A cabin for two, in Devon UK. One main volume for living, with a bathroom and an outdoor platform. Situated on a hill with a few not-so-distant homes looking at it, shy to them. It wants to look over these homes to the Exe Valley. Its visors are up to filter out the view, and project the inhabitants vision through the valley (vision projection is described as entry no.47 in the optical catalogue). The visor space (the platform) is habitable as a dinner spot, etc. It’s also a little shy because of its political context; for a few reasons it’s a little bit covert. For example, the west window facing towards the village almost fully slips behind the west visor to hide its nightly-glowing occupancy and conceal its entire presence. Almost, if not for a 100mm reveal from the visor, generating a healthy quantity of political friction. 100mm of glowing friction. Geometrically, the inverse can be said for the east elevation, where it has no onlookers. The visors mediate all of these notions. Specifically, the outward/inward dynamic. Credits to Baba (builder and sponsor).
See the render rig project for more details. This is something I hope to develop. I made a camera in render space and shot images A,B,C. This version of the camera is just a simple 28mm prime lens with an isometric viewport acting as the ‘sensor’. The lens material is generic glass. Perspectival distortion (and other optical phenomena I hope to persuade out) is exhibited on a far greater (and more simulative) scale than the average render camera. This became my lighting study for the interior space, and even a study of understanding scale in the first person. Even z-depth contrast reduction is even starting to emerge, and edge softening. The grey borders in C are the edges of the aperture. More to come.
Above image showing the premise of the visor optics. Vision is projected by cupping hands around the eyes when looking into such things as space at night, sky and landscapes because the local is not registered.