REALITIES in INTERIOR DESIGN

Post 205 –by Gautam Shah

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Interior Ludwig Erhard Haus Lifts Architecture

Reality, is ‘the conjectured state of things as they actually exist, rather than as they may appear or might be imagined’. Designers start their work by conjecturing things in imagination, and then format it, to bring it closer to the reality with various tools. The state of things, though will actually not exist till it is formed -in reality. But once it is executed there will not be any need for the immersive multimedia -a computer simulation of virtual reality. Virtual reality sets physical ‘like presences’ in the real world or imagined places (time-place situations). Virtual reality recreates sensorial experiences, including taste, sight, smell, sound, touches, etc.

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Various philosophers have distinguished the reality from the things that are imaginable (but not real). The Reality, is often differentiated from what is imaginary or delusional, such as the dreams, falsehood, fictional, or abstract. The reality in its physical form is perceived and interpreted by every individual differently due to the mental filters created with the beliefs and experiences. In this sense reality is an extremely personal domain. This domain needs to be transferred to someone, requires ‘tools of transfer or artificial reality’.

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The realms of real and the virtual overlap as the augmented reality. Here the real is augmented by the virtual, and the virtual is proffered by selective (and confirming) portions of the real. Such augmented virtuality have no seams of real or unreal. The perception process is often reinforced with psychological support. Clients unconvinced by a presentation are confirmed with persuasive talk.

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Virtual reality presentations primarily related to visual experiences, such as the static, stereoscopic and dynamic (video) images. Other sensory supplements are offered through tonal variations, colour enhancement, etc. Interior Designers are rarely able to convince a client with just these tools. Large number of samples are needed to supplement the ‘material feel’. The computer aided design tools provide vast ‘surface-colour-texture libraries. The tactile experience of the carpet, curtain or stone floor is absent from such artificial reality. Here the designer has to resort to parallels of experiences. Some advanced, haptic systems now include tactile information, generally known as force feedback in medical, gaming and military applications. There are no tools to provide the audio experience of the designed space, such as the drawing room, auditorium, corridor or lounge.

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The explanatory or verbal support may be enhanced by language composition or sound delivery. These devices just augment the virtuality of the reality. The presentation occurs simultaneously in dual worlds of reality and augmented virtuality. One never knows which facet is being perceived impressionistically by the client. The presentations occur in the time-space spandrels that are over the inter-net, as on-line or off-line acts. Such simulated reality by computer, are indistinguishable from the ‘true’ reality, and may in future may use hyper tools to directly affect the sub conscious mind.

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Virtual reality is easily distinguished from the experience of actuality, as participants are never in doubt about the enactment and experiences of it. Simulated reality, by contrast, would be affecting the mind where it needs to be impressed. In brain-computer interfaces, data is exchanged and impression is implanted. The Matrix movies feature an intermingled type of simulation, of human minds and sentient software programmes that govern various aspects of the computed realm.

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