Understanding Depth Perception: Spatial Orientation and Visual Forces
Indices of Depth
In general, we usually encounter more than just two levels of depth. Problems related to space, orientation, direction, and distance share a common denominator: depth. Hochberg lists four-dimensional configurations:
- Increasingly smaller rectangles
- A trapezoid-shaped figure L adjacent to a horizontal rectangle of the same size
- A rectangle lined with horizontal parallel lines and increasingly dense upward
If we know your location, we can find its two-dimensional and three-dimensional organization, making the previous settings in depth four indices: relative size, perspective view, overlapping, and linear gradients.
Floating Space
In this space, we have the feeling that it moves back and forth. It is an ambiguous space because there is no definite form. The spatial location can be interpreted as a figure seen from above or as moving down, creating optical illusions.
Conflict Area
It provides an absurd spatial situation that does not exist in reality and seems impossible to interpret. We feel we’re definitely looking down if we only see part of the design, or up if we see only the other part. When seen together, the two views are in conflict and cannot be reconciled.
Three-Dimensional Space and Visual Forces
If we see a single item in an open space, it is just perceived. But when it appears in our visual field, we no longer observe an object without a space density. Instead, we observe a mass that separates them, and as they approach, the forces of attraction or repulsion increase, and space becomes more concrete and dense. The way in which this space is perceived depends on how these objects interact with each other. If they somehow complement each other, the attraction will be greater. Conversely, what happens if they are separate objects?
Volume of Relief to Exempt
The peculiarity of being a three-dimensional volume is that there is no back since it involves a projection from plane to plane background.
Architecture: Stereotomic and Tectonic
Stereotomic architecture is one in which gravity is transmitted in a continuous manner in a system where the continuous structural construction is complete. This type of architecture gives the feeling that it arises directly from the Earth due to its stone structure and gravitational nature. In this type of architecture, light pierces the walls so that light can penetrate it; it is also known as the architecture of the cave.
Tectonic architecture is one in which gravity is transmitted in a syncopated structural system with nodes and joints where the building is articulated. It is woody and light architecture. Such buildings are screened from the light, ensuring their holes control the light that floods in. It is also called shell architecture or the cabin.
Concave and Convex
The rules applied to the bottom figure can be applied to the volume. Concavity and convexity are not only in the linear contours of the surface but also within the limits of the volumes represented. For example, the human body has several protruding parts, like the representation of a curve is concave.
Visually, a statue and the surrounding space can be taken as two adjacent volumes where we are willing to toil in the environment as more volume than a vacuum without the statue, but now that seems to monopolize all figural qualities as it has a smaller volume and closed texture density and strength has qualities to which we can add the convexity, although from time to time appear concave.
After 1910, the surrounding space, rather than passively move the statue, takes a more active role and invades the body, taking over the surfaces forming the boundary of the units. Thus, concave space and matter interact dynamically.