I’ve become accustomed to see the world represented artificially, especially in architecture, through the medium of super-high-definition rendering engines.
Artist’s impressions used to imply a degree of artistry more associated with the water-colour box than the screen palette, and the result is a strange sense of reality – where the future seems strangely more real that the present. A result that somehow renders out the sense of what a place or space really feels like.
This loss, at once hard to argue for (on the grounds of the speed and efficiency required commercially) and argue against (on the grounds of sounding like a technological reactionary), is still a loss.
On Radio 4 this morning, the CEO of Harvey Nichols categorically stated that her customer’s are seeking emotional experiences. These are the states the store, under her direction, is designing for. These are tricky things to capture in presenting work that’s aimed at delivering them. Cold, hard facts are good. Crisp, hard edges make for what appears a clear-cut objective. But the overall impression? I’ll leave that one open for debate.
Those feelings (or emotional experiences, if you prefer the brand-speak) are, I’d argue, what’s missing in the way much of my work is expressed – on screen, as it mostly has to be.
So thank you Peter D Harris for reminding me that capturing the real sense of a place demands a difference canvas (than the screen’s multiple offers) and his recent works exemplify a way of seeing what the binary’s can’t. With real feeling.