Refine
Year of publication
Document Type
Way of publication
- Open Access (8)
Keywords
- Visualisation (6)
- Visualisierung (4)
- Architecture (2)
- Architektur (2)
- Architekturgeschichte (2)
- Echtersche Idealkirche (2)
- Visualisierung, Unschärfe, Virtuelle Rekonstruktion (2)
- 3D (1)
- Abstraction (1)
- Archeology (1)
Institute
Authenticity is not an absolute and constant quality inherent in an object or an experience; it is constructed in the process of research. Actors inscribe and attribute it to both material objects and subjective processes like communication and consumption. This article from the research group seeks on the one hand to reflect on the historical scope of action and action patterns among actors from various disciplines between the conflicting priorities of authentication and communication, and on the other to find ways to visualize and operationalize attribution processes through joint reflection. When we look at both history and the discussions fifty years after the Venice Charter, its idea to hand on historic monuments “in the full richness of their authenticity” has turned into an abundance of vibrant action
and decision-making.
In archaeology and building history, uncertain knowledge spans from the interpolation of findings to contradictory equivalent hypotheses. The visual reflection of this scientific uncertainty explicitely visualizes this. In case of extensive uncertainty this leads to a decidedly abstract visual appearance. Two classical fields of architectonic design – abstract virtual modeling and virtual photography – are responsible for the design of abstraction.
In general, visualisations of archaeological hypotheses are regarded as digital reconstructions that implicite the representation of lost architecture by a digital substitution. Reconstructions though implicite the general possibility of reconstructing and neglect the lack of knowledge in favour of a vivid, visually attractive and immersive and easy to understand compensatory phantasy world that barely resembles the archaeologists’ hypotheses but is overwhelmed by pure phantasy. The extreme escalation of this approach is reached by computer games and approximated by a number of illustrious archaeological sites: Barcino 3D (www.bcn.cat/cultura/serveiarqueologia/index.html), Versailles 3D (www.versailles3d.com), Paris 3D (paris.3ds.com), Rome Reborn (romereborn.frischerconsulting.com), Colonia 3D (archaeologie.uni-koeln.de/node/299)
A number of archaeological projects’ hypotheses have been analyzed to extract spatial information to be transformed into abstract forms up to the archaeologists confirmed accordance without contradiction.
The design of abstracion aims at creating convincing images of architectural ideas without appending more content than necessary. This has been achieved for Excellence Cluster TOPOI exhibitions Pergamon and Palatine (Rome) as well as for Naga and Cologne Cathedral’s permanent installation.
Architektonische Konzepte sind abstrakte Ideen, die während des Bauprozesses in Gebäude umgesetzt werden. Üblicherweise weichen Gebäude von ihrer ursprünglichen Konzeption ab. Das reale Erfahren gebauter Architektur ist nur möglich, solange das Gebäude noch steht. Das Nachvollziehen der ursprünglichen Fassung eines Gebäudes hängt vom Umfang der Umbauten, Renovierungen und Abnutzungen ab. Das Nachvollziehen des ursprünglichen Konzeptes hingegen bedarf der Vorstellungskraft. Diese wird unterstützt durch zusätzliche Erläuterungen aufgrund von Hypothesen aus der historischen Bauforschung oder der Archäologie. Der hier vorgestellte Ansatz verbindet das Erleben eines hypothetischen Konzeptes für eine Reihe von Kirchenbauten mit der Möglichkeit, auch nicht physischen Raum mithilfe von Virtual Reality erlebbar zu machen. Er nutzt dabei die aktuell verfügbaren Mittel der immersiven stereoskopischen Projektion mithilfe einer 3D-Brille, die abgesehen von ihrem eingeschränkten Blickfeld und der im Vergleich zum Auge geringeren Auflösung dem natürlichen Sehen nahekommt, sowie der durch spezielle Controller möglichen Interaktion mit Objekten im virtuellen Raum, die das Greifen und Verschieben simulieren.
Julius Echter von Mespelbrunn hat als Würzburger Fürstbischof mehrere Hundert Kirchen gebaut. Häufig ähneln sich die Kirchen im Großen wie im Kleinen. In der Außenerscheinung der Kirchen sind Langhaus, Chor, Sakristei und Turm stets sehr ähnlich angeordnet; im Innern sind die Gewölbe und die Ausstattung vom Altar über die Kanzel und den Taufstein bis zur Empore uniformen Standards verpflichtet. Diesen Kirchen muss eine klare Vorstellung zugrunde gelegen haben, eine ursprüngliche Idee, wie Kirchen auszusehen haben. Aus dieser Feststellung ergab sich die Aufgabe, ein Bild der echterschen Idealkirche zu gewinnen.
Die Bedeutung architektonischer Gestaltung in der visuellen Vermittlung wissenschaftlicher Unschärfe am Beispiel von Ktesiphon und weiteren archäologischen Stätten. Das interdisziplinär angelegte, von der Deutschen Forschungsgemeinschaft (DFG) geförderte Excellence Cluster TOPOI (The Formation and Transformation of Space and Knowledge in Ancient Civilizations) beinhaltet im zweiten Fünfjahreszeitraum ein Forschungsprojekt, das eine Best Practice Methode für die Kooperation zwischen Wissenschaft und Museen anhand einer exemplarischen archäologischen Stätte erarbeiten soll. Ruinen im außermusealen Kontext, aber auch Funde im musealen Kontext sowie Ergänzungen in Form von Zeichnungen, Modellen in unterschiedlichen Maßstäben vom städtebaulichen Überblick bis zum Nachbau im Originalmaßstab, aber auch virtuelle 3D-Rekonstruktionen, prägen die Perzeption und damit das Wissen über die historischen Orte. Während TOPOI die Formation und Transformation von Raum und Wissen in der Antike behandelt, untersucht dieses Forschungsprojekt insbesondere die Perzeption und Repräsentation im Museum.
Was ist Architekturvisualisierung? Welche Ziele werden damit verfolgt, und welche Kompetenzen sind dafür erforderlich? Der Beitrag stellt dar, wie Catherine Toulouse und Dominik Lengyel dieses Fach und diese Fähigkeit in der universitären Lehre über mehr als ein Jahrzehnt verfolgen und dafür ein Curriculum entwickelt haben, das die Studierenden befähigt, architektonische Ideen, seien es Entwürfe, Analysen oder archäologische Hypothesen mit Mitteln der Abstraktion in Bilder zu übersetzen. Hinzu kommen zahlreiche Forschungsprojekte, die gemeinsam mit externen Partnern entwickelt wurden und die zeigen, wie sich Unschärfe im Wissen der Archäologie, der Historischen Bauforschung oder der Kunstgeschichte anschaulich visuell vermitteln lässt.
At the intersection of research and visual arts we have developed a method for visualizing archaeological hypotheses that explicitly preserves the scientific content excluding any unintentional content. It consists of virtual modeling and virtual photography. Other than usual we do not consider the spatial model as the decisive core but as an integral part of the visual mediation, and its complementary counterpart, the virtual photography, as equally important. Contrasting the usual way to reconstruct architecture in a hyper-realistic way as in the movie industries, we consider our approach a unique 3D Development and Application in the Cultural Heritage Area.
This paper demonstrates our 'visualisation of hypotheses' approach for providing scientific and creative visualisations. Our aim is to project the abstract virtual model as realistically as possible, using the technique we call 'virtual photography'. We have developed research projects in close contact with the German Archaeological Institute DAI (antic metropolis Pergamon in West Anatolia, Palatine Palaces in Rome, Ktesiphon in Mesopotamia, all exhibited in the Pergamon Museum Berlin, developed within the Excellence Cluster TOPOI by Freie Universität and Humboldt-Universität Berlin and funded by the German Research Foundation DFG); the Egyptian Museums Berlin and Munich (royal city of Naga, Sudan); Cologne Cathedral (building phases including predecessors); the Martin-von-Wagner Museum Würzburg (visualising Archbishop Julius von Echter’s ideal church); and the Bern Minster Foundation and Bern Institute for Art History (the early building phases of the 15th and 16th century). This paper demonstrates how virtual modelling and virtual photography work hand-in-hand, respecting traditional architectural design modelling in order to translate hypotheses and uncertain knowledge, without adding more content than necessary, to induce an architectural vision. In addition, we also follow the design principles of traditional architectural photography. Traditional methods of representing architecture are therefore used in combination with high-end technological tools for creating familiar visual impressions. The benefit of this approach is that the main subject of the examination will be its content, despite its technological approach and appearance. Using the CAD tools of mechanical engineering, which allow geometrical definitions that go far beyond the architectural needs, and visualisation tools that approach the quality of simulations, the visualised hypotheses resemble studio photography of clay models, or realistic photography of abstract geometry.
The production and conception of architecture are not only shaped by the technical-constructive aspect but also by their visual representation. Since the 1980s, with the advent of digital technologies for the design and visual representation of architecture (computer-aided design), far-reaching changes have occurred, resulting in fundamentally new possibilities for linking technical design and visual reproduction (computer rendering to virtual photography). This cooperative project undertakes an investigation of these essentially process-related relationships outlined here in design and visualization during the transition phase from analogue to digital planning and display format methods from 1980 to the present. In exemplary studies on the use and application of the new tools and their visual products (images), the aim is to determine how the ‘digital image’ has changed the concept and production of architecture from the perspective of art history and media criticism on the one hand, and the production aesthetic point of view of architectural and architectural image production on the other.
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.
In archaeology and building history, uncertain knowledge spans from the interpolation of findings to contradictory equivalent hypotheses. The visual reflection of this scientific uncertainty explicitely visualizes this. In case of extensive uncertainty this leads to a decidedly abstract visual appearance. Two classical fields of architectonic design – abstract virtual modeling and virtual photography – are responsible for the design of abstraction.
In general, visualisations of archaeological hypotheses are regarded as digital reconstructions that implicite the representation of lost architecture by a digital substitution. Reconstructions though implicite the general possibility of reconstructing and neglect the lack of knowledge in favour of a vivid, visually attractive and immersive and easy to understand compensatory phantasy world that barely resembles the archaeologists’ hypotheses but is overwhelmed by pure phantasy. The extreme escalation of this approach is reached by computer games and approximated by a number of illustrious archaeological sites: Barcino 3D (www.bcn.cat/cultura/serveiarqueologia/index.html), Versailles 3D (www.versailles3d.com), Paris 3D (paris.3ds.com), Rome Reborn (romereborn.frischerconsulting.com), Colonia 3D (archaeologie.uni-koeln.de/node/299)
A number of archaeological projects’ hypotheses have been analyzed to extract spatial information to be transformed into abstract forms up to the archaeologists confirmed accordance without contradiction.
The design of abstracion aims at creating convincing images of architectural ideas without appending more content than necessary. This has been achieved for Excellence Cluster TOPOI exhibitions Pergamon and Palatine (Rome) as well as for Naga and Cologne Cathedral’s permanent installation.
Simultaneous visions
(2006)
Die Darstellung von Unschärfe ist eine von den Autoren entwickelte Methode zur visuellen Repräsentation räumlicher Hypothesen. Unscharfes Wissen ist ein wesentlicher Bestandteil von Wissenschaft. Stellt man die Wissenschaftlichkeit bei der Visualisierung einer Hypothese in den Vordergrund, bietet es sich an, das Hypothetische selbst zum Gegenstand der Visualisierung zu machen. Damit entsteht ein Bild von Architektur - das Bild eines architektonischen Gedankens -, aber keine Simulation einer fiktiven Wirklichkeit. Indem die unscharfe Darstellung beim Betrachter eine räumliche Vorstellung erzeugt, die so weit wie möglich der wissenschaftlichen Hypothese entspricht, zugleich jedoch deren hypothetischen Charakter offenlegt, verfolgt sie das Ziel, dem Betrachter durch die Reflexion des gesamten Wahrnehmungsprozesses Wissen über Archäologie im Speziellen, aber auch Wissenschaftlichkeit im Allgemeinen zu vermitteln. Über die London Charter hinaus geht es bei der hier vorgestellten Methode um die Notwendigkeit gestalterischer Kompetenz. Die Begriffspaare Gestaltung und Wissenschaft und Darstellung und Unschärfe beschreiben den Anspruch, unterschiedliche künstlerische und wissenschaftliche Bereiche aus der Architektur und Archäologie mit dem Ziel der Erkenntnisförderung zusammenzuführen. Dieser Beitrag will zeigen, dass Gestaltung einen wesentlichen Anteil bei der Erzeugung neuer visueller Artefakte haben sollte. Die Autoren haben zahlreiche Projekte mit Archäologen, historischen Bauforschern und Kunstwissenschaftlern durchgeführt, anhand derer sie die Methoden der Darstellung von Unschärfe entwickelt haben.
Living Clay
(2007)
Legacy is ambivalent: Built architecture mostly consists of ruins while the immaterial heritage is described in its interpretation. While the former suffers from deterioration and needs protection in order to preserve its condition, the latter undergoes a cyclical process of creating and reprobating interpretations. The concerned knowledge is itself exposed to an evolutional process, while the ruins pass a cyclical, generational reexamination. Protection and interpretation correlate, but the ruins may be recovered while their interpretation will be created, confirmed or discarded infinite times. Still, it is not visible. As good practice we developed a principle of translating hypotheses into vivid visualisations that adhere to the scientific content without adding fictional content: abstract geometry seen as virtual photography. We consider this a humanist approach and rely on the persuasive power of the idea: ideal representations that represent intellectual legacy. This paper illustrates this method by several projects developed by the authors in their University Chair and in their architectural office in cooperation with archaeological research institutions like Cologne Cathedral and its Predecessors (by order of and exhibited in Cologne Cathedral), The Metropolis of Pergamon (within the German Research Fund Excellence Cluster TOPOI) and The Palatine Palaces (by order of the German Archaeological Institute, both latter exhibited in the Pergamon Museum Berlin).
Der Beitrag widmet sich der digitalen Visualisierung von archäologischen Baubefunden und den damit verbundenen grundlegenden Möglichkeiten und Problemen. Was kann die digitale Visualisierung von Architektur im Kontext der 3D-Digitalisierung in der Archäologie leisten? Die Frage ist vor allem deshalb nicht leicht zu beantworten, weil viele Begriffe nicht eindeutig verwendet werden und vor allem
in dieser Konstellation unterschiedlichste Assoziationen
auslösen. Es geht schließlich nicht um Archäologie oder Architektur als Ganzes, sondern eben um die Schnittstelle im Kontext der allumfassenden Digitalisierung.
The Building Phases of Cologne Cathedral and its Predecessors (with a Special on Inner Choir 1856)
(2020)
The two films show the current research results on the building phases of Cologne Cathedrals and its predecessors. From a water basin in a Roman garden, several churches have been built for about two thousand years, until the Gothic choir was started in mid-13th century.
Completed at the end of the 19th century, the cathedral was given a new access structure ten years ago, which serves as an entrance to the tower ascent as well as to the archaeological zone, and in which the film about the construction phases is since exhibited.
It was only in the middle of the 19th century that the wall that had closed off the Gothic choir to the west since the 14th century was removed. From this period numerous images of the interior have been preserved, but none of them show the central interior. The 150th anniversary of the cathedral chorus provided the opportunity to recapture this.
Both visualizations translate scientific hypotheses. They have only been supplemented in those places where it was necessary to complete the architectural impression. As a result, the buildings appear abstract and only in the imaginative power of the observer do they become architecture again.
Within the last decade we have developed a new digital graphic instrument for knowledge mediation and knowledge development of archaeological hypotheses concerning architectural topoi. The key feature of archaeological hypotheses is the varying degree of certainty ranging from undoubtful findings over most probably deductions to vague yet scientifically based assumptions. Mediations, towards the scientific community, as well as towards the public is usually based on scientific, written text accompanied by imagery that – on its turn – tends to be perceived even preferentially.
The paper describes the necessity of architectural design in the process of creating abstract geometry as representation of archaeological hypoth eses in opposition to pretended reconstructions. Methodology: How were the objectives reached? Which methods were used? Knowledge in archaeology, building or art history is generally of largely different certainty including contradictions and multivalencies, which unambiguou sly excludes true reconstructions in the sense that the reconstruction equals its origin. Instead there is a number of hypotheses that approximate the historic state. The visualisation of hypotheses with a special regard on uncertain knowledge, i. e. respecting and explicitely showing this uncertainty, is a counter position towards pretended reconstructions.
Results: What are the results of the work? A number of projects e.g. in cooperation with the German Archaeological Institute DAI, the State’s Museums in Berlin SMB (e.g. the first scientific 3D model of Pergamon and the Palatine palace in Rom, both presented in the Pergamon Museum Berlin), the Museum for Islamic Art Berlin (e. g. the Sasanian metropole Ktesiphon), funded by the German Research Foundation DFG and as part of the DFG Excellence Cluster TOPOI (mainly hosted by the universities FU Berlin and HU Berlin) that successfully visually mediated the state of science and its scientific characteristics among the scientists as well as to the public. Innovations: What is new and significant about your ideas, methods, and results? The visualisation of hypotheses has a higher scientific impact incorporating uncertain knowledge as in
evitable characteristic of science. One way of visually expressing different possible states in one image is the use of abstract geometry. This implies a highly qualified
handling of abstract geometry (model making) and imagery architectural photography) being a creative act of design with effect on the inner-scientific and public perception of the historic topic. So qualified architectural design makes the difference.
Das digitale Bild in der Architektur
Das Buch untersucht die zentrale Rolle des digitalen Bildes in der Architektur über 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 über die Fotomontage bis zum Computerrendering, um die medienspezifische Prägung der Architektur durch digitale Methoden zu verdeutlichen.
Architecture Transformed ist Resultat einer Kooperation des Deutschen Dokumentationszentrums für Kunstgeschichte – Bildarchiv Foto Marburg mit dem Lehrstuhl für Architektur und Visualisierung der Brandenburgischen Technischen Universität Cottbus-Senftenberg als Teil des DFG-Schwerpunktprogramms „Das digitale Bild“.
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.