The following images are presented in Scientific American Mind. The article entitled Sculpting the Impossible: Solid Renditions of Visual Illusions portrays both illusion and solution to this eye trickery. I find it amazing that these artists have gone to such detail to reveal illusions that still seem virtually unfeasible. I could stare at these sculptures for quite some time – and still would have trouble “believing my eyes.”

“Lunch with a Helmet On” is composed of 848 forks, knives and spoons. The lighting here is precisely placed to accomplish the motorcycle shadow illusion.

“Encore,” is by Japanese artist Shigeo Fukuda. Here, this sculpture portrays both a pianist and a violinist within the same piece. The center view shows how this artist accomplished this illusion.

Artists Tim Noble and Sue Webster created this sculpture from regular objects found in the trash.

These sculptures truly reveal the importance of a vantage point. As you can see, these sculptures utilize visual vantage points – where understanding can only be accomplished visually. Such works of art make evident how orientation and position can work together to produce amazing results.

The latter photographs illustrate, in tangible form, the many faces a 3-dimensional work of art may have. Visit great architecture and, there too, you may experience a type of sculpture coming to life. As the sun, other occupants and designed features all come together to reveal beautiful moments – the architect’s intent is understood and cherished.

These sculptures make the most of the human visual system, making the surreal exist before our very eyes. Architecture, also, may push the same envelope that seems incorrectly limited by the human senses. This just shows how knowing more about how humans experience space will only push designers toward even greater creation.

Image: A Perspective of 3-D Visual Illusions | Scientific American Mind

The way humans perceive the world is through their senses that use certain rules by which they navigate. For instance, the use of perspective, stereopsis, occlusion, shading and sfumato are all listed in Scientific American Mind’s article A Perspective on 3-D Visual Illusions as rules that “create a 3D formation about our world”. The human brain and nervous system sees this 3-dimensional world on 2-dimensional eye retinas. Thus, rules are used to constantly interpret between the 2-D world and the 3-D world.(1)

One example proving this inference between the 3-dimensional and the 2-dimensional is the visual illusion of the Leaning Tower of Pisa. When two images of the receding tower are placed next to one another, the tower to the right seems to lean at a greater angle than the image to the left. This is because the human eyes want to see the tower image to the right as parallel to the tower image to the left. This cannot happen because both images are receding; the brain reconfigures the images to diverge. In other words, the brain reconstructs a third dimension.(1)

Illusions like the Tower of Pisa illusion give us proof that our brains use rules to navigate the world. When 3-D is placed on 2-D this often tricks the mind into “seeing” differently. So, what does this mean for architecture? How is the 2-D within architectural design evolving? Why is the use of surface so important? What new illusions might we uncover in the future as the use of surface in architecture continues to advance?

Since early times, 2-D surface has been used to create illusions and representations of our 3-D world. At times, our eyes navigate 2-D surface using 3-D navigation rules. This is most evident when we see perspective drawings on a canvas or building surface. Artists and architects alike make the most of our visual sensory system to use surface to create space. Within architecture, for example, the use of perspective on actual building surface can greatly modify spatial character.

Now, with the digital revolution, architectural space can be manipulated evermore by using surface. Architects are going beyond merely painting or applying a surface coating or facing. Architectural surface can literally become space that our eyes move through. With digital media, motion can also be applied to such surfaces, giving space more depths and varying dynamic movements. On very thin screens, humans are now able to navigate 3-D virtual space. At the same time, since this is virtual space – designers may challenge the rules that we humans have come to understand in the real world. (Rules of physics like gravity, friction and inertia can be altered to create certain environmental constructs.)

Nanotechnology is also changing the way architects and designers think of surface. As materials are constructed at the atomic and molecular level, nanotechnology has the power to alter material behavior. Such materials may be used to construct architecture and may transform the way occupants expect materials to perform. As materials become stronger, lighter and cleaner, surface applications will fundamentally change. Just imagine a surface that is perceived as strong and durable as opposed to vulnerable and delicate. The possibilities are immense.

Surfaces are becoming increasingly transient. As we advance further into the future, smart materials will continue to advance and alter the way building materials function. Now, we have glass that can change transparencies and sensors that can actuate LED surface lighting. In effect, the notion of “surface” is changing, and our perception of what we think 2-D space can do is expanding. We have come a long way from discovering the rules of perspective; yet, we are just beginning to understand the brain, its systems and the illusions that define them. Still, it is with the advancement of “surface” that 3-dimensional space continues to evolve – a direct influence from the human sensory system and how it navigates the world.

(1) Macknik, Stephen L. & Martinez-Conde, Susana. A Perspective on 3-D Visual Illusions. Scientific American Mind Magazine. October/November 2008.

Ken Cole | Dreamstime

So, how steep is it? In the latest issue of SciAm Mind magazine an article describes how humans have trouble accurately determining height and slope of vertical inclines. To make matters more interesting, the article goes on to discuss how our perceptions are affected. It seems that if you are accompanied by friends (or supportive people) an incline will appear less steep. Conversely, if one is carrying a heavy load then the incline will appear steeper. Thus, the way inclines are interpreted is subjective.

Therefore, what does this mean for architectural design? Does it affect the way architects should design stairs, ADA ramps or escalators? What about atrium heights or even building heights? Also, are all architectural feature heights affected by the context which surrounds them? It is important to remember that extreme height and slope can often inspire a sense of awe. Sometimes designers want this, other times it can be too intimidating.

Let’s discuss ADA ramps. Understanding vertical illusion might help us understand how to design better inclines for easier and more inspired accessibility. Although such slopes are controlled by code, sometimes these sloped elevations seem to go on and on to match the neighboring stair grades. Such ADA accessible grades should be inviting –a positive occupant experience contributing the overall architectural design – not intimidating zig-zags that make one feel as if going through a sloped maze.

The vertical illusions perceived by all incline types should influence how architects design. Steep escalators, for instance, may need to stem from a platform that can house more people; thus, making the incline appear less steep and less intimidating. Conversely, to create a great feeling of awe, architects may want to embed a vertical element that stems from a more confined space so as to squeeze one’s eye upward – perhaps this is a vertical solely meant for observation instead of travel.

All in all, vertical illusions in architecture are important features. Occupants experience space and transitions through them. Considerate attention should be given to how people might perceive verticals by not only focusing on the vertical itself, but by also designing the spatial functions from which they stem. After all, even vertical sloped transitions are anticipatory – needing designed space that prepares one for their experience.

copyright Dan Ionut Popescu | Dreamstime

Optical illusion can play a subtle role in everyday living – even affecting how architecture is constructed. Did you know that the Parthenon was designed to correct an illusion? Its outer columns are thicker at the top and angled inward at a slant so that from certain viewpoints the building appears to stand tall and straight.

Perception of place is important. It embeds within occupant memory and influences an occupant’s learned history or experience of that place. Because of perception architectural vantage points and approaches are often celebrated. For example, a massive exterior can add an element of surprise for that delicately floated interior space. 

Illusions that impact occupant perception can be cleverly used by architects in design. The key is to know that you are using them and to take full advantage as you exploit their influential qualities.