Gavin Perin is a lecturer in the School of Architecture at UTS whose main research interest is the role representation plays in the determination of architecture form. This research focuses on the generative and instrumental affect the forms of representation have both on design processes and its artefacts.
Gavin is enrolled in a Doctor of Philosophy in Architecture degree at UTS. His thesis examines how the rejection of signification in digital architectural discourse represents a new formal basis for architecture.
He extends this interest in digital modes of representation within a range of cross-disciplinary design activities that unites architecture, visual communication, animation and graphic design. These collaborations, which address a broad spectrum of research and design issues, use a theoretically driven design-based mode of research that explores the many evolving areas of digital design practice.
This cross disciplinary research aims to develop new and innovative ways in which to frame digital media, leading to the design of immersive dynamic information systems that function at the nexus of physical and virtual environments. This work offers a unique opportunity for researchers and industry partners to engage with a multidisciplinary team of national and international designers, architects, creative practitioners, theorists and technology experts.
Gavin’s main teaching roles involve teaching architectural design at undergraduate level and postgraduate level.
Co-director and founding member of the Centre for Digital Design (CDD).
The CDD offers a unique opportunity for researchers and industry partners to engage with a multidisciplinary team of national and international designers, architects, creative practitioners, theorists and technology experts. CDD unites disciplines such as visual communication, graphic design, video, and architecture, to address a spectrum of research and design issues.
The main research interest is the role of representation in architecture and the generative and instrumental affect of the forms of representation on design practice and its artefacts.
This work is being developed within the CDD, which is engaged in theoretical and practice based research that explores the evolving frontiers of digital design with the aim to develop new and innovative ways digital media can be used to design immersive dynamic information systems that function in physical and virtual environments.
Perin, G & Matthews, L 2019, 'Organizing Architectural Atmospheres: Reconfiguring Form and Space as Chromatic Data', International Journal of Creative Interfaces and Computer Graphics, vol. 10, no. 1, pp. 16-29.
Perin, GJ & Bowman, C 2016, 'Movement in Architecture: Disciplining the Digital Diagram', International Journal of Creative Interfaces and Computer Graphics, vol. 7, no. 2.View/Download from: Publisher's site
The digital processing of three-dimensional movement data often leads to instrumental design methods.
This problem-solution design paradigm limits spatial design practices because they do more than
solve singular problems. The question is whether spatial design practice can exploit the mediating
effects of hardware and software. Robin Evans' essay 'Translations from Drawing to Building' argues
that architecture needs to embrace the mediating effects of the drawing. To this end digital motion
capture systems open numerous new mapping and diagramming techniques. The unique condition
sponsored by movement data is that architecture must find new ways of drawing the relationship
between drawing, data and experience. These new drawings also open numerous issues around the
representational and formal opportunities raised by movement capture technologies. Accordingly, the
architectural exploration of movement data needs to assess the basis by which all design disciplines
can approach movement data through generative rather than instrumental design acts.
Matthews, LM & Perin, G 2014, 'Reconfiguring space: the collective autonomy of digital technology', International Journal of Web Based Communities, vol. 10, no. 2, pp. 158-158.View/Download from: Publisher's site
The continued survival of political systems is contingent upon strategies that generate an image reinforcing the position of those in power. The associated conversion of the built environment into an agent of political propaganda operates either by underscoring this position, or by generating the representation of formal interventions that validate and promote the same. The emergence of information technologies demands a new approach to the generation of urban form. The global transmission of the city image by webcam networks means that their surveillant intent is overridden in favour of an operational space where the image's instrumentality is now contingent upon the interactive operation of video technology. This paper will discuss not only how these digital technologies can disrupt the exertion of political control by urban powerbrokers but, more importantly, it will reveal how they open a new collective, productive space for the individual that contests this hegemony of vision.
Digital technologies demand a transformation in the disciplinary ambitions guiding the architectural design process. The potential of these technologies lies in the almost endless capacity to translate hard materiality into fluid data flows. Yet, their architectural application is so wedded to the issue of form that colour remains a secondary design concern. The continuing relegation of colour to a secondary design issue perpetuates a longstanding theoretical paradox. On the one hand, digital architecture encourages formal investigations into the tectonics of the surface. On the other, by austerely rejecting colour, digital architecture implicitly perpe- tuates a prejudice against the appearance of that same surface. This paper aims to dissect this disciplinary prejudice in order to open the field to digital techniques that use colour as an integral part of the generative design process.
Perin, GJ 2013, 'Affective Geometries', Monument, vol. 113, pp. 39-43.
Webcam systems now function as the new privileged vantage points from which to view the city. This transformation of CCTV technology from surveillance to promotional tool is significant because its 'scopic regime' presents, back to the public, a new virtual 'site' that sits alongside its real-tiome counterpart. Significantly, this raw 'image' data can, in fact, be co-opted and processed so as to disrupt their original purpose. This paper will demonstrate this disruptive capacity through an architectural project. It will reveal how the adaption of the webcam image offers a technical springboard by which to initiate alternate urban form making decisions and subvert the disciplinary reliance on the 'flat' orthographic plan. In so doing. the paper will show how the 'digital material' exceeds the imagistic function of the image; shifting it from being a vehicle of signification to a site of affect.
The pervasiveness of CCTV systems throughout contemporary urban environments is merely the latest mechanism by which civil authorities attempt to control the spatial complexity of the city. Responding to an inability to observe illicit activity from a single vantage point, the distributed CCTV network acts as an important mechanism of socia l surveillance. Consequently, the scopic regime of the C(TV not only registers the anxiety of the dominant social power structures concern ing public space, it also reinforces an ongoing historical relationship with the occupation and control of the landscape. The significant difference between these systems and Jeremy Bentham's panopticon is that the technological transportability of the image allows captured 'content' to re-enter the public domain rather than remain the property of a privileged minority. The interactive and remote nature of these systems, when coupled with their digital conversion and transmission through a third party digital interface, the internet, delivers the very mechanism of control back into the hands of those who are surveyed.
Matthews, LM & Perin, GJ 2011, 'Digital Images: Interaction and Production', International Journal of Creative Interfaces and Computer Graphics, vol. 2, no. 1, pp. 27-41.View/Download from: Publisher's site
The valence of any visual paradigm and its accompanying technologies is subject to the contingencies of political regimes and cultural shifts. The instigation, implementation and even reconfiguring of any associated technological system effects a translation and adjustment to the structure and use of these supporting mechanisms that both re-defines the relationship between object and viewer and ultimately influences its translation into material form. The permeation of digital systems throughout contemporary urban space is typified by Internet Protocol webcam systems, instigated by civic authorities for surveillance and the imagistic promotion of iconic city form. This paper examines how this systems reception and subsequent translation of transmitted data signals into digital information not only presents new material to mediate peoples engagement with public space, but moreover, how it presents new opportunities for the designer to materialize its three-dimensional form within the spatial ambiguity of virtual and real-time environments.
This essay aims to demonstrate how the webcams capacity for reflexivity and manipulability extends the instrumentality of the digital image and offers an opportunity for adapting and mediating the visual experience and representation of urban environments. It will discuss how the disruption of the regulatory control of the webcam opens a space for productive engagement with the making of city images that refuses either to privilege sanctioned forms or to render stable representations of the urban landscape. With a specific focus on the link between material and program, it will demonstrate how the disciplinary logics of webcam `content can instigate alternative three-dimensional formal tactics by allowing the architect to analyze, adopt and adapt webcam `content and ultimately to convert it into qualitative and experiential form.
Perin, G & Matthews, L 2020, 'Aberrant Patterns: Cataloguing the Visual Effects of Materialising the Hidden Patterns in Digital Imaging Systems' in Borlini, M, Amadori, C & Di Loreto, L (eds), Urban Corporis: The City and the Skin, IUVAS, Milan, pp. 164-173.
Perin, G 2019, 'Deviant Theory' in Brisbin, C & Thiessen, M (eds), The Routledge Companion to Criticality in Art, Architecture, and Design, Routledge, UK, pp. 92-110.
In one short passage, Milan Kundera summarizes how theory, using text as a translational medium, evacuates the violence of action. The scenario outlined by Kundera involves a somewhat antiquated transaction where this theoretical translation occurs at a time sufficiently distant from the real, lived experience. This temporal spacing is important because text, operating as a basis of and for judgment, achieves the clean translation of an experience into an historical event. It is significant that the historical event is a type of formalized or ritualized 'occurrence.' The categorical labeling accompanying the event is essential in transforming a specific experience into a type or general instance. It matters little if this rationalization of experience operates retrospectively to assess actions, or prophetically, to explain contemporary circumstances. In both instances, this typology of events creates meaning, and thus judgment, to organize what are often experientially inexplicable incidents. The ultimate purpose of this typological rationalization is to deprive action of its bloodiness. This relationship between action and interpretation provides a useful framework to examine the nature of exchange seen in the ideation and production of architectural objects
Perin, GJ & Matthews, LM 2016, 'Urban utopics: the politics of the digital city view' in Caldwell, GA, Smith, CH & Cairns, G (eds), Digital Futures and the City of Today: New Technologies and Physical Spaces, Intellect Ltd, Bristol, UK, pp. 105-121.
Matthews, LM & Perin, GJ 2012, 'Digital Images: Interaction and Production' in Falchuk, B & Marcos, A (eds), Innovative Design and Creation of Visual Interfaces: Advancements and Trends, IGI Global, USA, pp. 176-191.View/Download from: Publisher's site
The valence of any visual paradigm and its accompanying technologies is subject to the contingencies of political regimes and cultural shifts. The instigation, implementation and even reconfiguring of any associated technological system effects a translation and adjustment to the structure and use of these supporting mechanisms that both re-defines the relationship between object and viewer and ultimately influences its translation into material form. The permeation of digital systems throughout contemporary urban space is typified by Internet Protocol webcam systems, instigated by civic authorities for surveillance and the imagistic promotion of iconic city form. This paper examines how this system's reception and subsequent translation of transmitted data signals into digital information not only presents new material to mediate people's engagement with public space, but moreover, how it presents new opportunities for the designer to materialize its three-dimensional form within the spatial ambiguity of virtual and real-time environments.
Perin, GJ 2007, 'Form Design Legitimacy' in Peter McNeil (ed), Shinmi Park. Changeability. The Fashion Trace, UTS DAB DOCS, UTS, pp. 46-50.
Perin, G & Matthews, L 2019, 'Slicing Perspective', Proceedings of the 9th International Conference on Digital and Interactive Arts, Braga: Grupo Portugues de Computacao Grafica and ARTECH International., ARTECH 2019: Proceedings of the 9th International Conference on Digital and Interactive Arts, Braga, Portugal.
Perin, G & Taylor, A 2018, 'Scanning Heritage: Qualitative Representations of Cultural Heritage', NA, Smartness? Between discourse and practice, 15th Architectural Humanities Research Association, Eindhoven.
Perin, G & Matthews, L 2018, 'Aberrant Patterns: Cataloguing the Visual Effects of Materialising the Hidden Patterns in Digital Imaging Systems', No, Smartness? Between discourse and practice, 15th Architectural Humanities Research Association, Eindhoven.
Matthews, L, Perin, G, Perry, S, Bone, D & Culpepper, J 2018, 'Novel Disruptive Methods: Pattern Adaptations for Military Structures', International Conference on Science and Innovation for Land Power 2018, Department of Defence, Australian Government, Adelaide, SA, Australia.
Recent research reveals that signature disruption strategies of detection delay and disguise can provide effective counter-surveillance techniques for contemporary low-altitude Uninhabited Aerial Vehicle (UAV) or drone detection platforms. As the first in a series of tiered tests, a virtual 3D model of selected 'scaled-up' HSV-based (Human Visual System based) algorithmic patterns and 3D biological nanostructures were found to disrupt a camera sensor when
mirrored in a physical surface. Further prototype and field tests will be conducted to corroborate these findings, with the ultimate aim of proposing an effective, controllable and disruptive mechanism to overhead UAV surveillance technology.
Matthews, L & Perin, G 2017, 'A productive ambiguity: Diffraction aberrations as a template for the architectural surface', CAADRIA 2017 - 22nd International Conference on Computer-Aided Architectural Design Research in Asia: Protocols, Flows and Glitches, International Conference of the Association for Computer-Aided Architectural Design Research in Asia, The Association for Computer-Aided Architectural Design Research in Asia, Suzhou, China, pp. 571-580.
© 2017, The Association for Computer-Aided Architectural Design Research in Asia (CAADRIA), Hong Kong. The hi-resolution imaging of public urban space for both promotional and surveillance purposes is now undertaken by a range of ubiquitous visioning technology such as Internet webcams, drones (UAV's) and high-altitude aircraft cameras. The ability to control and manipulate these types of images is a growing concern in an increasingly 'envisioned' environment. One approach is to disrupt or modify the 'emission signatures' of urban surfaces, which requires an understanding of the digital algorithms used to assemble and transmit image content into grids of visual data. Recent scaled tests show that Fraunhofer diffraction algorithms can interfere with the smooth transmission of image data. When these algorithmic patterns are physically constructed into a building façade, they create natural disruption glitches in the camera's successful transmission of visual data. The paper details how the quantum of visual aberration in the digital portrayal of the city can be determined by algorithm-based façade patterning.
Matthews, LM & Perin, GJ 2017, 'The hidden territories of the digital line', Quotation, Quotation: What Does History Have in Store for Architecture Today, 34th Annual Conference of the Society of Architectural Historians, Australia and New Zealand, SAHANZ, Canberra, Australia, pp. 377-387.
Perin, GJ & Matthews, LM 2017, 'Chromatic Cartography: [Re] Drawing Architecture in a Digital Paradigm', Proceedings of the 8th International Conference on Digital Arts, International Conference on Digital Arts, ACM, Macau, China, pp. 39-45.View/Download from: Publisher's site
This paper addresses the theoretical, procedural and formal implications of using image-based software as a new type of architectural drawing. Named chromatic cartography, this new category of digital production extends disciplinary knowledge of the drawing by redefining the representational and procedural repertoire of digital design practice. The representational and procedural differences of chromatic cartography rely on the ability of image-based software to capture and reconfigure real-world data. The pixel becomes central to this mode of mapping because it requires the map to represent form through color. In fact, the conversion of form into packets of visual data transforms the image's role in architectural practice, rupturing the longstanding practice of defining form through the line. The computational manipulability of visual data has significant procedural consequences for architectural production. It is not just that the image as visual data recasts the role images play in architectural production without violating digital discourse's core philosophical tenet of superseding semiotic meaning with meaningful production. Rather, computation circumvents past techniques of appropriation and reproduction that had transformed drawing into images of formal likeness and resemblance.
Austin, M & Perin, G 2016, 'Drawing the Glitch', Proceedings - Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture, Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture, UCL & The Bartlett School of Architecture, London, pp. 14-19.
Bowman, C, Fujita, H & Perin, G 2016, 'Towards a knowledge based environment for the cognitive understanding and creation of immersive visualization of expressive human movement data', Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics), International Conference on Industrial Engineering and Other Applications of Applied Intelligent Systems, Springer, Morioka, Japan, pp. 182-192.View/Download from: Publisher's site
How the classification of expressive movement data and use of such classifications may be used to inform the development of a knowledge-based system of movement analysis. In this paper, we present an example that adopts a practice-led design approach to the creation of immersive animation environments that features a method of indexing dance movement used by artists and designers to characterize this movement using "narrative grammar" based on pathemic, kinesthetic, cinematographic and aesthetic criteria referred to as a "movement index". The utility of the system described in this experiment was tested principally in art and design but this use can be generalized, to inform the development of cognitive medical applications for analyzing irregular movement patterns or the unusual motion behavior often characteristic of the ill or the elderly.
Perin, G & Matthews, LM 2016, 'The Digital Image as Topological Surface', Proceedings of the Digital Cultural Ecology and the Medium Sized City, Digital-Cultural Ecology & the Medium-Sized City, AMPS, The Arnolfini Centre for Contemporary Arts, Bristol, United Kingdom, pp. 56-65.
In the image economy the promotional image allows individuals and authorities to make various
claims for the control of urban and architectural form. However, apart from texts like Anna
Klingmann's Brandscapes: Architecture in the Experience Economy, there are few voices that directly
advocate architectural action in this arena. While impossible to succinctly explain this disciplinary
mistrust of the Image, the return to figurative intent risks prefiguring formal choices to the detriment
of architecture's performative responsibilities. Within digital design discourse, the diagrammatic
process is seen to circumvent the politics of Meaning that comes with the 'already figured'. Instead,
the procedural generation of form guarantees that Meaning occurs only after form emerges.i Thus the
politics of the branded architectural object lies outside the remit of digital discourse. Yet Klingmann's
position suggests that contemporary digital image creation and dissemination runs an uncanny parallel
to that traditional role where architecture communicates identity and prestige. Furthermore, as Trevor
Paglen's projects, 'Symbology' and 'The Other Night Sky' demonstrate ii, the dematerialisation of
power within the flows of global capital is countered by either the desire to re-present power through
covert emblems or in the residual traces left by the passage of data. In an age where the
dematerialization of power threat
Austin, M & Perin, G 2015, 'The Other Digital: A study between algorithmic design and glitch aesthetics in digital architecture', Proceedings for Emerging Experience in Present and Future of Digital Architecture, The 20th International Conference of the Association for Computer-Aided Architectural Design Research in Asia CAADRIA 2015, Association for Computer-Aided Architectural Design Research in Asia (CAADRIA) annual conference, CAADRIA, Daegu, Republic of Korea, pp. 829-838.
The paper compares the implications of glitch aesthetics as
an alternative digital design process to the more the commonly used
algorithmic processes. It will argue the synthetic nature of architectural
production in the digital age is used typically to privilege the representation
of form through lines and curves, while the production of
glitches rely on the image. This reliance on the image means that the
pixel comes to the forefront as a possible new medium of architectural
drawing. This paper therefore aims to outline the advantages and
problems with using 'glitches' within architectural production.
Perin, GJ & Bowman, CP 2015, 'Drawing Out Movement', Proceedings of the 7th International Conference on Digital Arts, International Conference on Digital Arts – Creating Digital e-Motions, Artech-International, Obidos, Portugal, pp. 69-73.
Digital technology can capture and
configure contextually situated three-dimensional data to
an unprecedented resolution. This is particularly true in
biomedicine, where contemporary motion capture systems
have dramatically extended the early photographic studies
of Étienne-Jules Marey and Eadweard Muybridge. Yet,
the accuracy of these modern systems, which for this paper
includes hardware and software, risks sublimating the
mediating effects of the system on the data. Hence, the
instrumentalization of data, supported by the inductive
process, risks converting individual datasets into a
universal measure of the body; effectively confusing
physiological knowledge with embodied knowledge.
Robin Evans, in the essay 'Translations from
Drawing to Building', argues for a mode of drawing that
mediates rather than instrumentalizes information. By
extension, the use of digital motion capture systems as new
mode of architectural drawing opens an array of
disciplinary issues and representational and formal
opportunities. Accordingly, the paper will discuss how
operating beyond instrumentalization influences the
nature of these issues and opportunities. In the process, the
paper will also raise a series of critical issues that work to
delimit the architectural application of movement data.
Matthews, LM & Perin, G 2015, 'Transforming Pixel Hierarchies: The newMateriality of the City Image', Proceedings for Creating Digital E-Motions, International Conference on Digital Arts – Creating Digital e-Motions, Artech-International, Óbidos, Portugal, pp. 181-185.
The imaging of the contemporary
city is a reflection of proprietary and civic ambitions and
concerns. Referencing a series of tests that draw upon the
urban webcam's optical scan-order patterns, the paper
reveals how their incorporation within the architectural
surface can disrupt the camera's capacity to create either a
coherent, legible image or one that privileges selective
areas of content. As a result, the paper shows how the
numerical basis of the digital image establishes a direct
and predictable relationship with the city's viewed surface
such that any narrativist interpretation or representation
of urban space can be forestalled.
Perin, GJ & Matthews, LM 2014, 'The Return of Anamorphism: The Digital Oblique', Proceedings of the Society of Architectural Historians, Australia and New Zealand: 31, Translation, The Return of Anamorphism: The Digital Oblique, SAHANZ and Unitec ePress and Gold Coast, Queensland, Auckland, New Zealand, pp. 579-589.
Perin, GJ & Matthews, LM 2014, 'Urban utopics and the new digital view', The Mediated City Conference, THE MEDIATED CITY Part 2 LOS ANGELES, A JOURNAL OF ARCHITECTURE_MEDIA_POLITICS_SOCIETY, Burbank, Los Angeles, California.
Internet Webcam technology is a crucial nodal imaging device that delivers a plethora of new vantage points by which the visual experience of the city is now constructed. Delivered directly to the desktop, this distributed network extends the individual viewer beyond their physical limits.However, it also, remains a regulated system. Unlike sites like Flikr the representation of urban form and life is authored and thus locates the various promotional and proprietorial interests of those who own the view. More importantly, the figurative potency of the webcam image relies on its emblematic, descriptive form. Louis Marin, in 'Utopics' and 'On Representation' identifies
how the use of narrative and descriptive image forms in early city maps constructed differences in the representation of sovereign power. Referring to Gomboust's 1647 Map of Paris, Marin argues that the image, as a representational vehicle for the mediation of power, inevitably, constructs a gap or interval within any figurative continuity. Here the presence of competing intermediating referents undoes the map's figurative consistency. In this sense, representations of this kind rupture their own ambition for semantic coherence.Referencing Marin's observation that the representation of power establishes the basis of its own inevitable rupture, this paper will explore how the Internet webcam, simultaneously reveals the immanence of urban
powerbrokers and delineates the mechanism by which this power is disrupted. The paper will examine how pixel-based geometry and image as 'data' unravels the narrative of linear perspective representation by supplanting its Cartesian coordinates and instead privileging experiential conditions of colour and luminosity. In rejecting the delineation of form through the line, the city's image becomes a more affective, qualitative condition. Moreover, the ease by which this content can be repackaged and reassembled institutes a profound political shift in the image's agency...
Perin, GJ 2013, 'Consumptive Affect', Proceedings of the Society of Architectural Historians, Australia and New Zealand 30, Open, Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, SAHANZ, Griffith University, Gold Coast, Queensland, pp. 275-286.
The formal repertoire of digital design is now so well established that formal novelty can no longer be used to intellectually sustain this practice. As suggested by Patrik Schumachers 'Digital Semiotics' and Greg Lynns 'Too Many Columns' studios run at Viennas Institute of Architecture, the key figures of digital design are themselves returning to more enduring architectural issues. However, the continued reliance of key theoretical concepts, borrowed primarily from Deleuze, ensures the emphasis on process remains valid because its supposedly non-formal basis frees design from the ideological predetermination of form. There is no intention of returning to postmodernism semiotics or the link between form and knowable experience, as promoted in phenomemological thinking. If experience exists, it does so as a condition of 'affect' where, as Brian Massumi argues, it is an autonomous procedural state that is not just independent of form but is its actual sponsor. Unlike Greg Lynn, theorist Brian Massumi makes this claim for affect based on the formation and action of the object. This paper will examine why the role of process in digital design as the 'affective condition of formation' represents yet another failed attempt to separate the act of making from ideology. Of particular import is the type of radical devaluing of form one sees in the text of Massumi, which ensures there is no other purpose for the object other than as a 'resource' or 'material' for the processes of 'affect.' Drawing specifically on Georges Batailles account of Calvinist expenditure, the trace of ideology will be revealed in how this procedural schema ensures the object, as stuff to be folded and reabsorbed back into production, uncannily fulfills the same role it plays in supporting the capitalist ideal of meaningful consumption. In this way the valorising of process is ideologically consistent the capitalist paradigm of consumption.
Perin, GJ 2013, 'Theory's Use Value', Critique 2013 Conference Proceedings, Critique: An International conference reflecting on creative practice in art, architecture, and design, University of South Australia, Adelaide, Australia, pp. 17-29.
Post-Critical and Affect Theory discourse rejects the conventional transaction between theory, critique and design because it trades the artifacts sovereignty for theorys gift of legitimacy. Foucaults suggestion that theory is `a kind of tool-box for users, not readers is useful because it repositions theorys `job from authentication to production. The problem with this radical rejection of theory and critique is that it privileges the act of design to the point where judgment potentially traps the artifact within the capitalist rhetoric of production. The uneasy relationship between theory, critique and design is partially a consequence of Architectures unique relation to function and scale. Here the drawing accentuates the slippage in the transformative movement between representation and form. Typically this has resulted in enlisting theory as a mechanism to substantiate responses that exceed the 'design problem'. This defensive posture imparts the artefact with 'significance' and `meaning. However, this exchange also sublimates the presence of doctrine as a sort of essential truth, allowing its ideological drivers to remain hidden and uncontested. In contrast, Yve Alain Bois and Rosalind Krauss see a `use value for the artifact that places theory and critique at the disposal of design practice. Referring to theorists like John Rajchman, Elizabeth Grosz and Andrew Benjamin, it is possible to argue that this approach necessitates a particular `ethic to design practice and research that is open to a diversity of processes, techniques and outcomes. Drawing on postgraduate architectural design projects that actively deploy operative modes of design practice, the paper will reconsider the artifact as a site of constructive potentiality, criticality and openness. Predicated on the tolerance of difference and the redemption of rhetorics value, the conduct and substantiated of research offers both a more equitable interaction with theory and more sympathetic resea...
Perin, GJ & Bowman, CP 2013, 'Thresholds: Observations On Motion Capture', Proceedings of the 19th International Symposium on Electronic Art, International Symposium on Electronic Art, ISEA International, the Australian Network for Art & Technology and the University of Sydney, Sydney, pp. 1-4.
This paper theoretically situates research that explores motion capture data visualization using customized software tools such as MxCap.01. The value of software like MxCap.01 lies in its visualization capabilities including the ability to scale the re-presentation of the force, direction and intensity of movement but also do so within a temporal and emotive structuring.
Matthews, LM & Perin, GJ 2012, 'Image-mapping: open-source diversity', Proceedings of the 6th International Conference on Digital Arts - ARTECH 2012: Crossing Digital Boundaries, ARTECH Crossing Digital Boundaries, Grupo Portugues de Computacao Grafica and ARTECH International, Faro, Portugal, pp. 137-143.
The contemporary image-making process offers the designer the opportunity to transform the agency of the image from passive consumption to active production. This paper will reveal, through the deliberate application of open-source software, ImageJ, to both webcam and video footage, that image-based data can be extracted to inform design image-making. Through a series of procedures that reapply the criteria of medical imaging software to the city image, it will be shown this software can provide both an index of the city's performance and a palette of new generative formal techniques that profoundly influence our perception and experience of urban space.
Matthews, LM & Perin, GJ 2012, 'Materialising the Pixel: A Productive Synergy', Proceedings for Beyond codes and pixels: Proceedings of the 17th International Conference on Computer-Aided Architectural Design Research in Asia, Association for Computer-Aided Architectural Design Research in Asia (CAADRIA) annual conference, CAADRIA, Chennai, India, pp. 475-484.
The composite photoreceptive field of the human eye receives photons emitted from a source and converts this energy into image information within the brain. The internal mechanisms of the contemporary camera imaging technologies represent yet another in a long history of attempts to technically replicate this procedure. The critical difference between the capacity of the human eye to receive quanta events or photons and that of a camera transmitting to a digital display device, rests in how much of the original signal can be recovered. This paper aims to show how the 'information deficit' associated with this technological conversion can be enhanced by the deliberate exploitation and re-arrangement of the camera's image sensor mechanism. The paper will discuss how the mapping of pixel grid geometries and colour filter array patterns at the vastly increased scale of building faÃ§ades, imparts a materiality to urban form that modifies the visibility and performance of the corresponding virtual screen image. The exploration of the material adaptation of pixel geometries leads to a new technique that extends the working gamut of pixel-based RGB colour space and both establishes an index to develop material performance criteria and modifies the limitations of traditional viewing technologies.
Perin, GJ & Matthews, LM 2012, 'Digital Anamorphism', Proceedings of the 6th International Conference on Digital Arts - ARTECH 2012: Crossing Digital Boundaries,, ARTECH Crossing Digital Boundaries, Grupo Portugues de Computacao Grafica and ARTECH International, Faro, Portugal, pp. 107-113.
The experimental effects and affects of every scopic regime can, in part, be traced to its respective technologies of image creation and dissemination. This paper, with a specific focus on the link between the image and architectural form, offers a preliminary discussion of how digital technologies begin to modify the conventional viewing relationship of form, as established by linear perspective. Drawing on different techniques of anamorphic projection, the paper suggests that the new digital sites opened by the Internet in fact instigate a re-orientation of the view that offers new ways of addressing architectural issues of materiality, program and form.
Matthews, LM & Perin, GJ 2011, 'Exploiting Instability: reconfiguring digital systems', Circuit Bending, Breaking and Mending: The 16th International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA2011), Association for Computer-Aided Architectural Design Research in Asia (CAADRIA) annual conference, The Association for Computer-Aided Architectural Design Research in Asia, Newcastle, Australia, pp. 463-472.
The transmission technologies of digital environments propagated by the Internet, specifically the ubiquitous webcam system, present new material to mediate people's engagement with civic space and simultaneously offer new ways to materialize its three-dimensional form. Recent research shows that the technical functionality of the webcam can be extended through deliberate intervention within the performance of contemporary camera optics. This suggests the development of new techniques for design intervention that operate in direct relationship to the evolution of the very technologies they exploit. With specific focus on the optical and chromatic translational capacities of the camera, the paper will discuss how the manipulation of its colour receptor mechanism not only provides the designer with an opportunity to exceed the constraints of commonly available colour palettes, but also it will show how this digital disruption actively capitalises upon the discrepancies that govern design strategies applied to formal production within coexistent virtual and real-time space. Through the deployment of colour filter array patterns, this new technique is able to extend the working gamut of RGB colour space in a way that that allows chromatic selection for exterior and interior urban space to be linked to programmatic distribution across duplicate environments.
Perin, GJ 2010, 'Figural Atmospherics: Affective and Semiotic Ambiguity of the Figure in Architecture', Imagining... Proceedings of the 27th International SAHANZ Conference, Society of Architectural Historians, Australia and New Zealand Annual Conference, Society of Architectural Historians, Australia and New Zealand (SAHANZ), Newcastle, Australia, pp. 323-327.
Matthews, LM & Perin, GJ 2010, 'Materializing Virtual Sites', Proceedings of 5th International Conference on Digital Arts, ARTECH 2010: Envisoning Digital Spaces, ARTECH 2010: Envisioning Digital Spaces, Artech-International (The International Association for Digital and Interactive Arts), GuimarÃ£es, Portugal, pp. 39-44.
The increasingly common deployment of webcam systems for the imagistic promotion of iconic city form not only presents new material to mediate people's engagement with this space, but also offers new ways to materialise its actual three-dimensional form. The interactive capacity of webcam content, both as a voyeuristic space and through its digital manipulation, paradoxically subverts the representative role expected of these systems to one that is qualitative and experiential. In doing so, it questions the making of civics space as a signifier or locus of idealized form and replaces any symbolic role for urban form with the affect of form. The paper, drawing on recently completed design-oriented research conducted at the University of Technology, Sydney, will discuss how an array of open-source digital softwares have been strategically recruited to process raw virtual qualitative data from webcam images to generate a formal response to civic space. This 'designerly' intervention back into three-dimensional space, through specific operational and technical properties associated with the digital manipulation of the two-dimensional webcam view, asks the designer to relinquish the images traditionally used to substantiate urban form. This unprecedented technique can be seen to offer a new paradigm for material intervention within both 'virtual' and urban space.
Perin, GJ & Matthews, LM 2010, 'New Imaging: transdisciplinary strategies for art beyond the new media', New Imaging:transdisciplinary strategies for art beyond the new media, International Conference on Transdisciplinary Imaging at the Intersections between Art, Science and Culture, Transdisciplinary Image Conference, Sydney, Australia, pp. 103-111.
If the eighteenth century Picturesque can be regarded as a proprietorial strategy for mediating the visual experience of landscape, then the proliferation and configuration of webcam networks to promote iconic city form can be seen as its contemporary counterpart. These digital systems, in their most voyeuristic and passive form as a new privileged vantage point for the 'remote' tourist to view the city, allow civic authorities to curate the visual experience of the contemporary urban landscape. Unlike the formal stability of the Picturesque view, the webcam's digital conversion of the real provides viewers with the opportunity to adapt and mediate their experience. Importantly, this digital conversion is able to offer the designer new ways to materialize three-dimensional form. This adaptive facility of webcam content paradoxically subverts the surveillant and the promotional uses of these systems and converts it into qualitative and experiential material. The paper will discuss how open-source digital software can be recruited to process and interpret virtual qualitative data from webcams to the point where it can generate a formal response to civic space. This digital manipulation of the two-dimensional webcam view, asks the designer to relinquish the images commonly used to substantiate urban form and to respond to duplicate virtual and real-time sites whose coexistence shifts the temporal framework traditionally used to guide formal intervention. The application of this unprecedented technique reveals an opportunity to reinterpret the paradigm both for our experience of 'virtual' and urban space and for material intervention within it.
Perin, GJ 2009, 'Imaging Sustainabiltiy: The environment of the well tempered architecture', Association of Architecture Schools of Australasia Annual Conference (AASA), Association of Architecture Schools of Australasia Annual Conference, AASA & Victoria University Wellington, Wellington, New Zealand, pp. 1-8.
Conference paper still awaiting peer review process. Expected publication in late 2009. Please note the paper was co-authored and was presented by myself.
Co-authored Conference Paper with Linda Matthews, a Ph.D candidate at UTS.
Perin, GJ & Matthews, LM 2009, 'The Modern Picturesque and Techniques of Adaptation', International Visual Sociology Association 2009 Conference:Appreciating the Views: How we are looking at the Social and Visual Landscape, Carlisle, UK..
Perin, GJ & Matthews, LM 2008, 'Digital Sites and Performative Views', CHart 24th Annual Conference- Seeing... Vision and Perception in a Digital Culture, London, UK.
Perin, GJ 2007, 'Instrumental Analogy', Association of Architecture Schools of Australasia Annual Conference (AASA), Association of Architecture Schools of Australasia Annual Conference, AASA & UTS, Sydney, Australia, pp. 1-8.
The scalar mediation of the object through the space of representation ensures design methodologies based on similitude or procedural techniques must initially work upon appropriated forms. Given that translation ensures that these forms remain as a trace the architectural object is implicitly reliant on the application of analogy. While still bound to the act of drawing in, on or through the digital distinguishes itself from the explicit appropriation of forms and techniques typical of pre-digital design methodologies because analogy is more than re-presention.
Perin, GJ 2007, 'The Scopic Regime of the Digital:The New Instrumentality of Perspective', Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Society of Architectural Historians, Australia and New Zealand Annual Conference, SAHANZ & University of South Australia, Adelaide, Australia, pp. 1-11.
Panofsky promotes linear perspective as a modern scopic regime because of its capacity to maintain the visual dimensional integrity of the form it represents. Validation of this method lies implicitly around an argument of tracing existent form when in actuality perspective is architecturally deployed for its projective capacity. This schism between trace and projection is obvious given that the constructional logic of linear perspective is entirely dependent on the orthographic drawing. Put simply, without the plan, section and elevation there can be no perspective drawing.
Perin, GJ 2006, 'Operative Respresentation and the Digital', Digital Architecture and Construction, Digital Architecture and Construction, WIT Press, Korea, Seoul, pp. 131-141.
Perin, GJ 2006, 'Theory's Use Value', Reflections on Creativity: EXPLORING THE ROLE OF THEORY IN THE CREATIVE PRACTICES, Dundee, Scotland.
Linda Matthews & Perin, GJ, 'Manhattan Re-transcribed', CineCity at SAF: Connections- A Short Film session, Paramount Pictures Building, Surry Hills Sydney.
Perin, GJ & Goddard, S, 'Designing Our City', Object Gallery.
The exhibition presented design-oriented research to offer an alternative future vision to that of tile City of Sydney's Sustainable Sydney 2030 plan, The work, developed in Masters of Architecture Studio, was produced in partnership with the School of Architecture (11TS) and the Object Gallery, Contribution Innovation in methodology and New Knowledge. 1was curator of exhibition content and design of artwork layout. Significance The research rationale accepted that the pervasiveness of information economy technologies would, in the hands of today's digitally aware youth, substantially affect the social and political patterns of urban inhabitation and generate new urban programs and forms. The specific methodology employed collection of qualitative and quantitative data, associated with the use of such devices, which was then projectively translated through a range of digital softwares and 'sites', Significant was thatthe act of projective mapping resisted any move towards the projection of professionally valorised and sanctioned precedent form. Counter to those methods employed in many conventional planning instruments, the subsequent emergent urban propositions werepremised on the likely reality of a future condition, Thus the design of, and for, the city was anticipated 011 possible future shifts in patterns of inhabitation, rather than on pre-formed tectonic visions.
Matthews, LM & Perin, GJ, 'New York Cuts', Virtually Pop PopCAANZ 6th Annual International Conference 29 June-1 July 2015 Massey University Campus, Wellington, New Zealand, University of New Zealand, College of Creative Arts, Massey University, College of Creative Arts, Massey University.
Video Installation Work exhibited at POPCAANZ 2015. Virtually POP is a curated (peer-reviewed) exhibition aligned with the
2015 POPCAANZ Conference ISBN 978-0-646-93725-0
This project was a team submission for an open design competiiton, that lead to a novel research trajecory at the intersection of scripting, computation, landscape and urban design. The proposal has been exhibited in Pittsburgh.