Pixels have been fundamental constituents of the world of digital technology since the early twentieth century. They hardly attract attention as individuals, since the essential point of a pixelated medium is to make people perceive the “big picture”.
Apart from the technological sense, pixels become a focal point by expanding to art and architectural praxis in both micro and macro scales. The concept of pixelation has been widely experimented in conventional architecture and art works of different styles, adopting the expressions such as “rows of bricks”, “ceramic patterns”, “fragments of mosaics”, “a composition of squares” or “Pointillist brush strokes”. But it was with the emergence of digital age that pixels became “visible”, and fulfilled the exact meaning of the term which is “picture element”.
The paper explores pixel-based art works in the digital age and their architectural environments, after a short survey on conventional concept of pixelation. In the case of surface, pixels now propose a second and temporary skin for buildings, and in the case of spatiality, they produce new layers of space, various affects and sensations. As a result of this superimposition of art and architecture, the boundaries between digital – analog, virtual – real, and temporary – permanent are blurred. Thus, the ambiguousness leads to the development of new possibilities and viewpoints of experiencing and producing art and architecture.
|Keywords:||Pixel, Digital, Surface, Spatiality, Aesthetic Experience|
Research Assistant, Department of Architecture, Dokuz Eylul University, Izmir, Turkey
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