Abstract
This contribution stems from research on the enhancement of museum houses through the use of augmented reality, specifically expanding the modes of viewing a space. This study involves an interdisciplinary relationship between architecture and digital humanities by analyzing two case studies. The first is Kundmanngasse Haus (Ludwig Wittgenstein, Vienna, 1925–1929), a partially musealized house without the use of new technologies, a case study propaedeutic to get to know architecture whose design process, experience of use, and interactions are mediated by computers and devices. This case study is also exemplary as an intersection of philosophy and architectural theory. The second considered case study is Casa Batlló (Antoni Gaudí, Barcelona, 1904–06), a pioneering museum in the application of augmented reality to a museum house. Despite considering different architectural styles and theoretical premises, the case studies have more than something in common, especially in identifying elements that enrich the experience of cultural heritage through the use of new technologies, particularly with augmented reality.
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Notes
- 1.
The house is also of interest because it is situated temporally in a period that many consider a pause in Wittgenstein's philosophical career, following the publication of the Tractatus Logico-Philosophicus and a temporary departure from academic life. See L. Wittgenstein, Ricerche filosofiche, trans. by M. Trinchero, Einaudi, Torino, 1953, and L. Perissinotto, Wittgenstein. Una guida, Feltrinelli, Milano, 2017. The desire to obtain a more descriptive mathematics is an indication that the design moment is not disconnected from philosophical inquiries. For this reason, some scholars have interpreted Wittgenstein's house by searching for a new meaning through a substructure of logical-mathematical formulas at its foundation (Amendolagine, 1975).
- 2.
No one has yet been able to read a system of proportions and rules too sophisticated for the reader (both in philosophy and in architecture): «it should dispel any suspicion that an ‘architect’ with a mathematical inclination such as Wittgenstein would surely have indulged in some elaborate proportional scheme» (Plattus, 1974: 108).
- 3.
The logical space is given by the proposition and the logical coordinates (Wittgenstein, 1976: 164).
- 4.
«The proposition can be true or false only as a picture of reality» (Wittgenstein, 1976: 4.06); «[logic] is a reflection of the world» (Wittgenstein, 1976, 6.13).
- 5.
«Every proposition is located in a system of propositions that is approached to reality like a meter» (S. de Waal, 1975: pp. 63–64).
- 6.
«It is as if logical constants project the image of the elementary proposition onto reality - which can then agree or disagree with this projection» (Wittgenstein, 2004: 162).
- 7.
«Think of the representation of negative facts, using models like: two trains must not be on the tracks. The proposition, the image, the model are - in the negative sense - like a solid body that restricts the freedom of movement of others; in the positive sense, like space, limited by a solid substance, where a body has a place» (Wittgenstein, 2004: 163).
- 8.
«There is no pervasive grid. Nor is there any illusion of a proportional system that connects the entire building. However, there are numerous patterns of measures that produce the desired balance and harmony» (B. Leitner, 2000: 48).
- 9.
«The three-dimensional concretization of the concept of logical space […] can be expressed with Venn diagrams. Moreover, since all Venn diagrams can be traced back to a binary logical formula, it is possible to revert from logical space to the logic of space» (Amendolagine, 1975: 85).
- 10.
«When investigating a mechanism, one does nothing but recognize phenomena that occur together. Ultimately, everything can be reduced to concomitant phenomena. Perhaps one could show that people have never investigated a mechanism without having had a lot of experience of a certain kind. This could be said like this: everything boils down to the concomitant occurrence of phenomena» (Amendolagine, 1975).
- 11.
«Analysis and synthesis must alternate to be fruitful; in other words, they must be reflection and action» (Gaudí, 1995: 251).
- 12.
As for the sound content, in addition to offering an audio tour guide in 15 different languages, the contribution of augmented reality is given through the soundtrack composed by Dani Howard and performed by the Berlin Philharmonic and the Deutsche Oper Berlin conducted by Pablo Urbina.
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Benvenuto, A. (2024). Logical and Technological Representations of Architectural Space: A Comparative Analysys of Kundmanngasse Haus and Casa Batlló. In: De Paolis, L.T., Arpaia, P., Sacco, M. (eds) Extended Reality. XR Salento 2024. Lecture Notes in Computer Science, vol 15029. Springer, Cham. https://doi.org/10.1007/978-3-031-71710-9_21
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