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Panorama Architecture


“Nothing is more precious than the view of a landscape that is open on every side.”-Louis-Antoine de Bougainville (France, 1772-1811).

The intersection of mankind and machine lies in the inherent nature of the display surface for televisions, computers, cell phones, ect.  This exponential relationship is feverishly pursued with quantifiable results of connectivity, music, information, and visual display.  With the reliance on surface display for information expression, arrives a vanity where the user/consumer has demanding desires: contrast ratio, luminance, gamut, speed, resolution, and size. [18]  Surface display vanity stems from a relationship for the user/consumer to immerse within their information, interact with their information, or be their information.

“The basic aim of a panorama was to reproduce the real world so skillfully that spectators could believe what they were seeing was genuine.  Although the techniques of trompe l’oeil painting had been known for centuries, they were never sufficient to create a total illusion of reality.  An observer’s gaze could always move beyond the frame, where the actual surroundings contradicted those of paintings, and lighting conditions usually failed to match as well.  To achieve a perfect illusion, new techniques of painting were required, but above all a new environment in which paintings could be displayed.  The painting had to surround observers and envelop them completely, so as to exclude any glimpse of their whereabouts.  An entire pictorial environment was created for visitors to pass through.” [20]

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