Aristotle University of Thessaloniki Department of Engineering School of Architecture
research thesis
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student :Afroditi Manakou supervisors: A.Kalfopoulos D. Fragkos
September 2013
“If you really want something you can figure out how to make it happen.� ~M. C. Escher
...I would like to give special thanks to my friends and colleagues E.Gklinou and V.Gavrielatou
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Table of contents part A Inroduction Trompe-l’oeil William Hogarth Maurits Cornelis Escher Giovanni Battista Piranesi René Magritte
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Filip Dujardin Dionisio Gonzalez Georges Rousse Felice Varini-Rub Kandy
6 10 12 14 20 24 28 32 36 38
part B regarding the architectural space Ηerzog & de Meuron Rem koolhaas epilogue
43 45 53 58
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part A
Introduction
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Many creators (artists, architects and so forth) have tried to achieve what’s impossible and attribute reality based on their own data and especially their particularly diffuse imagination. They attempted to lead their audience to the creation of questions, intrigue their curiosity and make them wonder what is true and what is not. During Renaissance, the perspective was studied and decoded, resulting in the depiction of space at the maximum realistic level. Over the centuries we have not only seen this very intention to retreat, but conversely an attempt for distortion of the space took place. Furthermore their objective was the creation of visual and consequently ideollogical illusions and the overthrow of dominant standards. Until the end of the 19th century there has been a strong reflection on perspective, the reforms and more generally on visual perceptions. Many artists, in their attempt to provoke and stimulate viewers, have tried to create imposible and incomprehensible spaces which sometimes not only do not follow any logic, but they endeavor to crush it. Spaces where the laws of physics or even of common sense do not seem to apply. In order to achieve the above, sometimes attempts of confusion of notions such as up/down, in/out, hollow / convex and so forth, took place. This is where the case-by-case application of the laws of optics and perpspective enable the creation of such situations that create a new reality. In turn this leads the receiver to a situation that s/he has to face and recognize automatically, based on the reserve of performances and images s/he has recorded as known. Such effortsearch from artists has never met any end, but on the contrary it continues up to this day. Nowadays along with the technological development and based on the amount of knowledge gained regarding how to achieve the above optical tricks, image processing programs are being used.
On another analysis, the artists have used the function of bipolars, which in turn, lead to ambiguity and confusion. Ambiguity consists the basis and main focus of deconstruction. The term deconstruction, which resists itself in the idea of any attempt to attribute a formal definition, was developed by the French philosopher Jacques Derrida in the middle of the 20th century, and refers to different “approaches” and “readings” of a text. Deconstruction is more focused on the ambiguity and on the contradiction of meaning, while aspiring to reveal the multiple levels of meaning in language. According to the French philosopher Jacques Derrida1, western (philosophical and everyday) thinking, is structured on the basis of fundamental dichotomies: good / evil, be / zero, presence / absence, truth / error, identity / difference, mind / matter, man / woman, soul / body, life / death, nature / culture, speech / writing. The opposing members of these pairs are not equal entities independent of each other. The second member is considered to be the degenerate one, unwanted, outcast and negative version of the first, (absence is lack of presence, evil is the fall from good, and so forth). The members of each pair do not have just the opposite meaning, but there is hierarchy between them, in such a way so that the former is the precursor to the latter while having the temporal and qualitative meaning of the term. This priority always privileges unity, identity, directness, temporal and local presence versus difference, aspect, displacement, procrastination, postponement. In conclusion, Western metaphysical thought has identified Being as a presence. The basic dichotomies which structure the theoretical reason that seeks to be strict are ruled (“extension”of K. Gödel’s theorem) by an “undecidable” regime. So we come back to the artistic creation, that takes or not into account the theory of Derrida, which used the dipoles and seems to have succeeded in quiestioning the meanings and the principles that are embraced as established, and led to what was mentioned earlier as undecidable. Therefore, using the dipoles as analytic form, in this research paper, I will quote certain examples of various authors from 1600 up to today, in which the implementation of the above becomes apparent.
Merleau-Ponty and Derrida: Intertwining Embodiment and Alterity
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Felice Varini William Hogarth ...............................
Rub Kandy ................................. Trompe-l’oeil .............................
Maurits Cornelis Escher ............................. Georges Rousse ...............................
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Giovanni Battista Piranesi ................................. Rene Magritte ........................... Dionisio Gonzalez ............................... Filip DuJardin .......................
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Trompe-l’oeil
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To begin with, I will refer to the trompe-l’oeil style, a term which emanates from French and litteraly means “blurring the eye”. It is a style which has been evolving since ancient times and is based on the application of techniques that lead to optical illusions. Using colour, shading and perspective as tools, trompe-l’oeil creates three-dimensional images on flat surfaces, blurring the eye. In architecture this is achieved through the technique called forced perspective, ie the creation of an optical illusion that makes objects look a lot more distant than they are in fact, either closer, smaller or larger. (Figure 1). Examples are abundant since the style has its roots in the Baroque period when it flourished. One indicative example is the church of Sant’Ignazio di Loyola (1626) where a huge ceiling painting catches every visitor’s eye (Figure 2), as it depicts a second ‘heavenly temple’ above the real one. The visitor does not understand where does reality end and where perspective begins and the impression given is that the height of the roof is three times higher than the real one. Thus in this case, the dipole true / believable is evident. In our time frame, this very tecnique consist the basis for street art. In such illustrations, once viewers see the artwork from a specific angle, they get the illusion of unreal spaces, that paradoxically seem to be part of the real space. FurFigure 1: Front view of Palazzo Spada thermore one get the feeling that s/he can interact with them.
Figure 2 : Apoteose de Santo
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Reference list ●Anon, Trompe l’Oeil. Katerina Inglessis Work RSS. Available at: http://atelier-id.com/inglessis/?page_id=353&lang=EL [Accessed January 10, 2018] ●Anon, Technique Du Trompe Loeil - informations : Je-Cherche.info. Available at: http://www.bing.com/cr?IG=1BD2D5AF03D843B6873EEFA56C28C437&CID=06EC72C8 04976F21243F79BB05386E5A&rd=1&h=9WldM51odFA5KxHTJOgFK3l2I5pzteyO5klXxOa1Ip0&v=1&r=http%3a%2f%2fwww.je-cherche.info%2f-Technique%2bDu%2bTrompe%2bL%27oeil&p=DevEx,5482.1 [Accessed January 10, 2018].
Images
●Anon, 2016. Front view of Palazzo Spada, Available at: https://anamericaninrome.com/ wp/2016/03/unexpected-rome-the-perspective-at-palazzo-spada/ [Accessed January 10, 2018]. ●Anon, 2012. Apoteose de Santo Inacio, Available at: https://commons.wikimedia.org/wiki/ File:Andrea_Pozzo_-_Apoteose_de_Santo_Inacio_cropped.jpg [Accessed January 10, 2018].
William Hogarth
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In 1754 the English William Hogarth created the artpiece called «False perspective» (Figure 3). In this example what becomes clearly evident is the fact that some perspective errors are taking place. To begin with, the fish stick of the fisherman which appears to be in the foreground, is found to be uppon the fisherman who is in the background. Furthermore the sign belongs in two different buildings at the same time, and appart from that despite the fact that it also lies on the foreground, some trees from behind seem to overlap it. On the upper side of the artpiece, a man and woman that should naturally be on different levels, seem to interact quite naturally. The horizon on the right side appears unnatural. Another paradox is that the man found under the bridge, is trying to shoot a swan which is on the other side of it, and normally he wouldn’t even be able to see it. It is worth mentioning that also the perspective of the barrels is distorted. The tiles under the first fisherman seem to follow their own perspective and this fact also applies to the sheep. The latter get bigger as they move even far way. In generall what is noticed is the confusion of up/down, forth/back and the perspective is not taken into consideration. At a first glance everything may seem real and natural but a thorough observation proves the opposite while paradoxes mentioned are revealed.
Reference list ●Anon, 2017. Satire on False Perspective. Wikipedia. Available at: http://en.wikipedia.org/ wiki/Satire_on_False_Perspective [Accessed January 10, 2018].
Image source
●Anon, 2011. F alse perspective, Available at: https://www.urbanauapp.org/wp-content/ uploads/catablog/originals/Hogarth.jpg [Accessed January 10, 2018].
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Figure 3 :F alse perspective
Maurits Cornelis Escher
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As one can notice on the following pictures, the artist is highly skiled at depicting the three dimensions, and by this he can successfully achieve the distortion of the laws of physics and at the same time the deception of the audience. In the lithography ‘‘Ascending and Descending’’ (Figure 5) we see a building that contains an endless staircase. Influence for this was apparently the Penrose ladder (Figure 4), which is one of the so-called impossible objects *. Movement is being recycled, it is perpetual, and thus this consists a visual delusion. On the other hand, movement also seems to be simultaneous and pointless without any destination or cause, as there is neither beginning nor end. The predominant element of the work is the disruption of space and perspective, and also the impression of a fragmented space through its undefined structure. The artist makes use of visual effects with the artistic use of light and shadow, as well as the addition of mostly gray and black color tones. The distinction of the notions inside - outside as well as top-down seem almost impossible. Finally an illusional sense of infinity is given.
Figure 4 : Penrose stairs
Figure 5 :Ascending and Descending
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Another very characteristic work of the same artist is also the Relativity project (Figure 6). In this we initialy discern the existence of three different planes, where the gravitational points differ, and which, despite the fact that they together create an unrealistic whole, when isolating them, they are completely rationally structured. The paradox of Escher’s work lies in the fact that although he respects the forms and boundaries of geometry, his structure remains circular and motion is perpetual. Within this work a closed universe is created, in which everything returns. Repetition and return to it are its characteristics. The art of Escher impresses with its strictness. At the same time this disciplined world frightens as construction maddness prevails.
Figure 6 : Relativity
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Figure 7 : Waterfall
*Impossible objects1 An impossible object (also known as an impossible figure or an undecidable figure) is a type of optical illusion. It consists of a two-dimensional figure which is instantly and subconsciously interpreted by the visual system as representing a projection of a three-dimensional object. In most cases the impossibility becomes apparent after viewing the figure for a few seconds. However, the initial impression of a 3D object remains even after it has been contradicted. There are also more subtle examples of impossible objects where the impossibility does not become apparent spontaneously and it is necessary to consciously examine the geometry of the implied object to determine that it is impossible.Examples of such objects are the Penrose triangle(Figure 9), Penrose stairs (Figure 4), Necker’s cube (igure 8)and the impossible cube.
Figure 8 :Necker cube
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Figure 9 : Penrose triangle
Reference list ●Anon, The Mathematical Art of M.C. Escher. The Mathematical Art of M.C. Escher. Available at: http://www.mathacademy.com/pr/minitext/escher/ [Accessed November 6, 2017]. ●Anon, 2018. Penrose stairs. Wikipedia. Available at: https://en.wikipedia.org/wiki/Penrose_ stairs [Accessed January 10, 2018].
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Wikipedia,2013.Impossible object. (Τελευταία ενημέρωση 25 Φεεβρουαρίου 2013) Διαθέσιμο στη διεύθυνση: http://en.wikipedia.org/wiki/Impossible_object (Προσπελάστηκε στις 1 Ιουνίου 2013) ●Anon, 2018. Impossible object. Wikipedia. Available at: https://en.wikipedia.org/ wiki/Impossible_object [Accessed January 10, 2018]. ●Anon, 2013. The Waterfall by M.C. Escher - Facts & History of the Painting. Totally History -. Available at: http://totallyhistory.com/the-waterfall/ [Accessed January 10, 2018].
Images sources ●Anon, Relativity, Available at: http://www.scottmcd.net/artanalysis/?p=548 [Accessed January 10, 2018]. ●Anon, 2018. Impossible object. Wikipedia. Available at: https://en.wikipedia.org/
wiki/Impossible_object [Accessed January 10, 2018].
●Anon, The waterfall, Available at: http://totallyhistory.com/the-waterfall/ [Accessed January 10, 2018].
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Giovanni Battista Piranesi
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Among the first who tried to attribute weak objects or places was Giovanni Battista Piranesi, who published in 1745 and 1760 (2nd renewed edition) a collection of lithographs titled “Carceri dv ‘invenzione” (“imaginative prisons”). From studies that have been made on his engravings, it has transpired that Piranesi has created non-constructive spaces. Whether he knew it or not is still questionable. According to Bruno Ernst, he should have been aware of this fact, since as an architect he had excellent knowledge upon perpsective. The purpose could be to create impressive, forbidden dungeons that cause admiration and awe. The drawings contain some spatial paradoxes, such as stairs that appear to be tat two levels at the same time, logically to show that we are in a space without boundaries and content. To this also contributes the lack of presentation of the surrounding space. As eveyrone can observe, it is not possible to distinguish between the beginning and end of the wall, the roof and so forth. The stairs look like a dead end and the motion is perpetual. Additionally, the spaces are undefined, and their characteristics are not as precise as to become easy to assume whether they concern workshops, prisons, or dungeons. Last but not least the general feeling given can be described as unobtrusive.
Figure 10: Carceri Plate VI - The Smoking Fire.
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Figure 11 Carceri Plate XI - The Arch with a shell ornament Figure 12: Carceri Plate VII - The Drawbridge.
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Reference list ●Anon, 2018. Giovanni Battista Piranesi. Wikipedia. Available at: http://en.wikipedia.org/ wiki/Giovanni_Battista_Piranesi [Accessed January 10, 2018]. ●Anon, 2018. Inconsistent Images | Piranesi’s Carceri as Inconsistent. Available at: https:// arts.adelaide.edu.au/philosophy/inconsistent-images/piranesi/ [Accessed January 10, 2018]. ●Anon, HUYSSEN- Nostalgia for Ruins. Scribd. Available at: https://www.scribd.com/document/158601996/HUYSSEN-Nostalgia-for-Ruins [Accessed January 10, 2018].
Image Sources
●O’Connor, W., 2012. Carceri Plate VI - The Smoking Fire, Available at: http://muddycolors. blogspot.se/2012/11/artist-of-month-piranesi.html [Accessed January 10, 2018]. ●O’Connor, W., 2012. Carceri Plate VII - The Drawbridge, Available at: http://muddycolors. blogspot.se/2012/11/artist-of-month-piranesi.html [Accessed January 10, 2018]. ●O’Connor, W., 2012.Carceri Plate XI - The Arch with a shell ornament, Available at: http:// muddycolors.blogspot.se/2012/11/artist-of-month-piranesi.html [Accessed January 10, 2018].
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Rene Magritte This painter has tried to focus mainly on opposing realities. He used specific and real objects, which ultimately make up an unrealistic setup. The scale of these items varies, and judging realistically they could not coexist in the world as we know it. Specifically, with regard to the following work (Figure 13), we are confronted with the question, which objects are on the right scale and which are exaggerated. Is it the room itself with the bed, the wardrobe and its own space, or the glass, the comb and the other objects? One could assume that the interior and exterior are interwoven in such a way, resulting to the creation of an ambiguous space that resembles both to a closed room and in a natural landscape. Two opposing realities seem to occupy the artist’s surreal thinking: the one of the dream and mystery, and the other of reality.
Figure 13: Les valeurs personnelles
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As Rene Magritte stated ‘ My painting is visible images that do not hide anything they are mysterious, and indeed, when one sees one of my paintings, he poses to himself this simple question: “What does that mean?” My paintings do not mean anything, because the mystery does not mean anything - it’s just unknown’. Thus, also in Magritte’s work, we find the ambiguity in the concepts in-out, open-close, and so forth, which we have already mentioned in the introductory part. Below there are two illustrations of the artist, where all the above become quite clear.
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Figure14: La Condition humaine
Figore 13: La Condition humaine 1933
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Reference list
●tovima.gr — Δημοσιογραφικός Οργανισμός Λαμπράκη Α.Ε., Ρενέ Μαγκρίτ: Το μυστήριο της πραγματικότητας. TO BHMA. Available at: http://www.tovima.gr/culture/article/?aid=442410 [Accessed January 17, 2018]. ●Anon, 2010. Rene Magritte. Hours of Idleness-A Photographer’s Journey in St. Louis. Available at: http://hoursofidleness.wordpress.com/2010/01/09/rene-magritte/ [Accessed January 17, 2018].
Image Sources ●Anon, Lessines , Available at: https://www.fine-arts-museum.be/en/art-work-in-the-hightlight/personal-values-1952. ●Anon, la condition humaine, Available at: https://www.pinterest.co.uk pin/572379433866002589/ [Accessed January 17, 2018].
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Filip DuJardin
Figure 15 Figure 16
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Through this fictional series, the buildings depicted as well as all architectural features seem to be normal. If we look more carefully though, we can see structures that almost seem impossible to stand and accommodate any function. They concern mainly large-scale constructions, built at least forty years ago. Even the determination of their function by judging from what we see is hard. All that can be assumed is that they could be atrributed with the notion of abandonment. The texts written about the artist refer to an ’ impossible ’ and fictitious architecture. The artist presents interventions of industrial and urban buildings into natural landscapes, which are seemingly incompatible. The presence of such compact volumes in landscapes where there is no other human intervention does not seem to be the result of rational thinking. By denying gravity and functionality, there is the sense of freedom and at the same time, of doubt about static sufficiency. Therefore the question could be whether all these constructions are real or not. Is the artist moving within the dipole of the true and the believable or not?
The artist stated that΄they are like architectural monuments that have been lost in the periphery of a city΄. In conclusion, wecan refer to them as monolithic constructions that create the feeling of tension, arousal and doubt to the viewer by testing his/her perception of what s/he recognises as true.
29 Figure 17
Figure 18
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Reference list ● Anon, 2017. impossible architecture by filip dujardin. designboom | architecture & design magazine. Available at: https://www.designboom.com/art/impossible-architecture-by-filip-dujardin/ [Accessed January 17, 2018]. ● Anon, Filip Dujardin. Artspace. Available at: https://www.artspace.com/filip_dujardin [Accessed January 17, 2018].
Image Sources ● Anon, 2013. untitled, Available at: https://www.designboom.com/art/impossible-architecture-by-filip-dujardin/ [Accessed January 17, 2018].
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Dionisio Gonzalez In this case, the dipoles of the spontaneous / designed, and exorbitant / neglected are contradicted. By creating a photo collage, the artist contrasts modern constructions into poor favelas (Figure 18). He tries to regain the favela in a way, and turn it into an idealistic place. He also triggers the observer to wonder what is real and what is fictitious. The dominant question is whether such an area could exist in reality. As an initial observation we would say that, on the one hand a non-architecture takes place, where there has been no intervention by architects during the design process. On the other hand, the opposite is observed. In a more general context, what is evident is the coexistence of, not only various building materials, but also different building typologies, from modern to unplanned and spontaneous constructions.
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Figure 19: Comercial Santo Amaro
Figure 20: Halong I
Figure 21: Halong II
Another dominant feature is that the residents seem to belong in different social classes. Thus, a correlation of incompatible realities is achieved in a unique way. In a phenomenically rationalized environment, there is an alternative reality. Particularly in the example of Giustinian Lolin (Figure 22) we notice on the one hand typical, straight-lined houses, in which interfere a modern building. The latter is forming sharp corners thus creating a non-functional space. This way, the functional / non-functional dipole is displayed here. If one observes the interior of the buildings, s/he will notice some luxurious and pretty expensive furnishings, which seems to be strange when placed in the broader context.
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Figure 22: Giustinian Lolin
Finally, in the example of the Halong Bay project (Figures 20,21), an environment where there floating constructions is depicted. Primitive and spontaneous structures invade to other compact, robust and modernly designed volumes, which create a sweet disharmony and leave many questions. Can such a landscape of magnificent natural beauty coexist with the rapid human intervention? In all his works, he tried to emphasise in a way the concept of gentrification. Futhermore perhaps is implied the quest for utopia.
Reference list 34
● Anon, Collection Société Générale. Dionisio Gonzalez - Artists. Available at: http://www. collectionsocietegenerale.com/en/artists/5770-gonzalez.html [Accessed January 17, 2018]. ● Anon, 2014. Dionisio González’s ‘Favela’ Photographs Reimagine Brazil’s Shantytowns. Arts Observer. Available at: http://www.artsobserver.com/2012/03/01/dionisio-gonzalezs-favela-photographs-reimagine-brazils-shantytowns/ [Accessed January 17, 2018].
Image Sources ● Anon Anon, dionisio gonzález, Available at: http://www.dionisiogonzalez.es/ [Accessed January 17, 2018].
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Georges Rousse Many have described him as a unique photographer, as well as a sculpture photographer. Georges Rousse intervenes in empty, usually abandoned spaces, transorming them into pictorial sites, by using colors and geometric forms. These non-real spaces gain a new meaning under his lens, creating visual hallucinations. In this case, we see an interaction of the real-world with the fake / utopic space. He combines painting with photography and sculpture to create visual reformations.
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Figure 23
*Digital image processing as a tool in the hands of artists In the past, image processing and the formation of other deformations and collages constituted a grave problem for various creators. Nowadays, the existence of image editing programs such as photoshop has turned the impossible into a powerful one and has thus became a tool for the latter. The possibilities offered by the program filters are unlimited and the results are amazind, as of those presented in this study.
Within his artworks, the artist does not attempt to conceal the intervention, but instead he makes it quite noticeable, usually placing it within geometric contours. In his series of works he attempts to illustrate three-dimensional objects, as if they were flat and two-dimensional. Unlike the photographers already mentioned and who were based mostly on image editing programs, Georges Rousse initially draws the spaces himself in such a way, as to achieve the desired effect. The last but also important step is to take pictures always from the proper angle. Main characteristic is that there is only one vantage point from which the complete artpiece is perceived.
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Figure 27
Figure 25
Figure 26
Figure 24
Felice Varini-Rub Kandy Felice Varini (Figures 28, 29, 30, 31) as well as Rub Kandy (Figures 32, 33,34) belong to the same category and also experiment wih perspective and perception. Through their geometric artworks, they may be intenting to change the viewer’s perception and attitude towards the way s/he visualy experiences the world. Moreover they have also created unpredictable, playful worlds.
38 Figure 28
Figure 29
Figure 30
Figure 31
39 Figure 32
Figure 33
Figure 34
Reference list
● Rousse, G., Georges Rousse. Available at: http://www.georgesrousse.com/english/informations/biography.html [Accessed January 17, 2018].
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● Kelley, M. & Follow Michael Kelley (mpkelley.com) is a Los Angeles-based architectural and fine art photographer with a background in digital art and sculpture. Using his backgrounds in the arts, he creates images that are surreal and otherworldly, yet lifelike and believable. A frequent traveler, Michael’s personal work focuses on the built environment of uniquempkelley.com Facebook Twitter Instagram Google More from Mike Kelley The Things I Wish I Knew Before Launching My First Kickstarter Campaign You Will Never Be Ready for Your First Kickstarter Campaign, and That’s Okay (Part 2) I Started a Kickstarter Campaign, and It’s One of the Craziest Things I’ve Ever Done (Part 1), 2012. The Intersection of Art, Architecture, And Photography: The Art Of Felice Varini. Fstoppers. Available at: https://fstoppers.com/architecture/intersection-art-architecture-and-photography-art-felice-varini-4417 [Accessed January 17, 2018].
Image Sources ● Anon, boredpanda, Available at: https://www.boredpanda.com/anamorphic-illusions-felice-varini/ [Accessed January 17, 2018]. ● Anon, unurth, Available at: http://www.unurth.com/index/filter/Rub-Kandy [Accessed January 17, 2018].
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part B
The passage to the architectural space Everything that was mentioned in the previous chapter, can also be found in the architectural creation. The architects also tried to propose works that would intrigue, create questions and ambiguities, and why not, impress. Of course, when it comes to realised architecture which, among other things, is required to be statically feasible and safe for the user, construction craze as presented in previous examples tends to get closer to reality. Therefore, in this case what prevail are mostly the elements of indeterminacy, in use, form, access, and so forth. A common element that all works share, is that they refer to monolithic constructions, which could well be just a coincidence. What is worth mentioning though is that in this case, photographic illustration is of great value, since it strengthens the element of ambiguity while creating unique atmosphere. In this chapter, examples of two specific architectural groups will be presented. They within their own field framework, have made efforts to achieve what the artists have succeeded by using their own tools.
Herzog & DeMeuron and Rem Koolhaas, will be examined as examples.
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Scotts tower ............................ Cctv building ............................
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Signal Box ....................... Lincoln road .......................
Elbphilharmonie ............................... Hyperbuilding .............................
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Herzog & DeMeuron
1.Signal Box
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In this first example, a monolithic structure is depicted in which one could assume that it couldn’t consist a funtional space. The box is the simplest architectural form, the archetypical one if you wish, and the architects use it here to create a modern building. The dipole of old / new is highlighted. The choice of copper as the dominat material, which refers to something old, rusty, also contributes to the ‘non-structural’ impression. If we stand in front of it, we can very easily resemble it as a hieratic object; in a sense, the architects have transformed an edifice into something devotional. Its use is undefined, all what could be said is that it looks like an electrical transformer in which there are no obvious openings. Additionally, no entrance to it is visible, thus accessibility is questionable. Therefore, the characteristic one could attribute to this structure is that of an abstract image. On the one hand, there is a sense of stability, robustness and permanence, but on the other hand there is an ambiguity. The separation between the storeys is not discernible. Another unclear element for the observer is the scale itself. The picture illustrates the building isolated without any surrounding space, as in the previously-mentioned cases. For this reason every interpretation could be possible. For this creation the architects stated, ‘we wanted an architecture without a distinct configuration, but in contrast one with a reluctant non-mimetic analogy’.
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the pritzker architecture prize
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Figure 35: Signal Box
2.Elbphilharmonie
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This building suggests a relatively vast geometric variety. Starting from bottom we observe straight lines, which end up to sharp corners. The feeling one gets from this building, is that of an emblem. In the latter contributes not only the existence of the sea, but also the photoshooting of the building from a low point combined with night lighting. Thus one also gets a shimmering image of the structure. Obviously one can not determine its specific function. It could be hosting offices or residences, but then a rational question would be raised: how could such functions be compatible with a warehouse / factory being the base of it. Its height is probably large. In this case the contrast between the old with the new is evident, since it has an old warehouse as its base and a contemporary structure on top. This contrast is also noticed in the materials used. One finds different materials in the old and in the new. Additionally a perimetric zone makes the separation of the two buildings distinct. The dipoles of old / new, and traditional / modern are especially noticeable. In one case there is use of traditional brick while in the other the dominant material is the glass. Figure 36: Elbphilarmonie
There is also a differentiation with respect to the openings, as the volume at the bottom is compact and heavy, while the upper part has a big number of openings and is lighter. The static system is not visible and in general the lines are straight, with the exception of the roof of the new building, which forms sharp corners. Once again, there is no indication of access to either entrance of the building, while the volume seems to be floating and emerging from the water.
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Figure 37: Elbphilarmonie
3.Lincoln road
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In this case, what is also prevailing is the uncertainty regarding the functions of the building. At first glance one could assume that it concerns a car parking. What contributes to this, is the undefined height, as it varies from one floor to another. On the other hand however, one could argue that such spaces are usually low in height and are claustrophobic in a way, while having poor lighting conditions. A construction site would be another assumption, when taking into account both the minimum illustrated surrounding space (crane, rough constructions), and secondarily because it looks incomplete and under construction. The slabs and columns, the structural elements are obvious, and the skin of the building is eliminated, so we cannot conclude that a private use could be accommodated. When it comes to the vertical elements, what becomes questionable is whether they belong to the static system or not, since their geometry is not what is considered to be normal. Therefore, their structural role is not clear. The night lighting, combined with the intense and distinctive lighting of the building, make the viewer isolate the image of the latter, thus getting the feeling of it standing alone in an empty environment.
Figure 38: Lincoln Road
Reference list ● Mack, G., 1996. Herzog and de Meuron: the complete works = Herzog and de Meuron: das Gesamtwerk, Berlin: Birkhaeuser. ● Mack, G. et al., 2000. Herzog & de Meuron: Eberswalde Library, London: Architectural Association. ● Moneo, R., 2004. Theoretical anxiety and design strategies in the work of eight contemporary architects, Cambridge, MA: MIT Press. ● Anon, 2001. The Pritzker Architecture Prize, 2001: presented to Jacques Herzog and Pierre de Meuron, Los Angeles, CA: Jensen & Walker.
Image Sources ● Anon, The Style Examiner, Available at: http://www.thestyleexaminer.com/2013/01/costsof-building-herzog-de-meurons.html#.Ub3OLNhcozA [Accessed January 17, 2018]. ● Anon, signal box, Available at: http://www.flickr.com/photos/_rayuela/1430236501/ [Accessed January 17, 2018].
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It is not possible to live in this age if you don’t have a sense of many contradictory forces. ~Rem Koolhaas
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Rem Koolhaas
1.Scotts tower
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This construction could be easily resembled to childrens’ toys . Undeniably, this is a skyscraper with numerous openings of the same size and shape. Its use here is undefined as it could host residences or offices. Its static system causes insecurity, and basing on logical assumptions, vertical communication takes place in the central section. The display of it as an isolated entity, creates the question of what lies around, whether there are other similar constructions nearby or, does it just stand alone as a sculpture in a green landscape. A cold sculpture, due to its material which interrupts the harmony of nature. Finally we see that it is photoshooted centrally, which leads to the impression of having a high height.
Figure 39: Scotts Tower
2.Cctv building This strucure has a base and is pressumably of a large height, taking into account the size of the existing trees in the picture. It is centrally photoshooted and is seemingly far away from the adjacent buildings, as if it were an exhibit. Its shape is essentially a ‘single-line’, with a largesized cantilever, which hosts an open space. On the one hand, it looks solid and imperceptible / impenetrable, but through observion one understands that it is completely transparent due to the abundant use of glass. Unlike the other buildings that are vaguely visible in the background and which follow clear vertical geometries, the cctv forms intense angles and creates gradients. Additionally, access to it cannot be identified, as in the previous examples. Finally, judging from its external form, we do not know whether it is accommodating residences, an exhibition space, or even a Figure 40: Cctv Building shopping center. Thus, the dominance of a number of uncertainties taking place, again lead to potentially wrong conclusions.
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3.Hyperbuilding The dominant feeling while looking at this building, is that it should be under construction. It is illustrated mostly as a sculpture construction or installation, rather than a functional building. From a statical aspect it seems impossible, as being ready to collapse. There is no possible way of distinguishing between the static and light structural elements. The inclined parts though may be the supporting parts that keep the structure stable.
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Figure 41: Hyperbuilding
Of course, while the height seems to be really high , the geometric elements themselves express a primitive simplicity. Furthermore its use is unclear, and what makes this even more intense is the fact that the ‘voids’ and the ‘functional’ elements aren’t clearly perceived. Additionally the concept of the inside and the outside is distorted. The way that horizontal and vertical movements are being conducted is undefined since there is no human scale measure to make this possible. Another interesting fact is that the image does not lead to any kind of clarification regarding construction materials. Finally it is photoshooted from a low point with no indication of the surrounding area. According to the creator, the building is constructed as a metaphor of the city: the towers are the streets, the horizontal elements are parks, the volumes are the districts and the diagonals are avenues.
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Reference list ● Anon, Hyperbuilding. OMA. Available at: http://oma.eu/projects/hyperbuilding [Accessed January 17, 2018]. ● Anon, 2001. The Pritzker Architecture Prize 2000 presented to Rem Koolhaas, Los Angeles: Hyatt Foundation. ● Koolhaas, R. & Patteeuw Véronique, 2003. Considering Rem Koolhaas and the Office for Metropolitan Architecture: what is OMA, Rotterdam: NAi Publishers. ● Koolhaas, R., 1999. OMA Rem Koolhaas living, vivre, Leben, Bordeaux, France: Arc en rêve centre darchitecture
Image Sources ● Anon, OMA, Available at: http://oma.eu/ [Accessed January 17, 2018].
Epilogue All the artists mentioned in this research paper have unadoubtedly shaped spaces or dwellings posing questions regarding the uncertainties or the status quo of the area concerned. In their attempt to differentiate they have tried to juxtapose to widely accepted situations and rules (physucs, optics and so forth). To sum up, the implemantation of all the technics presented here, achieved to demolish our perception of the world as we experience it, revealing another sudden, paradoxical ,or even playful aspect of it, which arises surprise, embarrassment and admiration.
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Reference list ● Globus, G.G., 2003. Quantum closures and disclosures: thinking-together postphenomenology and quantum brain dynamics, Amsterdam: J. Benjamins Pub. ● Reynolds, J., 2005. Merleau-Ponty and Derrida: intertwining embodiment and alterity, Athens, OH: Ohio University Press. ● Genadiev, L.M.V., Συνέδριο Αρχιτεκτονικής. Articles - ΑΡΧΙΤΕΚΤΟΝΙΚΕΣ ΜΑΤΙΕΣ - Συνέδριο Αρχιτεκτονικής. Available at: http://www.greekarchitects.gr/gr/%CE%B1%CF%81%CF%8 7%CE%B9%CF%84%CE%B5%CE%BA%CF%84%CE%BF%CE%BD%CE%B9%CE%BA%CE%B5% CF%82-%CE%BC%CE%B1%CF%84%CE%B9%CE%B5%CF%82/%CF%83%CF%85%CE%BD%CE%AD%CE%B4%CF%81%CE%B9%CE%BF-%CE%B1%CF%81%CF%87%CE%B9%CF%84%CE%B5% CE%BA%CF%84%CE%BF%CE%BD%CE%B9%CE%BA%CE%AE%CF%82-id3897 [Accessed January 17, 2018]. ● Anon, , ... Available at: http://www.opengr.net/MEDIE1/brecht1.htm [Accessed January 17, 2018].
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Aristotle University of Thessaloniki Department of Engineering School of Architecture September 2013