“Beyond situations that have been experienced, discover situations that have been dreamed”
Gaston Bachelard, The Poetics of Space (1958, p.29)
Perceptual Motion is a short animated film created using a range of time based media techniques. The narrative highlights the link between consciousness and environmental conditions. A suitcase acts as a metaphor for the container of our emotions and a praxinoscope symbolises their dynamic and somewhat unpredictable nature, taking the protagonist from one mental space to another through a door that opens and closes as the praxinoscope rotates. The film expresses the idea that changes in our environment can suddenly alter our perceptions and the way we feel. It also reveals different environmental narratives, one positive and tranquil and the other negative and despondent, articulating the concept of a perceptual evolutionary state linked to motion and its relationship with time. The animation expresses in our inability to fully control mental space, a step towards the recognition of the complexity of emotions.
This paper presents a study of selected visualisation and investigative methods that facilitate the exploration and expression of human emotions and perceptions within real world environments during the design development stages of a project, repositioning exploration and visualisation in spatial design education. It puts forward an outline for an iterative inquiry around human experiences in order to assess the value of alternative cognitive tools for spatial design students in higher education.
Established tools such as orthographic drawings, axonometric projections or scale models equip spatial designers with the consistency they need to investigate and represent physical attributes of space but don’t always constitute the best methods to explore the perceived environment, even though it is a key contributing factor to the way we experience our surroundings. It is therefore in the interest of design educators to investigate complementary interpretations that enable students to consciously explore less tangible aspects of design such as emotions and multi-sensorial modalities.
Projects developed using tools and techniques ranging from digital 2D and 3D image making, photography, film, animation and performance provide an insight into the possibilities offered by existing visual technologies as dynamic study devices of human experiences and contribute to the generation of alternative processes in spatial design education.