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2. The development. Enumeration and assignment of the digital devices
| Digital Stretcher | Dome Projector |
| Altar: Pulpit and Table of Celebration | Digital Altar “Palas” (Previous and Subsequent) |
Since our desire is to make collection of a series of digital utensils that we will distribute strategically in the structure of the temple regulating of parallel way his double quality, functional and aesthetics, we should consider the design that will determine the particular interpretation of each one of these electronic appliances, so that is established a clear homogeneity nuance between the appearance of the building and the new elements inserted in him.
Complemented with the illustrations that describe each one of these technological gadgets, the following sections collect synthetically certain details related to the new mechanical tenants that formed part of the sacred landscape intervened. There are not all those which could deal involved in such practice; nevertheless, which appear are those which have considered more representative after evening the archetypes present in the current religious building and raised them from this practice. That is: digital stretchers and altar palas, both linked to the pictorial iconography materialized in painting; projector for images emission in the vaulted zone of the dome, evoking the frescos that travel that band or the chromatism samples that generate the windows on internal surfaces; pulpit and celebration table attended with digital mechanisms and devices, appealing to the furniture and the liturgical instruments characteristic of religious labor.
We envisage each one of way isolated to understand, through the illustrations and the text, a little more his assignment within environment for which are projected and the task of design performed in the conception than what now are mere virtual prototypes.
Digital Stretcher. Manuel Viñas Limonchi
The customary placement of pictorial fragments on the walls of the temple acquires a new dimension, being substituted or complemented these frequently large linens or tables for electronic stretchers. In essence, digital panels supported on same floor from those which are projected iconographies referring to the christian symbolism. Their distribution in the lateral naves favors a suitable visualization of the images on the part of visitors located in the central nave, as well as by those who circulate through the adjacent corridors; exhibiting also, as natural substitute of the current chapels located in these contiguous naves, as well as in the stroll-zone, dedicated customarily to some personage of the sacrosanct court.
Concerning its design, the articulations that connect the different pieces of the stretcher confer a total mobility to the projection surface, being able to turn on its central shaft to be converted in a vertical or horizontal support, be inclined toward the on-looker to adopt an appropriate visual angle and rotate around the base that sustains the complete structure to guide the image toward other horizontal plans in the intervened space. An important aspect is the type of screen used, being indispensable to appeal to standardized flat monitors like LCD (Liquid Crystal Display). The liquid crystal screens, used primarily within the family of portable computers and in others small electronic gadgets, by their dimensions and weight, are converted in the ideal device to be adapted to this great transmitter representations frame. Nevertheless, its current low-quality of image in respect to that supplied by the conventional monitors (image perception that reduces considerably upon visualizing from certain vision angles) suggests a change toward new technologies, which are still in the early stages of development. Amongst these we find plasma screens or PDP (Plasma Display Panels) and still the most recent investigations in the field of plastic anticipates small monitors composed of microscopic plastic polymers which are light-sensitive. Problem: A costly investment is necessary to acquire these type of devices; which is normally overlooked when there are known substitutes such as CRT (Cathode Ray Tube screens) which offer splendid quality.
As in the other electronic appliances available in our building of analogous qualities to these stretchers, one of principal advantages relapses in the possibility of projecting at random different static images or video sequences. Graphic goods, either acquired from the traditional widest catalogue that includes the sacred iconography are properly digitized and manipulated and elaborated for the occasion through various infographics processes.
Dome Projector and previous/subsequent digital altar “pala”. Manuel
Viñas Limonchi
On the constructive level, our dome is distinguished for recreating the architectural methods conceived by the American engineer R. Buckminster Fuller, who in 1947 devised and patented the geodesic dome. A structure composed for the union of tetraedrics or octaedrics polygonal surfaces manufactured with light materials, that at present has the quantity of adherents between the professionals of the sector. For example, in Spain the one which implicates the Pavilion of Sant Jordi in Barcelona, assembled by the Japanese architect Arata Isozaki as a steel reticular structure that in his day accepted part of the sports events such as the Olympics Games celebrated in 1992.
On the exterior, its appearance resembles a metallic skeleton constituted by a great number of braces and joints, that at the same time give form to an extraordinary curve window under the one which remains disposed the solid semispherical cap whose interior accepts the luminous chromatisms drawn by the image sent from an inferior central point to the level where this is located. The internal contour that covers the dome, a space where such artists as important as Michelangelo and Brunelleschi applied magnificent windows and/or ornamental elements (low-relief), is drawn even in this building; being eliminated, from this manner, carved modules and hollows that could distort the image emerged from the projector and printed -as beam of light- on the stony concave support.
In Mediartech 98, a multimedia art fair celebrated in Florencia, we find iconographic similarities with the paradigm analyzed here. In such year Gianfranco Iannuzzi, through his work designated Michelangelo, conjugates technology and art by the projection on an architectural surface of scenes extracted from the representations compendium belonging to the renaissance genius that gives title to his assembly.
In this case, the image deluges the curve surface of the dome, earning the battle to the artistic gender that attributes to the third dimension the principal decorative abilities in architectural environments. A visual resource that promotes in that significant point of the building a deployment of scenographics plots linked to different paragraphs of the sacred genealogy.
Projection on dome. Manuel Viñas
Limonchi
Altar: Pulpit and Table of Celebration
Since this zone of the building is centralized in a good part of the ceremony, coinciding here the ritual section where is produced after the relevant corresponding readings at liturgical time a greater spontaneity in the dissertation presented by the celebrator, we will provide to this space with the suitable mechanism to develop an equally uninhibited and natural labor.
Pulpit and Table of Celebration. Manuel Viñas
Limonchi
Saving the existing differences concerning perceptual quality between the paper support and the digital support, we decided to substitute the ceremony book with a computer; being the small computer disposed on the platform of this zone of the protocolar scenery the one which unfurls the information concerning to the different sequences that compose the traditional cult. This specific part of the temple will also be run by the different functions that affect the electronic devices installed within architectural dominance (stretchers, digital altarpiece, dome projector,...), being able to be accommodated this computer instrument by the official in the altar table or to have a fixed similar model in that demarcation. A religious professional whose customary ceremony garments can be carried with the advances emerged in the branch of the design that perseveres in the models and complements confection of digital kind (designated as wearable computers) adaptable to the aesthetics and function of the occupational or idle personality of the user.
The selective and rapid data search that provides the computer concedes to the priest the possibility of chaining various textual fragments in the course of his oratory. This would be a difficult circumstance to settle if he had to spontaneously gather several written volumes to consult passages that suddenly come to mind. All this makes the computer an effective bibliographical tool focused to the deposit, classification and consultant of the vast documental record belonging in this occasion to the theological doctrine; seated (the computer), in the experimental practice that we develop now, as an object of design that accompanies the same objectives of the liturgical panorama.
Using the same system from the same base as the pulpit, the table of celebration lacks some of the strange features, (other than the extensible arm that supports the surface) to accommodate the user. Its relationship with the diffusion of the iconographic material is non-existent, which is why it is understood that its presence in this analysis as a useful object is perfectly adaptable to the aesthetics of the type of religious furnishing.
Digital Altar “Palas” (Previous and Subsequent)
Located in the altar of the temple, and welded to the machine that projects images on the dome by a mechanical arm discontinued in the subsequent zone of the altar, these modern “palas” are trained to issue from their screens all iconographic content distinctive of religious gender to which yields cult the building. Concretely, the principal objective of the subsequent “pala” will be issued direct and immediate images of the celebrator to facilitate to the persons aligned in the banks disposed after him a clear vision of the act that carries out.
Of similar appearance to the digital stretcher, the mechanism that assembles the pieces of these devices is directed in different paths to guide the issuing surface in the direction of the spectator.
Previous and Subsequent Digital Altar “Pala”.
Manuel Viñas Limonchi