” If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe “
It is a truth universally acknowledged, that the term camouflage and its ambiguous character has started to draw a lot of attraction among the millennials. Camouflage and its importance in architecture with respect to the various aspects of loose fit contiguity and its unidentified apertures in the digital world and computation as a tool is what the entire blog is all about. Camouflage can be defined as a “visual disguise” ,but on the contradictory it can be interpreted as taking advantage of a human eye’s blind-spot which draws to a conclusion of “Faking the eye” theory. A human eye if provided with a dotted canvas, has the power to join the dots through its power of imagination and striking a boundary by its psychedelic conscience. but when the dots are not placed on a predictable manner and drawn with a complex algorithm then the human brain struggles to connect the dots in a correct way but rather than understanding the original figure or even the what is was meant to portray. you will be forced to understand and link it with something that you have a strong liking to (Unconsciously). Getting into a pragmatic for of creating a digital camo has become a cliche these days with a lot of research light years ahead of the genre of profanity. Camouflage which is tested to be successful in a terrain battle ( An example to explain ) uses the very basic ideology of pixelation . usage of bigger and smaller pixels juxtapositioned in-order to create a camouflage which is really successful with respect to a moving viewer who views the same target with respect to the environment as the ground and the military-wear as the figure. The figure-ground relationship should be really difficult to interpret for a successful camo. Pixelations are used to create a digital camo as they are considered to be the best way to hide an object and blend the object to the environment and sinking itself with the fractal patterns in the background of the object thus making it highly difficult for the object to be located, small and big pixel patterns are juxtapositioned so that the art of camouflage which is movement and distance specific can be mitigate the chances of the object being identified by a moving viewer. The ability or the strong will of an object to hide itself or unwillingness to reveal itself is called ” Crypsis “. My personal take on crypsis would be the objects superpower to fuse and transmutate itself in accordance to the environment.
Motion dazzle can be represented in the form of a figure ground-relationship, where the canvas becomes the ground here. In this the figure the object blends itself with the ground and the directionality of movement of this object cannot be foreseen or predicted. as the probability of striking perfection is mitigated greatly influenced by the usage of contrast colors. and colors make a major role in the art of camouflage of combat. A lot of artists dont prefer or reject the usage of ” black ” and ” Brown ” colors in the camo design. but to be precise black and brown colors give the object a three dimensionality as black acts as the shadows of the fractal patterns thus creating the phenomenon of three-dimensionality.
Establishing a peerless stronghold of the apertures in a loose fit contiguity and exploiting the weakness in the visual blind spot of a human has been one of the questions raised by the prophecy in architecture. The emergence of camouflage in this discipline and its transmutation into an unparagoned breed of visual disguise to create a political havoc is all that the future is about. But equalling the balance of powers by providing the architectural buildings with the sixth sense of “Crypsis” has always ended up in an unprecedented catastrophe. Articulating a surface and morphing the various components to blend the form with those components, hiding the primary mass of the building to create an ambiguous visual illusion is a major paradigm shift of the future-past.
The Ricola Factory design by Herzog and De Meuron in France is a perfect example of object in an object on an object camouflage. When placed in a five dimensional space where three co-ordinates corresponds to the measurements while the fourth dimension corresponds to time and the fifth to Exposure of light, the change in time and exposure of light, the building brings out the hidden superpower of transforming itself into a Dominion that it isn’t. The buildings facade morphs its surface during the day and night, making it dominant as well as submissive. superimposition of the interiority and the exteriority in the design strikes a perfect balance In this 5 dimensional space. As the time crawls on the wait for the illusion to happen ends It makes it a clear cut winner even when an unpredictable factors such as sunlight, rain and wind are also brought under the scan of action. With time, the reaction of the side walls to these natural hazards causes itself to discover a new parallel dimension of itself. This is called camo in a camo on a camo by a camo. The ambiguity of camouflage makes a strong comeback and redefines the periphery of its boundless glory in this genre.
The facade is stamped with the medallion of Achillea Umbellata by repeated repetition as this is the key factor that blows in the sands of time, triggering the hypothesis of illusion. Selecting the impeccable size of the medallion ( Leaf’s size ) is the key to strike perfect sense of balance, Karl Blossfeldt’s medallion might be blurry due to extensive super repetition and scaling up of the image. These motifs can be seen from the outside only in broad daylight.The translucent polycarbonate sheet is injected with the quality of abstracted reflection which makes it to inherit the quality of crypsis, where the object tries to hide itself from the surrounding by reflecting and bending of light which is considered to be the code behind quantum stealth also known as cloaking. An objects shape can be known only when light falls on it. So a form provides its visual character to the viewer only with the reflection of light. But this kind of abstract reflection can cause you to see a whole new world which you already inherit. So visual veil also becomes part and parcel of a camouflage package presented to the viewer. As the exposure to light decreases the impact of the motif starts to evanesce, which by itself is a form of visual disguise.