…there’s something strangely compelling in the idea that a seemingly gratuitous new consumer product—just another smartphone—might actually owe its allegiance to a different technical lineage, one less connected to the telecommunications industry and more from the world of architectural representation.
It would be a smartphone that takes us back to, say, Albrecht Dürer and his gridded drawing machines, making the Fire Phone a kind of perspectival object that deserves a place, however weird, in architectural history. Erwin Panofksy, we might say, would have used a Fire Phone—or at least he would have written a blog post about it.
In this context, the amazing image of billionaire Jeff Bezos standing on stage, giving a kind of off-the-cuff history of perspectival rendering surely belongs in future works of architectural history. Smiling and schoolteacher-like, Bezos gestures in front of an infinite grid ghosted-in over this seminal work of urban scenography, in one moment aiming to fit his product within a very particular, highly Western tradition of representing the built environment.
Five hundred years ago, we’d instead be reading about some fabulous new system of mirrors, lens, prisms, and strings, all tied back to or operated by way of complexly engineered works of geared furniture. Unfolding tables and adjustable chairs, with operable flaps and windows.
These precursors of the Fire Phone, after seemingly endless acts of fine-tuning, would then, and only then, allow their users to see the scene before them with three-dimensional accuracy.
Now, replace those prisms and mirrors with multiple forward-facing cameras and infrared sensors, and market the resulting object to billions of potential users in front of gridded scenes of Western urbanism, and you’ve got the strange moment that happened yesterday, where a smartphone aimed to collapse all of Western art history into a single technical artifact, a perspectival object many of us will soon be carrying in our bags and pockets.
…is there a type of architecture—Classical, Romanesque—particularly well-suited for perspectival objects like the Fire Phone, and, conversely, are there types of built space that throw these devices off altogether? Further, could artificial environments that exceed the rendering capacity of smartphones and other digital cameras be deliberately designed—and, if so, what would they “look like” to those sensors and objects?