Interferencje wizualne – możliwości plastyczne liniowych układów mieszanych

Alina Lipowicz-Budzyńska

doi:10.37190/arc240311

Streszczenie

Celem autorki artykułu jest zbadanie możliwości wykorzystania w architekturze zjawiska interferencji wizualnych. Badania mają charakter eksperymentalny i służą opracowaniu składającego się z dwóch warstw modułu, który zostanie zwielokrotniony i umieszczony na szklanej fasadzie. Badania mogą zostać wykorzystane do stworzenia metody przetwarzania obrazu z wykorzystaniem interferencji. We wstępie artykułu omówiono różne formy interferencji w grafikach złożonych z elementów liniowych. Przytoczono przykłady płaskich nietransparentnych realizacji z grafiki i malarstwa. Następnie zaprezentowano grupę obrazów przestrzennych w formie instalacji lub umieszczonych na dwóch warstwach szkła. Przedstawiono badania mające na celu opracowanie układu graficznego przeznaczonego do umieszczenia na szklanej fasadzie. W artykule krótko opisano tworzenie modułu – elementu graficznego, który służy do opracowywania bardziej złożonych kompozycji możliwych do wykorzystania w szklanej fasadzie. Jest to krok w kierunku stworzenia kompendium wiedzy na temat tego zjawiska i istniejących rozwiązań. Wyniki badań mogą być inspiracją dla artystów i architektów, a także zachętą dla projektantów i inwestorów do wykorzystania ich w architekturze

Podgląd pełnego artykułu jest możliwy wyłącznie na większych ekranach.

2024

3(79)

Alina Lipowicz-Budzyńska*

Visual interference

– artistic possibilities of linear mixed arrangements

Introduction

Visual interference, known as the moiré eect, is one

of the physical and optical phenomena used in art. It is

a valuable way of making an intervention, and a key ar-

tistic tool paving the way for new compositional values in

architecture. The eect occurs between at least two layers

of an image made up of ne elements with a periodic or

aperiodic structure.

The author’s interest in the phenomenon of interference

results from her search for new ways of expression and

creating ornamentation in architecture. The moiré eect is

an important phenomenon, used in various forms of artistic

expression. Keeping the building’s shape simple, it enables

the introduction of modern ornamentation, both inside the

building as well as on its façade.

Using transparent mediums like glass is especially jus-

tied here. When the graphic layers are set at a distance

from each other, it creates a visually mobile image, i.e., one

DOI: 10.37190/arc240311

Published in open access. CC BY NC ND license

that changes as the observer moves. This has a signicant

potential for application in building façades and interiors.

A visually mobile image may, in some cases, replace

multimedia façade systems. It is perfect for environmental-

ly-friendly architecture: it does not require electrical pow-

er and is resistant to weather conditions.

The prediction of moire formation is dicult at the de-

sign stage. Resulting optical eects are therefore equal-

ly suprising for architects and investors (Brzezicki 2011,

291). While working on interference images, an artist usu-

ally needs to rely on chance. The expected result of the

following experiment is the development of a method for

creating interference images that would allow the artist to

have control over the outcome of such work. The devel-

opment of the method shall support the author as well as

graphic artists and architects in their work creating imag-

es that generate visual interference. The experiment was

based on the specic approach to taking decisions that is

typical for artistic exploration

open mind […]; independence and courage when expressing

opinions and taking actions; spontaneity and expressiveness, no fear of

* ORCID: 0000-0002-5428-0082. Faculty of Civil and Environ-

mental Engineering and Architecture, Bydgoszcz University of Science

and Technology, Poland, e-mail: a.lipowicz-budzynska@pbs.edu.pl

Abstract

The aim of the author of the article is to investigate the possibility of using the phenomenon of visual interference in architecture. The research

is experimental and serves to develop a module consisting of two layers, which will be multiplied and placed on a glass façade. The research can be

used to develop an image processing method using interference. In the introduction to the article, various forms of interference in graphics composed

of linear elements are discussed. Examples of at, non-transparent projects in graphics and painting are cited. Then, a group of spatial images was

presented in the form of installations or placed on two layers of glass. Research aimed at developing a graphic layout to be placed on a glass façade

is presented. The article briey describes the creation of a module – a graphic element that is used to develop more complex compositions that can be

used in a glass façade. This is a step towards creating a compendium of knowledge about this phenomenon and existing solutions. The results of our

research can be an inspiration for artists and architects, as well as an incentive for designers and investors to use them in architecture.

Key words: visual interference, moiré, glass façade, façade graphics

102 Alina Lipowicz-Budzyńska

The main purpose of the project is to analyse the visu-

al interference occurring in art, with a view to using it in

architecture. The research is experimental, and aimed at

developing a module consisting of two layers that could

be multiplied and placed within a glass façade. Also, the

behaviour of visual interference in each arrangement – due

to change in the input graphic parameters – is discussed.

Design criteria and assumptions for the development of

a module:

a) the ability to place an image on two glass layers,

b) the image generates visual interference,

c) module graphics eciency – the nature of the image

should make it possible to create varied compositions:

– textured,

– artistically varied,

– with vertical or horizontal structure.

One of the objectives is to examine how useful visual

interference is for advanced façade systems, e.g., with the

use of photovoltaics.

The article presents a historical overview and various

cases of visual interference in graphics and architecture.

The questions related to the perception of an image placed

on two layers of a transparent medium are discussed. The

subsequent part presents research aimed at developing

a graphic system that can be used for placing images in

glass façades.

The research results, being the developed module to-

gether with compositions, have been reported to the patent

oce.

State of research

Publications and literature showing the state of research

as regards the subject of the moiré eect can be divided

into several groups. Research in this eld can be found in

mathematics, optics, physics, graphics and mechanics. The

phenomenon is analysed in terms of its presence in the cur-

rently very popular raster images, or its use in materials

science for analysing deformation of components.

One of the rst studies of raster image can be found in

the Raster imaging and digital typography II conference

report, where, in the article The moiré phenomenon in

color separation, Isaac Amidror discusses digital images

(Amidror 1991).

There are several studies on preventing the moiré eect.

As an undesirable phenomenon, visual interference occurs,

for instance, in printing. A paper by Isaac Amidror, The

theory of the moiré phenomenon (Amidror 2012), is an ex-

ample of this eect being analysed. The initial objective of

the analysis by this author was to understand the nature and

reasons of raster images overlaying each other, in order to

nd a way to avoid the negative impact in colour printing.

The interest in this topic within the scientic community

prompted the author to continue his research, and publish

more papers, where his focus is on analysing the periodic

(Amidror 2007a) and aperiodic images (Amidror 2007b).

risk, ability to focus and being fascinated with the task at hand, ability to

integrate opposites (Dorobczyńska-Semeniuk 2024, 11).

The research concerns mathematical analyses of how the

moiré eect occurs in both these types of images.

One of the rst publications on what causes interference

eects in graphic elements placed on two separated layers

is Advances in optics. Reviews, which includes an interest-

ing chapter titled Moire eect in 3D structures. It was com-

piled by Vladimir Saveljev, and concerns spatial forms.

The author discusses the visual interference phenomenon

occurring between at structure layers, such as steel mesh,

linear structures, open weave fabrics (Saveljev 2018).

Research conducted by graphic designers and visual

artists is often presented in albums and lexicons, in which

the authors display designs and graphic projects they

them selves have created. One of those is a book by Carsten

Ni colai titled Moiré index (Nicolai 2010). It is also worth

mentioning the article by Stelli Baraklianou – Moiré eect:

index and the digital image (Baraklianou 2014), where the

author looks at the occurrence of visual interference in di-

tal images.

Studies on how this phenomenon is used in architec-

ture are also available. One interesting study in this eld

is a book which analyses the works of Dutch architecture

rm UNStudio. In the UNStudio: diagramma struttura

modello pelle ibridazione publication, the Pelle come nuo-

vo paradigma: supercie digitale chapter lists buildings in

which visual interference is used (Corsi et al. 2015).

Further research focuses on the perception of visual

interference. The perception of movement and depth in

Moiré patterns by Lothar Spillmann (Spillmann 1993) is

an interesting example of this. It contains a mathematical

description of the eect of “optical lines interference”,

which occurs as recurring visual stimuli, such as grids,

which overlap and move relative to each other. The study

reviews the laws of physics that the moiré phenomenon is

based upon, as well as discusses their relation with psycho-

physics. The origins of stereoscopic depth are described

in the study. An explanation is provided on how we per-

ceive the movement of the image that occurs in dierent

directions and at dierent depths. Furthermore, the basis

for perceptual “irritations”, which often appear in relation

to the interference image, is also discussed.

Designer’s controlled and randomly generated moiré

patterns in architecture by Marcin Brzezicki (Brzezicki

2011) is one of the articles that present visual interference

in architecture. The author takes a detailed look at various

aspects of the occurrence of the moiré eect in the archi-

tectural space. The part focused on research includes an

image analysis, and lists factors that aect the control of

how moiré stripes are created: controlling line inclination,

and intensity. One of the subchapters discusses the mobili-

ty of an interference image and its perception.

Another set of studies focuses on the application of vi-

sual interference in optics, optical engineering (Malacara,

Thompson 2001) and microscopy (Hawkes, Spence 2019).

They present the results of research on how to improve im-

age quality.

It is interesting to look at the studies on using optical

methods for measurements in engineering, mechanics, and

physics. The discussed techniques include the classic inter-

ferometry, photo-plasticity, spatial ltration, holographic

Visual interference – artistic possibilities of linear mixed arrangements 103

interferometry, laser speckle interferometry (Cloud 1995).

The Moiré fringes in strain analysis book contains a com-

prehensive description of deformation measurements in

engineering structures. The authors describe the details of

methods and techniques for analysing deformations using

the moiré phenomenon. They also discuss the topology of

curved surfaces determined with the moiré eect (Theo-

caris 1969).

Methods

The research presented in the article was conducted in

early 2023. It included a number of sketches and exper-

iments aimed at developing a base module, from which

compositions are to be made. Design criteria and assump-

tions for the development of a module are presented in

the Introduction. The base module is to be composed of

two graphic layers placed on a transparent medium and at

a distance from each other. The shape of linear arrange-

ments is constant; it may provide a matrix for the screen

in screen printing. The things that change are as follows:

image quality – in monochromatic graphics; and the colour

arrangement – in colour graphics.

The experimental method was applied in creating the

image. Four stages of the procedure were set (Fig. 1). In the

rst part (Level 1), the type of image was selected. Based

on an analysis, an image was selected for further analysis

(the selected one was a linear image). The second stage

(Level 2) was compositional modication of the image

(a mixed arrangement was selected). After that (Level 3),

the type of image transformation was selected (the mixed

nature of the image was retained, with a slight adjustment

to the distance between the lines). Stage four (Level 4) was

about methodically putting together the multiplied module

and creating a large image.

The behaviour of visual interference in each arrange-

ment – due to change in the input graphic parameters – was

also examined. At each stage in all of the congurations,

the shape and density of visual interference were analysed

in relation to the modications of parameters of each im-

age option; the data are provided in Tables 1 and 2.

The potential of visual interference

The name interference phenomenon relates to the phys-

ical eect to do with waves that occur between at least

two arrangements located within the area of their inu-

ence. Wave sources may either be spot or linear, and their

range may correspond to the frequencies of visible light or

sound. Where the waves overlap, they are either amplied

or reduced (Fig. 2a). In linear arrangements, this depends

on how the waves are located in relation to each other. In

centric arrangements, this process occurs dynamically in

a given area (Hariharan 2003).

Interference arrangements have no physical manifes-

tation; they only appear between two layers of an image.

Despite that fact, both 2D as well as 3D interference has its

own parameters that shape how it is seen. These are:

a) frequency – determines the number of components

(e.g., lines) per a given unit of length (Post et al. 1994);

Fig. 1. Subsequent stages of image transformation in the experiment

(elaborated by A. Lipowicz-Budzyńska)

Il. 1. Kolejne etapy transformacji obrazu wykorzystane w eksperymencie

(oprac. A. Lipowicz-Budzyńska)

the frequency can be inuenced by: component layer fre-

quency, grid rotation, change of grid shape,

b) intensity – a parameter connected with the number of

clear spaces versus black stripes in component grids (Lipo-

wicz-Budzyńska 2023) (Fig. 2b), “describes the average

rate of white (unused) space per a unit of area (Curcio et

al. 1990, 497–523),

c) inclination – the inclination of visual interference b

depends on the angle a between component grids (Fig. 2c);

moiré lines appear at an angle equal to a/2, perpendicular

to grids in any pattern. With acute angles, the more acute

the angle is, the clearer the moiré pattern (Amidror 1991).

The parameters of 2D interference systems depend on

the visual parameters of the component images of the so-

called grid. In 3D interference systems, there are two extra

variables that aect the shape and parameters of an interfer-

ence image. The rst of these parameters is the distance be-

tween the component images (Lipowicz-Budzyńska 2023).

In the case of glass, or other transparent mediums, it will

be the distance between the planes on which the grid image

is placed. The second, dynamically changing parameter, is

the distance of the observer from the image plane (Lipo-

wicz-Budzyńska 2024).

Visual interference was introduced into art together

with the traditional printmaking, while artists have been

using it consciously since the 1950s, for example, in op-

art. Artistic experimentation was initiated by the artists

Lud wig Wilding, Victor Vasarely, Caren Nicolay, Jesus

Ra fael Sotto

(Wade 2016, 311), Bridget Riley (Kudielka et

al. 2014), Michael Kidner (Michael Kidner… 1993). The

phenomenon occurs as a result of overlapping of graphic

layers composed of repeated geometric shapes. Where im-

age components overlap, it increases the density (Hariha-

ran 2003, 792, 793) of the graphic structures that make up

104 Alina Lipowicz-Budzyńska

phenomenon is created as a result of binocular disparity

and motion parallax. The eect on the viewer of a 3D im-

age is much stronger compared to a at image. The graph-

ic layers move slightly relative to each other and interact,

creating mobile visual interference. An increased distance

between two graphic layers gives new properties to an in-

terference image. Such an image has its depth, speed and

orientation of movement. And in the case of curved graph-

ics, also rotation.

The perception of visual interference in a multi-layer

image depends on:

a) static factors – permanently linked with the image:

– the pattern of graphics placed on each layer,

– grid density,

– the distance between image layers,

organic compositions of various shapes: lines, circles and

polygons (Amidror 2007a, 2–4). The art forms in which

the image is visually stable – not changing in relation to the

moving observer, include graphics, or painting (Fig. 3a).

A visually mobile image, in which interference graphic

arrangements change as the observer moves, is present

in spatial works: installations, sculpture, artistic glass

(Fig. 3b). In each of the art forms, the image is generated

dierently, using dierent dependencies and the character-

istics of each form of artistic expression.

In the architectural space, the most commonly used im-

ages are spatial ones, namely those in which the graphic

layers are at a distance from each other. As recurring visu-

al stimuli from separated layers overlap, the stereoscopic

interference phenomenon occurs (Spillmann 1993). This

a cb

Fig. 2. Interference appears as a result of waves overlapping:

a) wave amplification, b) wave reduction, c) interference image intensity, d) the inclination of visual interference – image is magnified

(elaborated by A. Lipowicz-Budzyńska based on: Hariharan 2003, 792–793)

Il. 2. Zjawisko interferencji powstające w wyniku nakładania fal:

a) wzmocnienie fal, b) redukcja fal, c) intensywność obrazu interferencyjnego, d) kąt nachylenia interferencji wizualnych – powiększenie obrazu

(oprac. A. Lipowicz-Budzyńska na podstawie: Hariharan 2003, 792–793)

Fig. 3. Example applications of interference phenomena:

a) flat picture – painting: Michał Misiak I-1 (2011, oil on canvass, 100 × 100 cm) (Misiak 2023),

b) spatial glass installation – Alina Lipowicz-Budzyńska, Interferencje (author’s original technique, 40 × 40 cm)

Il. 3. Przykłady aplikacji zjawisk interferencyjnych:

a) obraz płaski – malarstwo: Michał Misiak I-1 (2011, olej na płótnie, 100 × 100 cm) (Misiak 2023),

b) przestrzenna instalacja szklana – Alina Lipowicz-Budzyńska, Interferencje (technika własna, 40 × 40 cm)

Visual interference – artistic possibilities of linear mixed arrangements 105

b) factors related to the observer’s location:

– distance separating the observer from the image,

– location of the observer relative to the image.

Frequently, the moiré eect in architecture appears by

chance. It can commonly be seen in visually overlapping

structures that involve waves. They can be seen in a layer

view of images on balustrades, façade grids, perforated

panels, multimedia displays. Visual interference is becom-

ing more common in elevations as a result of controlled ac-

cident, a type of artistic intervention in architecture. In the

micro scale, they are used in two-layer façade graphics,

i.e., located in double glazing and façades with a buer

space.

A two-layer image may be placed on various mediums

in dierent congurations:

– glass–glass (Fig. 4a),

– glass–steel mesh (Fig. 4b),

– glass–graphics placed on a non-transparent back-

ground (Fig. 4c).

In the macro scale, the moiré eect is used in archi-

tecture in the form of two-layer glass façades, where the

structural components of both create the graphics of the so-

called grid. As part of artistic interventions, spatial installa-

tions are used, where with the use of a two-layer image, the

moiré eect is generated.

An example of a controlled use of interference in

a façade can be found in Galleria Centercity in Cheonan,

Korea. The façade in this building is composed of two ver-

tical layers, integrated with a glass façade and a comput-

er-controlled multimedia system (Fig. 5a). There is a buf-

fer zone between the two façade surfaces. An area with

a changing image is created around the building (Fig. 5b),

while the façade visually changes as the observer moves.

At night, the visual mobility eect is magnied by projec-

tions of smoothly changing colours.

More graphically advanced elements of the moiré eect

appear on the Girls Grammar School in Brisbane, Austra-

lia. As opposed to the previous examples, images based on

visual interference are much more complex here. The west-

ern façade of the building has been covered with two layers

of lines, namely the outer layer is composed of black-paint-

ed aluminium panels, and the internal layer is an image

composed of black lines on a white wall. The shapes of

the elements placed on both layers, as well as the distances

between them, were consciously chosen by the designer.

Based on the example of this building, interference shape

changes can be seen as the observer moves (a dierent dis-

tance and location relative to the image) (Fig. 6a, b).

The abstract and experimental façade that is visually

mobile conveys a message, which according to its authors

refers to the dynamics observed in the school (m3architec-

ture “Brisbane Girls Grammar School…”). The example

of this façade shows how much visual interference means

in artistic and ornamental terms in architecture, which is

still not fully appreciated and utilised.

Results

Linear images were selected for the experiment. In a two-

dimensional image, visual interference of the linear type ap-

pears as a result of a change in the density of components, at

least in one of the layers (Fig. 7a) or angular rotation of the

image (Fig. 7b), or a modication to the shape of an arrange-

ment in at least one layer (Fig. 7c) (Weisstein 2023). Wher ever

the graphical components overlap, swelling occurs, which is

seen as dark linear arrangements or geometric shapes.

Fig. 4. Various ways of using visual interference in a glass façade:

a) the façade in the extension of Clarunis Universitäres Bauchzentrum Basel Standort Universitätsspital, Basel, Switzerland,

b) the façade of the Institute for Hospital Pharmaceuticals, Basel, Switzerland, c) an H&M shop window, Zakopane, Poland (photo by A. Lipowicz-Budzyńska)

Il. 4. Różne formy wykorzystania interferencji wizualnych w fasadzie szklanej:

a) fasada rozbudowy Clarunis Universitäres Bauchzentrum Basel Standort Universitätsspital, Bazylea, Szwajcaria,

b) fasada Institute for Hospital Pharmaceuticals, Bazylea, Szwajcaria, c) witryna sklepu H&M, Zakopane, Polska (fot. A. Lipowicz-Budzyńska)

a cb

106 Alina Lipowicz-Budzyńska

Fig. 5. Galleria Centercity, Cheonan, Korea, UNStudio, 2010

(photo by Kim Yong-Kwan) (UNStudio “Galleria Centercity…”)

Il. 5. Galleria Centercity, Cheonan, Korea, UNStudio, 2010

(fot. Kim Yong-Kwan) (UNStudio “Galleria Centercity…”)

Fig. 6. Brisbane Girls Grammar School, Brisbane, Australia. Designed by m3architecture, 2007,

a change in the form of visual interference in connection with the observer changing his or her location

(distance, location relative to the façade):

a) photograph taken in front of the façade, distance of approximately 15 m, b) taken from the left corner, approximately 7 m from the façade

(photo from the Brisbane Girls Grammar School collection)

Il. 6. Budynek Brisbane Girls Grammar School, Brisbane, Australia. Proj. m3architecture, 2007,

zmiana formy interferencji wizualnych w związku ze zmianą lokalizacji obserwatora (odległość, lokalizacja względem fasady):

a) zdjęcie zrobione na wprost fasady, odległość około 15 m, b) wykonane z lewego rogu około 7 m od fasady

(fot. z kolekcji Brisbane Girls Grammar School)

The above base compositional arrangements have been

analysed in terms of their usefulness for further research.

The mixed arrangement was found to be the most eective

(Fig. 7c). This type of image was selected for further analy-

sis (Table 1).

The mixed arrangement (Fig. 7c) has been selected for

further research. The arrangement was transformed in sev-

eral congurations:

– image layers made up of straight and curved lines – the

arrangement was kept due to its promising articulation (Fig. 8a),

– image layers composed of lines that are slightly bent

and curved – the straight lines from the previous version

were subjected to bending (Fig. 4a), resulting in a new ar-

rangement (Fig. 8b),

– image layers composed of curved lines on each layer

– the same multiplied curved component was used in both

layers (Fig. 8c).

Following an analysis, it was decided to prepare a mod-

ule composed of graphic layers made up of straight and

curved lines (Fig. 8a). It was considered the most interest-

Visual interference – artistic possibilities of linear mixed arrangements 107

Fig. 7. Possible combinations of linear graphic elements: a) parallel location, b) bipolar location, c) mixed arrangement (Lipowicz-Budzyńska 2020)

Il. 7. Różne możliwości zestawiania ze sobą grafiki o charakterze liniowym: a) lokalizacja równoległa, b) lokalizacja bipolarna, c) układ mieszany

(Lipowicz-Budzyńska 2020)

a cb

ing due to the type of visual interference that contrasts with

the building’s shape (Table 2).

The next step was to develop nal compositions to test

the eectiveness of the selected module:

– the module was reected and multiplied along the

horizontal axis – textured arrangement (Fig. 9a),

– two directions of the mirror image axis were intro-

duced – an arrangement with a horizontal symmetry axis

and vertical symmetry axes (Fig. 9b).

A similar experiment was performed on colour graph-

ics. A decision was made to develop an image – an arrange-

ment with a horizontal symmetry axis, artistically diverse

(Fig. 9a). The research included interference arrangements

with intersecting magenta and green colours that created

parallel surface interference arrangements. The colour ver-

sion was placed on the façade of the architectural model

(Fig. 10b).

Conclusions

In keeping with the original premise, the image that was

developed has a potential to be used in glass façades, and

can become a part of larger compositions. The graphics

full the adopted criteria:

– the image can be placed on two glass layers,

– visual interference develops in between the graphic

layers,

– the module has the required compositional potential,

i.e., it can be used in compositions of various dierent

structures.

The developed graphics may become a part of larger

arrangements in which dierent artistic and compositional

qualities are present.

As per the original premise, the publication presents

three types of compositional arrangements:

Table 1. Image analysis in linear graphics (elaborated by A. Lipowicz-Budzyńska)

Tabela 1. Analiza obrazu grafiki o charakterze liniowym (oprac. A. Lipowicz-Budzyńska)

Image structure

The shape

of interference

components

The density

of interference depends on

Image perception

versus the façade

The assessment

of possibilities of using

graphics in a façade (1–5)

Parallel location

(Fig. 7a)

parallel

to linear components

the difference in the line

spacing between the two layers

disciplines the façade,

directly referencing

the building’s shape

Diagonal location

(Fig. 7b)

perpendicular

to linear components

the angle between the lines

of each image

adds dynamics

to the architectural space

Mixed arrangement

(Fig. 7c)

ellipsoid, going parallel

to the arrangement

of straight stripes

the difference in the line spacing

between the two layers (Wade 2016)

Arrangements bent opposite

to the component graphics layer

Increasing the distance between

the graphic stripes along the curve

results in a higher density

of the interference components

Increasing the distance in the layer

between the straight stripes results

in the reduction of interference

components

an image with organic

articulation that contrasts

with the geometric shape

of the building

the mixed arrangement

was selected for further

research as the one with

the most varied form

of visual interference,

the shape and density

of which can be controlled

with the spacing

in the image

108 Alina Lipowicz-Budzyńska

Fig. 8. Possibilities of combining two graphic layers in a mixed arrangement:

a) image layers composed of straight and curved lines, b) image layers composed of slightly bent and curved lines,

c) image layers composed of curved lines on each layer (elaborated by A. Lipowicz-Budzyńska)

Il. 8. Możliwości zestawiania ze sobą dwóch warstw grafiki w układzie mieszanym:

a) warstwy obrazu zestawione z linii prostej i łukowej, b) warstwy obrazu zestawione z linii lekko zakrzywionej i łukowej,

c) warstwy obrazu zestawione z linii łukowych na każdej z warstw (oprac. A. Lipowicz-Budzyńska)

a cb

Table 2. An analysis of the image composed of two graphic layers of a curvilinear nature (elaborated by A. Lipowicz-Budzyńska)

Tabela 2. Analiza obrazu grafiki zestawionej z dwóch warstw grafiki o charakterze krzywoliniowym (oprac. A. Lipowicz-Budzyńska)

Image structure

The shape

of interference

components

The density

of interference depends on

Image reception versus

the building’s façade

The assessment

of possibilities of using

graphics (1–5)

Image layers

composed

of straight

and curved lines

(Fig. 8a)

uniform pattern,

curved shape,

parallel arrangement

the difference in the line spacing

between the two layers

a cohesive image with

organic articulation

that contrasts

with the geometric shape

of the building

5 – the mixed

arrangement was selected

for further research,

made up of straight and

curved lines; it was

considered to be the most

interesting and effective

Image layers

composed

of slightly bent

and curved lines

(Fig. 8b)

non-uniform pattern,

partly curved shape,

parallel arrangement

the difference in the line spacing

in the graphics of one of the layers

Non-uniform arrangement

of the image, results

in a chaotic composition

Image layers

composed

of mirrored curved

lines (Fig. 8c)

uniform pattern,

linear arrangements

perpendicular

to the direction

of graphics

– arched lines

the difference in the line spacing

between the two layers;

increasing or decreasing the distance

between the stripes in one

of the layers results in a denser

and modified shape

of the interference components

uniform textured image,

composed of parallel

straight strips,

tidies up the façade

– textured,

– artistically varied,

– with a vertical or horizontal structure.

The system can be used together with semitransparent

photovoltaic cells.

The multi-stage procedure used in creating the image

proved to be helpful in the development of a recurrent

module, and eventually a complex composition.

The analysis of the module’s image, and therefore also

the compositional arrangements that it was used to create,

has shown that as the distances between the stripes are

increased along the curve, which results in a higher den-

sity of the interference components, while increasing the

distances in the layer between the straight stripes causes

reduction in the interference components (Fig. 4c).

In colour arrangements, partially using transparent and

opaque graphics, the obtained image surfaces have a visu-

ally changing colour as a result of an additive and subtrac-

tive synthesis.

The graphic components constitute an additional ele-

ment that integrates the building’s façade; the image com-

posed of ne elements removes the division in the glazing

and partly constitutes a curtain for the space between the

graphic layers of the structure.

The distance between the images acts as a buer zone

for the building. In two-layer glazing, it improves sunlight

protection and aects thermal as well as acoustic protec-

tion of the building (Edwards 2011).

The fact that the façade arrangement is based on a mod-

ule makes building it simpler. Graphics placed on two

Visual interference – artistic possibilities of linear mixed arrangements 109

Fig. 9. Façade image built of a base module: a) textured arrangement with a horizontal axis,

b) an arrangement with horizontal and vertical symmetry axis (elaborated by A. Lipowicz-Budzyńska)

Fig. 9. Obraz fasadowy zbudowany z modułu podstawowego:

a) układ teksturowy z osią horyzontalną, b) układ z osiami symetrii horyzontalnymi i wertykalnymi (oprac. A. Lipowicz-Budzyńska)

Fig. 10. The application of a monochromatic image in an architectural model placed in an urban environment (elaborated by A. Lipowicz-Budzyńska)

Fig. 10. Aplikacja obrazu monochromatycznego na modelu architektonicznym umieszczonym w środowisku zurbanizowanym

(oprac. A. Lipowicz-Budzyńska)

glass layers can be made using the screen or digital print-

ing technique. One of the methods used in creating these

graphics is taking the image onto glass using a cut-out lm

and sanding. This technique results in grooves, which add

space to the image and can be lit on the edge.

It would be worth continuing the research presented in

the article by analysing dierent paths. The author intends

to nd out more about the aesthetic potential of façades

that contain the moiré eect. She would like to conduct

simulations, apply the model in an urban environment,

and examine the perception and signicance of such in-

terventions in public spaces as well as their impact on

the users.

Translated by

Paweł Mrozik

110 Alina Lipowicz-Budzyńska

References

Amidror, Isaac. “The moiré phenomenon in color separation.” In Raster im-

aging and digital typography II: Proceedings of the Conference on Ras-

ter Imaging and Digital Typography, Boston 1991, edited by Robert A.

Morris, and Jacques Andre. Boston: Cambridge University Press, 1992.

Amidror, Isaac. The theory of the moiré phenomenon. London: Springer

Science + Business Media, 2012.

Amidror, Isaac. The theory of the moiré phenomenon: Volume 1: Period-

ic layers. London: Springer, 2007a.

Amidror, Isaac. The theory of the moiré phenomenon: Volume 2: Aperi-

odic layers. London: Springer, 2007b.

Baraklianou, Stella. “Moiré eect: Index and the digital image.” Foot-

print Delft Architecture Theory Journal, no 14 (April 2014): 81–95.

https://doi.org/10.7480/footprint.8.1.803.

Brzezicki, Marcin. “Designer’s controlled and randomly generated moiré

patterns in architecture.” In GA2011 – XV Generative Art Confe

rence, Rome 2011. Accessed April 1, 2024. https://www.genera-

tiveart.com/GA2011/marcin.pdf.

Cloud, Gary. Optical methods of engineering analysis. Cambridge:

Cam bridge University Press, 1995. https://doi.org/10.1017/

CBO9780511575013.

Corsi, Andrea, Martina Dedda, Elnaz Ghazi, Elisa Morselli, and Valen-

tina Nunnari. “Pelle come nuovo paradigma: supercie digitale.”

In UNStudio: diagramma struttura modello pelle ibridazione, ed-

ited by Gaetano De Francesco, Elnaz Ghazi and Isabella Santarelli,

Raleigh: Lulu 2015. Available from: https://www.researchgate.net/

publication/326273394_UNStudio_PELLE_COME_ NUOVO_

PARA DIGMA_ SUPERFICIE_DIGITALE.

Curcio, Christine A., Kenneth R. Sloan, Robert E. Kalina, and Anita E.

Hendrickson. “Human photoreceptor topography.” Journal of Com-

parative Neurology 292, no. 4 (February 1990): 497–523. https://

doi.org/10.1002/cne.902920402.

Dorobczyńska-Semeniuk, Bożena. Materiały szkoleniowe. Podstawy

psy chologii ogólnej. Wyższa Szkoła Handlowa, Kielce. Accessed

April 1, 2024. http://zasobyip2.ore.edu.pl/uploads/publications/

0b84364e4cad3e37c0206018e95db9a6.

Edwards, Brian. “Sustainability as a driving force in contemporary li-

brary design.” Library Trends 60, no. 1 (June 2011): 190–214.

https://doi.org/10.1353/lib.2011.0030.

Hariharan, P. Optical interferometry. San Diego: Academic Press, 2003.

https://doi.org/10.1016/B978-0-12-311630-7.X5000-X.

Hawkes, Peter, and John C.H. Spence. Springer handbook of micros-

copy. Cham: Springer International Publishing, 2019. https://doi.

org/10.1007/978-3-030-00069-1.

Kudielka, Robert, Paul Moorhouse, and Richard Shi. Bridget Riley.

The Stripe Paintings 1961–2014. New York: David Zwirner Books,

2014.

Lipowicz-Budzyńska, Alina. “Aspects of coexistence between art glass

and architecture – façade graphics.” Arts 13, no. 3 (June 2024): 110.

https://doi.org/10.3390/arts13030110.

Lipowicz-Budzyńska, Alina. “Visual interference in the glass facade.”

In IOP Conference Series: Materials Science and Engineering 960,

(2020): 042079. https://doi.org/10.1088/1757-899X/960/4/042079.

Lipowicz-Budzyńska, Alina. “Image using interference eects in the

glass facade.” In AIP Conference Proceedings, 2928, (September

2023): 020010. https://doi.org/10.1063/5.0171176.

m3architecture. “Brisbane Girls Grammar School Creative Learning Cen-

tre.” Accessed January 15, 2024. https://www.m3architecture.com/

projects/brisbane-girls-grammar-school-creative-learning-centre/.

Malacara, Daniel, and Brian J. Thompson, ed. Handbook of optical engi-

neering. New York–Basel: Marcel Dekker, 2001.

Michael Kidner. W poszukiwaniu eudajmonii/In search of eudaimonia.

Łódź: Muzeum Sztuki, 1993.

Misiak, Michał. “dr hab. Michał Misiak prof. ASP.” Accessed August 5,

2023. https://waw.asp.krakow.pl/Michal-Misiak.

Nicolai, Carsten. Moiré index. Munich: Gestalten, 2010.

Post, Daniel, Bongtae Han, and Peter lfju. High sensitivity moiré: Exper-

imental analysis for mechanics and materials. New York: Springer,

1994. https://doi.org/10.1007/978-1-4612-4334-2.

Saveljev, Vladimir. “Moire eect in 3D structures.” In Advances in op-

tics. Reviews. Volume 1, edited by Sergey Y. Yurish, 61–75. Barce-

lona: IFSA Publishing, 2018.

Spillmann, Lothar. “The perception of movement and depth in moiré

patterns.” Perception 22, no. 3 (March 1993): 287–308. https://doi.

org/10.1068/p220287.

Theocaris, Pericles S. Moiré fringes in strain analysis. Oxford–Lon-

don–Edinburgh–New York–Toronto–Sydney–Paris–Braunschweig:

Pergamon Press, 1969. https://doi.org/10.1016/C2013-0-05523-5.

UNStudio. “Galleria Centercity, Cheonan, Korea, 2008–2010.” Accessed

December 1, 2023. https://www.unstudio.com/en/page/12104/galle-

ria-centercity.

Wade, Nicholas. Art and Illusionists. Cham–Heidelberg–New York–Dod -

recht–London: Spring, 2016. https://doi.org/10.1007/978-3-319-

25229-2.

Weisstein, Eric W. “Moiré pattern.” MathWorld – A Wolfram Web Re-

source. Accessed August 15, 2023. https://mathworld.wolfram.com/

MoirePattern.html.

Streszczenie

Interferencje wizualne – możliwości plastyczne liniowych układów mieszanych

Celem autorki artykułu jest zbadanie możliwości wykorzystania w architekturze zjawiska interferencji wizualnych. Badania mają charakter eks-

perymentalny i służą opracowaniu składającego się z dwóch warstw modułu, który zostanie zwielokrotniony i umieszczony na szklanej fasadzie.

Badania mogą zostać wykorzystane do stworzenia metody przetwarzania obrazu z wykorzystaniem interferencji. We wstępie artykułu omówiono różne

formy interferencji w grakach złożonych z elementów liniowych. Przytoczono przykłady płaskich nietransparentnych realizacji z graki i malarstwa.

Następnie zaprezentowano grupę obrazów przestrzennych w formie instalacji lub umieszczonych na dwóch warstwach szkła. Przedstawiono badania

mające na celu opracowanie układu gracznego przeznaczonego do umieszczenia na szklanej fasadzie. W artykule krótko opisano tworzenie modułu

– elementu gracznego, który służy do opracowywania bardziej złożonych kompozycji możliwych do wykorzystania w szklanej fasadzie. Jest to krok

w kierunku stworzenia kompendium wiedzy na temat tego zjawiska i istniejących rozwiązań. Wyniki badań mogą być inspiracją dla artystów i archi-

tektów, a także zachętą dla projektantów i inwestorów do wykorzystania ich w architekturze.

Słowa kluczowe: interferencje wizualne, moiré, fasada szklana, graka fasadowa