TY - CHAP A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Lengyel, Dominik ED - Toulouse, Catherine ED - Locher, Hubert ED - Henrich, Florian T1 - Der Produktionsprozess des digitalen Bildes in der Architektur T2 - Architecture Transformed : das digitale Bild in der Architektur 1980–2020 Y1 - 2023 U6 - https://doi.org/10.11588/arthistoricum.1156.c15954 SP - 13 EP - 20 PB - arthistoricum.net CY - Heidelberg ET - 1 ER - TY - CHAP A1 - Lengyel, Dominik A1 - Toulouse, Catherine A1 - Henrich, Florian ED - Lengyel, Dominik ED - Toulouse, Catherine ED - Locher, Hubert ED - Henrich, Florian T1 - Die Evolution des digitalen Bildes : das digitale Bild in der Architektur 1980–2020 T2 - Architecture Transformed : das digitale Bild in der Architektur 1980–2020 Y1 - 2023 SN - 978-3-98501-162-9 U6 - https://doi.org/10.11588/arthistoricum.1156.c15956 PB - arthistoricum.net CY - Heidelberg ER - TY - CHAP A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Krizič Roban, Sandra ED - Kovač, Leonida ED - Šeparović, Ana ED - Kuhar, Martin T1 - The construction of knowledge through virtual photography of Abstract Geometry T2 - FORMATS OF (NON)SEEING N2 - 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. KW - Archaeology Y1 - 2024 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:hr:254:851635 SN - 9789533730424 SP - 334 EP - 347 PB - Institute of Art History CY - Zagreb ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Börner, Wolfgang ED - Rohland, Hendrik ED - Kral-Börner, Christina ED - Karner, Lisa T1 - The Visualisation of Unseen Planning States : The Planning and Building States of Early Bern Minster in Visual Comparison T2 - Artificial Intelligence : New Pathways Towards Cultural Heritage Y1 - 2022 U6 - https://doi.org/10.11588/propylaeum.1045.c14497 VL - 2022 SP - 173 EP - 182 PB - Propylaeum CY - 1 ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Franco, Francesca ED - Burbano, Andres T1 - Media Art as a Mediator of Scientific Uncertainty T2 - RE:SOURCE - The 10th International Conference on the Histories of Media Art, Science and Technology - Proceedings N2 - 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. KW - knowledge KW - uncertainty KW - archaeology KW - architecture KW - design KW - abstraction KW - virtual photography Y1 - 2024 UR - https://drive.google.com/file/d/1-tTEKj5ZVbrU3Btq_FZu9orn1iaf_L5x/view SN - 979-12-210-6571-8 N1 - Nur Abstract. Das PDF zu den Proceedings kann gern per Mail bereitgestellt werden. Autor SP - 658 EP - 659 CY - Venezita, Italy ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine T1 - Visualized Hypotheses – Architectural Ideas as Intellectual Legacy T2 - World heritage and legacy: culture, creativity, contamination : le vie dei mercanti, 17 / Carmine Gambardella Y1 - 2019 SN - 978-88-492-3751-1 N1 - Konferenzband kann nur in Biblioteca Nazionale Centrale di Roma nachgewiesen werden. 29.1.25 SP - 98 EP - 98 PB - Gangemi CY - Roma ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine T1 - The Cultural Heritage of Roman Baths from an Architectural Perspective T2 - World heritage and design for health : Le vie dei mercanti : 19. International forum / Carmine Gambardella Y1 - 2021 SN - 978-88-492-4088-7 N1 - Titel zur Zeit nur in Biblioteca Nazionale Centrale di Roma nachweisbar. 28.1.25 SP - 88 EP - 88 PB - Gangemi CY - Roma ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine T1 - Abstract architectural design for the contamination by cultural ideas T2 - Le Vie dei Mercanti, XVIII International Forum, World Heritage and Contamination / Carmine Gambardella Y1 - 2020 SN - 978-88-492-3937-9 N1 - Das angegebenen Dokument mit der ISBN 978-88-492-3937-9 kann derzeit noch in keiner Bibliothek nachgewiesen werden. 28.1.25 SP - 102 EP - 102 CY - Napoli ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine T1 - Landscapes in visualisations of architectonic hypotheses T2 - XXI International Forum Le vie dei Mercanti World Heritage and Dwelling on Earth Y1 - 2023 SN - 978-88-492-4646-9 N1 - Das Dokument mit der angegebenen ISBN 978-88-492-4646-9 kann zur Zeit noch in keiner Bibliothek nachgewiesen werden 28.1.25 CY - Napoli ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine T1 - Visual abstraction as key competence for critical thinking T2 - Inżynieria Mineralna N2 - 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. KW - Design KW - Composition KW - Modelling KW - Perspective KW - Projection KW - Photography Y1 - 2025 U6 - https://doi.org/10.29227/IM-2025-02-02-073 SN - 1640-4920 VL - 2 IS - 2 SP - 1 EP - 6 PB - Polish Mineral Engineering Society CY - Kraków ER - TY - GEN A1 - Lengyel, Dominik A1 - Toulouse, Catherine T1 - Visual Mediation of Unique Construction and Access Principles of the Amphitheatre of Durrës T2 - Electronic Workshops in Computing Y1 - 2021 U6 - https://doi.org/10.14236/ewic/EVA2021.8 SN - 1477-9358 PB - BCS Learning & Development ER - TY - CHAP A1 - Lengyel, Dominik A1 - Toulouse, Catherine ED - Bianchi, Pamela ED - Meuris, Wesley T1 - The interrelationship between architecture and exhibition T2 - Exhibition matters : contemporary displays and exhibition-making practices N2 - Architecture can only be perceived as truly relevant on site in situ; in this respect, exhibitions about architecture always constitute an epistemological dilemma. However, numerous ontological circumstances make it possible to encounter this dilemma in such a way that mediation is nevertheless, and in special cases effectively, possible within restrictions. This is the case when the architecture to be mediated is not or has neither been built in physical reality, but is a purely theoretical construction. Then the form as image coincides with the form as vision. This is to be shown by several exhibited projects in collaboration with archaeologists. Y1 - 2026 UR - https://www.bloomsbury.com/uk/exhibition-matters-9781350575547/ SN - 978-1-3505-7554-7 SN - 978-1-3505-7555-4 SN - 978-1-3505-7556-1 U6 - https://doi.org/10.5040/9781350575578.ch-008 SP - 127 EP - 147 PB - Bloomsbury Academic CY - London ER -