World Heritage and Dwelling on Earth}, address = {Napoli}, isbn = {978-88-492-4646-9}, language = {en} } @misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Visual abstraction as key competence for critical thinking}, series = {Inżynieria Mineralna}, volume = {2}, journal = {Inżynieria Mineralna}, number = {2}, publisher = {Polish Mineral Engineering Society}, address = {Krak{\´o}w}, issn = {1640-4920}, doi = {10.29227/IM-2025-02-02-073}, pages = {1 -- 6}, abstract = {Abstraction is a fundamental intellectual competence that enables the human mind to analyse and comprehend concepts in order to creatively develop new solutions. The ability to translate abstract spatial concepts into equally abstract sculptural artefacts, which is acquired in the context of architectural design and needs to be practised throughout life, can also be transferred to contexts outside of architectural practice. With this main objective in mind, intellectual hypotheses from the humanities, for example from archaeology, can also be represented visually without abandoning their scientific content. The way often practised in the games and film industry of subverting such content with lifelike fantasy worlds is not without alternative. On the contrary, by means of abstraction, the critical thinking of science can also be transferred to the artistic artefact. The methods used to achieve this goal will be presented using samples of visualisations of a number of important heritage sites, developed in close collaboration with major cultural institutions such as the German Archaeological Institute (DAI), Cologne Cathedral administration or Bern Minster Foundation. Essentially, the scientific hypothesis is translated through the two skills adopted from traditional architecture: modelling and photography. Firstly, genuinely new, abstract forms are designed. In the second step, these are projected as if the abstract forms were built architecture. This essential second step can therefore be termed virtual photography. In conclusion, artistic creativity promotes competencies and skills to cope with the uncertainties of the 21st century by practising imagination and critical thinking conceptually and visually through art, as effectively taught in our architectural courses.}, language = {en} } @misc{LengyelToulouse, author = {Lengyel, Dominik and Toulouse, Catherine}, title = {Visual Mediation of Unique Construction and Access Principles of the Amphitheatre of Durr{\"e}s}, series = {Electronic Workshops in Computing}, journal = {Electronic Workshops in Computing}, publisher = {BCS Learning \& Development}, issn = {1477-9358}, doi = {10.14236/ewic/EVA2021.8}, pages = {6}, language = {en} } @misc{SpinelliLengyel, author = {Spinelli, Jacopo and Lengyel, Dominik}, title = {The visual identity of a conference between science, art, museums and technology}, series = {EVA Berlin 2025 : Electronic Media and Visual Arts : 28th Issue of the EVA Berlin Conference}, journal = {EVA Berlin 2025 : Electronic Media and Visual Arts : 28th Issue of the EVA Berlin Conference}, editor = {Bienert, Andreas and Emenlauer-Bl{\"o}mers, Eva and Lengyel, Dominik}, publisher = {Heidelberg University / arthistoricum.net}, address = {Heidelberg}, isbn = {978-3-98501-333-3}, doi = {10.11588/arthistoricum.1568.c24108}, pages = {265 -- 268}, abstract = {The rise of digital tools is resulting in disruptive changes in the fields of culture, media, and visual arts. On this premise, the EVA conference network, including the Berlin edition, was originally established, and provides to this day a significant contribution in the field of digital tools applications in the arts. This study, conducted at the Chair of Architecture and Visualisation at Brandenburg University of Technology (BTU), whose field of expertise is the influence of digital tools on the creative process, builds upon the foundations offered by the EVA conference network and aims to expand its core elements of digitality, art and culture. The goal is to further enhance the EVA conference framework by means of providing a set of practical solutions (digital and physical) based on the teaching activities and the proposals of the Chair's students. The EVA Conference Berlin offers a case study in which the expertise of the Chair - digitalisation and architecture - meets the conference's requirements, offering a portfolio of practical solutions applicable to future editions. We later collected and analysed the students' proposals to structure them into different sub-topics: visual identity, graphics and layout of the conference proceedings and website, design of the conference location, user experience and the organisation of other parallel events to be organised during the conference, such as exhibitions. The Greek and Roman Plaster Cast Collection in Berlin was proposed to the students as potential conference location. The results were later discussed with the conference partners, Fraunhofer Heinrich-Hertz-Institut and Gesellschaft von Freunden des Heinrich-Hertz-Instituts e.V., as well as with the EVA conference network and with the Greek and Roman Plaster Cast Collection, with the aim of implementing the analysis' results in the next conference edition.}, language = {en} }