The perception of three-dimensional sculptural forms is quite different from two-dimensional art works such as painting and drawing. Though both are considered forms of artistic production, the distinction is the tactual and kinesthetic sensations of the three-dimensional sculptural forms. The understanding of the perception of sculptural forms adds another dimension to cognitive and emotive qualities embedded in art. The emotions evoked while observing, knowing, touching, and feeling a sculpture, as well as the experiences of working, creating, and producing one, affect an individual’s perception. People with dementia who develop visual and perceptual difficulties may gradually have a different experience of sculpture. The materiality of a sculpture and its tactile engagement have the capacity to influence their perception. With spatial errors, changes in color, and misperceptions, there is a possibility that they see, appreciate, and experience, in a different way, both physical sculptural forms and those that are mediated through digital technology.
There are various archive exhibitions held in art museums around the world. With the advent of Google, YouTube, digital cameras, and many other technologies, the way of recording and showing artwork has completely changed. In addition, archive exhibition related art has different characteristics compared to history museums and science museums. An art archive exhibition should have a close relationship with the displayed artwork, and it also has to be an artwork itself. It should satisfy the different expectations of visitors such as providing a new sensory experience or artistic knowledge. Also, the importance of archive sessions that can inform the context and meaning of the entire exhibition is growing because understanding the individual artwork is becoming more difficult as most of art has become more conceptualized. This article will present the process of a project our research team has been working on. This project composed an archive session for the robotic artwork from the “Robot Essay” exhibition that opened this past April at the Korea National Museum of Contemporary Art. Our archive session, inter-shelf, focused on how to increase the visitors’ engagement with the art exhibition by using rich and interactive experiences such as books and bookshelves as design motifs. The Inter-shelf consisted of four layers of information including a timeline, video, interactive installation, and real-time info-aesthetic visualization based on the visitors’ survey.
In the digital age, the hyperspace of virtual reality systems stands out as a new spatial concept creating a parallel realm to “real” space. Virtual reality influences one’s experience of and interaction with architectural space. This “otherworld” brings up the criticism of the existing conception of space, time and body. Hyperspaces are relatively new to designers but not to filmmakers. Their cinematic representations help the comprehension of the outcomes of these new spaces. Visualisation of futuristic ideas on the big screen turns film into a medium for spatial experimentation. Creating a possible future, The Matrix (The Wachowskis 1999) takes the concept of hyperspace to a level not-yet-realised but imagined. With a critical gaze at the existing norms of architecture, the film creates new horizons in terms of space. In this context, this study introduces science fiction cinema as a discussion medium to understand the potentials of virtual reality systems for the architecture of the twenty-first century. As a “role model,” cinema helps to better understand technological and spatial shifts. It acts as a vehicle for going beyond the spatial theories and designs of the twentieth century and for defining the conception of space in contemporary architecture.