Nicola Ho And Rand Abu Al Sha'r
2.5 Wooden Frames
The assignment was approached taking into consideration the premise of a pavilion installation and the intended context of exploring thresholds. To extend this idea of crossings and interiority versus exteriority, we decided to focus our photogrammetry and artifact selection on door frames and doors as a broader idea to explore the role of the threshold in entering and leaving and in coming and going. Our artifacts focused not on the frame as a whole, but on the details of the frames, decorative and seemingly frivolous at first, but upon a closer look, reveal intense wearing due to usage over time. In response to this, we decided to use our manipulation to exaggerate these moments. The imaging process used the visual information obtained through the initial scans of two wooden frames. These textures were manipulated in order to mute any color or light information acquired by the scanning process. Following this, the adjusted texture was mapped back onto each manipulated frame. For texturing, this same process was repeated once again, but here the threshold of transparency was also manipulated based on the vertices of the adjusted frames. The result is the translation of the markings on each door - scruffs, wearing, the wood grain itself - to the digital medium. This translation straddles the line between original and copy, grain becomes light filtering through, scruff becomes opaqueness shielding light, exploiting the initial provocation of the threshold both in the pavilion but also in the digital manipulation process itself. The result is an open pavilion as a field of columns, filled with our two types of door frames, reimagined as a threshold on their own terms-- as a structural necessity, unlike the very artifact that was scanned in the first place. Shifting densities and intersections of typologies create a third type, a frankenstein of the two initial scans, questioning both sidedness in architecture and our will to create agency in the spaces we occupy.