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Photography フォトグラフィー

Architecture アーキテクチャ

Industrial Design インダストリアルデザン

Purity フォトグラフィー

Tactility アーキテクチャ

Cinematicity インダストリアルデザン

Ma·chin·er·y[muh-shee-nuh-ree]–noun, plural -er·ies.1.an assemblage of machines or mechanical apparatuses: the machinery of a factory.2.the parts of a machine, collectively: the machinery of a watch.

Struc·ture[struhk-cher]–noun, verb, -tured, -tur·ing. 1.mode of building, construction, or organization; arrangement of parts, elements, or constituents: a pyramidal structure.2.something built or constructed3.a complex system considered from the point of view of the whole rather than of any single part: the structure of modern science.

Tac·til·ity[tak-til, -tahyl]–adjective1.of, pertaining to, endowed with, or affecting the sense of touch.2.perceptible to the touch; tangible.

Pu·ri·ty[pyoor-i-tee]–noun1.the condition or quality of being pure; freedom from anything that debases, contaminates, pol-lutes, etc.: the purity of drinking water.2.freedom from any admixture or modifying addition.

Cinema·ticity[sin-uh-muh]–noun1.the cinema, motion pictures collectively, as an art.

Cal·m[kahm; older kam; spelling pron. kahlm]–adjective1.without rough motion; still or nearly still: a calm sea.2.free from excitement or passion; tranquil: a calm face; a calm manner.

Rep·e·ti·tion[rep-i-tish-uhn]–noun,plural-mis for 2.–noun1.the act of repeating; repeated action, performance, production, or presentation.2.a reproduction, copy, or replica. 3.something made by or resulting from repeating.

Ma·te·ri·al·i·ty[muh-teer-ee-al-i-tee]–noun, plural -ties for 2.1.material nature or quality.2.something material.

underhaus

underhaus

Antechamber

camera obscura

peep box

anamorphosischinese fireworkschronophotographycoptographscamera obscuraharliquinademagic lanternmoire effectmyrioramapeep boxphenatiskopezoetropethaumatropetransparent imagestwo-way + three-way pictures

Lexicon

MAGIC LANTERN : Optical ProjectionTheMagic Lantern, or the Lanterna Magica was the forerunner of the modern slide projector. The device consisted of an oil lamp and a lens, with images painted on glass plates which could be projected on to a suitable screen.

Although its invention was credited to Dutch physicist Christiaan Huygens (1629-95), some reports trace it back to 2nd century China. Chronicled in Athanasius Kircher’s Ars Magna Lucis et Umbrae with the fi rst illustrations of the magic lantern projecting images, it was the fi rst recording of the device in the west.

The optical system in Magic Lanterns was, in the early years, very crude consisting of a light source and a single lens to focus the picture onto a distant screen. Later, as an understanding of optics in other fi elds was developed, it was applied to the art of projection resulting in even sharper pictures on the screen.

As it became more sophisticated, the lantern consisted of an internal light source and a system of mirrors and lenses to

References:1 Mannoni, Laurent. ‘Eyes, Lies and Illusions: The Art of Deception’. London: Hayward Gallery in association with Lund Humphries, c2004.2‘A Thril in the Dark: Victorian Magic Lantern Shows’ , http://www.magiclantern14.btinternet.co.uk/contents.htm3.‘The Magic Lantern Society’, http://www.magiclantern.co.uk

focus light and project images.

A concave mirror is fi xed to the back to intensify the light by refl ecting the beams forward, parallel to each other. At the front, opposite the mirror, is a tube with vertical convex lenses inside it. Beyond the common focus point of the two lenses a transparent picture (slide) is inserted into the box, reversed and upside down. The Magic Lantern projects a corrected version of this image onto a screen or wall.

Over the period of a little more than 200 years, the Magic Lantern developed from basic projectors such as the SturmLantern, capable of producing small, dimly lit images to the magnifi cent Triunials, which were even capable of alluding animation. In the hands of a consummate showman these machines could provide dazzling entertainment for hundreds of people.

Muizz Adam Nazmi

MAGIC LANTERN

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fig. 1 - cutaway and lens arrangement of magic lantern

Wushu Training CentreWushu Training CentreWushu Training Centre

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negativevoid ...light

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I n t r o v e r t C i t yI n t r o v e r t C i t yI n t r o v e r t C i t yI n t r o v e r t C i t yI n t r o v e r t C i t yI n t r o v e r t C i t yI n t r o v e r t C i t y

I n t r o v e r t C i t yI n t r o v e r t C i t yI n t r o v e r t C i t yI n t r o v e r t C i t yI n t r o v e r t C i t yI n t r o v e r t C i t yI n t r o v e r t C i t y

Primary Needs of Humans Culture / Site Melbourne Racial Integration

Information Age

Genetic RevolutionProduction Age

Extraordinary Productive SystemsEfficiency + Less Work

Heal

Fight Pollution

Improve Lives

Save Time + Effort

Information Technology Revolution

Enhanced Interactive Communication/Multimedia

Life in the 22nd Century

Production Age

Extraordinary Productive Systems

Genesis of a New World: Manuel Castells

SIAL- Spatial Information Architecture Advance 3D modelling

Growth/Mutation Studies

ALESSI MUTANTS TOM KOVAC REINER ZETTL

Habitat

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