Further paint trials and conclusions regarding paint type and brushing/rolling patterns.



Review 2 involved “mastering” the photogenic paint mixture and application, though it turned out to be an ongoing struggle.

Greater linkages between photogrammetry and digital projection was pursued in the installation.

Through multiple generations of removal of physical visual information (photograph, cyanotype) and reconnection back to physical (projector), layers of information about the specific experience and duration of a singular moment is absorbed into the physical space.

The result is a visceral experience of the merging of temporal information via digital representation with physical space, producing a reading of transient nuances of space that often go unrecorded.  Architecture becomes a recorder of singular moments which then become output as “historical” information and experience.

The first go at the full room test was almost a success, but through the process many new issues have arisen, such as the proper chemistry of the “paint”, the psychological experience of the space, and its occupancy.  Because the aim of the “photogenic architecture” is to enable the architecture itself to absorb and remember its occupants and lighting conditions, these things need to be more carefully considered.  As a first trial, the main exposing agent was a UV “reptile” light, which is very controlled and predictable.  Exposure time for this test was about 1.5 hours.  With that length in mind, some equivalent occupancy or use must be considered because simply sitting in the room is a very paranoid experience as one watches the walls carefully for an image to appear.  Perhaps the next exposure will include a movie party, or a board game, or a coffee break.


Practice of Jennifer Harmon, lecturer at University of Michigan Taubman College


The final project trials now have a specific site!  I will be turning a average office space into a “photogenic space”  through the application of photosensitive paints and control of lighting.   The intent is to move through a series of very controlled full room tests in order to optimize the paint formula and to learn the types of relationships that can be captured on the walls.

The first thing that was noticed and located as a potential design opportunity was the excess of surface texture.  This is exciting because it allows for potentials in matching projection details with real life materials.  This enables similar animation/real object couplings to the ones explored earlier on.

The three key aspects that will animate and embed temporal photographic information into physical space are:

Projection and Physical Texture

Control of Light (Sunlight and Artificial)

Activity and Use.


The easiest aspect to explore is the control of light.  Below are beginning examples of how light can be specifically channeled and displaced as a way of animating and articulating the cyanopaint surfaces.

Since the last review, two avenues of inquiry have been pursued.  First, looking into alternate ways of coating large surfaces through cyanotype infused paint and directly applying water-based chemical to non-absorbent surfaces.

Paint Tests

The mixing of the chemical in paint changed its usual behavior, such as slowing its exposure sensitivity and allowing for other forms of interaction other than light and shadow.

Paint on the wall took a few days to really change to the deep blue that signifies a proper exposure.

Other haptic relationships:


The other area of the project addressed was the increase of control on the source of light and exploring specific contexts in order to prescribe a specific relationship between space, objects, and the scan.  Light source placement is strategic in order to align with a desired capture surface or to utilize an existing threshold i.e. door and window to link the fluctuating use of a real object with the control of an aperture of light.  This link gives a relationship and value to the shadow recording.  Also, webcam placement is another recorder to be potentially linked to the fluctuation of a real object, such as the swing of a door.  The hope is to find real, three-dimensional relationships between light, objects, and the recording surface which are specific and revealing of something unseen or unrepresented about an object or space.



Finally, as an elaboration of the desk idea a full scale test was staged to simulate its type of reading.