PIXELATION OF THE VERNACULAR

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YUE WU

INDIVIDUAL PROJECT

TYPE: ASTRONAUT TRAINING CENTER

SITE: GRAN CANARIA

The project discusses the translation of invisible graphic messages into visible architectural information, which is my theme. Mixture is applied to different scales. Some are more natural, some are half artificial and half natural, some are fully artificial. Thus it fits the local environment. The building is a simulation of the possibility of several extreme environmental conditions on Mars. It uses sandstorms and light to provide a Mars-like environment for the Astronaut Training Center.

Lady With An Ermine

M. Kemp, entry for The Lady with an Ermine in the exhibition Circa 1492: Art in the Age of Exploration (Washington-New Haven-London) pp 271f, states "the identification of the sitter in this painting as Cecilia Gallerani is reasonably secure;" Janice Shell and Grazioso Sironi, "Cecilia Gallerani: Leonardo's Lady with an Ermine" Artibus et Historiae 13 no. 25 (1992:47-66) disscus the career of this identification since it was first suggested in 1900.

The treatment of light and darkness in the painting is a masterpiece. Da Vinci used the method of light and darkness to perfectly match light and shadow to create a sense of indirect brightness, and the light and shadow accentuate the elegant temperament and soft face of the main character in the painting.

Lowest point D_YMIN 0.0149748

The order of each color is distributed differently in time. The paint starts with a priming, and light to dark is stacked in sequence to form layers. The bottom layer defines the state of mapping. Depending on the size of the pigment substitution, the interpretation of the phenomenon is done from a small scale. This figure discusses the visualization of the non-visualization, overlay onto the same map. Depending on the different colors in the map to 3d, the result may be uneven, which is as irregular as the overlay of different pigments interacting to form a three-dimensional phenomenon.