B. Arch. DISSERTATION 2020-21
ARJUN SINGH THAKUR
VISUALS IN ARCHITECTURE: Choreographing relationship between Photography & Architecture
Bachelor of Architecture DISSERTATION; 2020-21 School of Architecture and Landscape Design Shri Mata Vaishno Devi University Entry No.: 16BAR005
Guide :
Ar. Vinod Kumar, Assistant Professor, SoALD SMVDU
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CERTIFICATE This is hereby certified that this Dissertation entitled Visuals in Architecture has been submitted by Arjun Singh Thakur, Entry No. 16BAR005 in the partial fulfillment of the requirements for the award of the degree of Bachelor of Architecture, Session 2020-21. Recommended By: Ar. Vinod Kumar
Ar Anoop Kumar Sharma
(Dissertation Guide)
(Dissertation Coordinator)
Accepted By: (Head - SoALD)
Jury Members:
(1)
(2)
(3)
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DECLARATION This Dissertation, entitled Visuals in Architecture is being submitted as partial requirements of B. Arch. Study during ninth (9th) semester by me for evaluation. The contents in this Dissertation are either my own work or compilation of data / information as gathered from case studies / survey as indicated / referenced and permitted as per rules. No contents of this dissertation have been copied from any other dissertation / report in part or full. If at any stage it is found that this is significantly copied from any other resource, the evaluation of this report and accordingly grade award shall automatically stands cancelled.
(Signature of Student) ARJUN SINGH THAKUR Entry No.: 16BAR005 B. Arch., Semester IX Session: 2020-21 School of Architecture & Landscape Design Shri Mata Vaishno Devi University
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The originality of this Dissertation has been checked using appropriate plagiarism checker / software and following parameters are compiled (tick one). Plagiarism / Copied Contents: Not more than 10% Originality / Uniqueness: More than 90% (Certificate attached as Annexure-1).
(Signature of Student) Name: Arjun Singh Thakur Date: 21-12-2020
Counter-signed
(Signature of Guide/Supervisor) Name: Ar. Vinod Kumar Date: 22-12-2020
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PREFACE This dissertation work will focus on the importance of Visuals in Architecture by choreographing the relationship between photography and architecture. A photograph is not just a photograph; there are a thousand thoughts and hundreds of laws behind it. This dissertation is subjected to put light over technical terms and elements which are involved behind the process of differentiating imagery as aesthetic or unaesthetic imagery. From proper visualization techniques in photography we will be going to derive that aspect to architecture visualization and same time highlighting, how an architect can change the perception of architectural visuals which directly creates a unique user experience at back of mind intentionally and unintentionally. It is my interest behind capturing beautiful imagery and my photographic eye that inspires me to do my dissertation work on this subject. I found through my studies that Photography and Architecture had a lot of similarities when it comes to the principles of composition, framing, and to create interesting visuals that influences the user mood and perceptions about space. It is obvious that not all the buildings are photographic in nature and people abide to click photograph in front of them on regular basis. Behind the Therefore, working on architectural visuals of building we can make them interesting. From the discussion in this dissertation, I believe one will find to get a better understanding about creating photographic architecture facades. This dissertation work attempts to empower the creation of visuals making the buildings stand out as a photographic architecture.
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ACKNOWLEDGEMENT I wish to express my sincere gratitude towards my guide Ar. Vinod Kumar for his valuable guidance, supervision and constant encouragement throughout the project. It would not have been possible to accomplish this work without his support, suggestions and patience throughout course of the dissertation. I am exceptionally obliged to my family for their constant love, words are just not enough to express my gratitude to my parents and my friend. I thank them for being supportive. I would like to thank my close mates Mohd. Hussain, Divarjun Rautela, Archit Jamwal and Mahak Magotra who were always supporting and encouraging me with their best wishes.
Jammu, Dec 16, 2020 Arjun Singh Thakur
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CONTENT Table of Contents CONTENT .................................................................................................................................. 1 FIGURES .................................................................................................................................... 4 1.0
INTRODUCTION ............................................................................................................ 1
1.1
AIM .............................................................................................................................. 1
1.2 OBJECTIVE...................................................................................................................... 1 1.3 SCOPE .............................................................................................................................. 2 1.4 LIMITATIONS ................................................................................................................. 2 1.5 SIGNIFICANCE OF STUDY ........................................................................................... 2 1.6 METHODOLOGY ............................................................................................................ 3 2.0 LITERATURE STUDY ........................................................................................................ 4 2.1 PHOTOGRAPHY AND ARCHITECTURE .................................................................... 4 2.2 VISUALS IN RELATION TO ARCHITECTURE FIELD .............................................. 5 2.3 FACTORS AFFECTING VISUAL PERCEPTIONS IN ARCHITECTURAL REALM 5 2.3.1 Scale of the project: .................................................................................................... 5 Human Scale: ...................................................................................................................... 5 Miniature Scale: .................................................................................................................. 6 Monumental Scale: .............................................................................................................. 7 2.3.2 Color and Texture....................................................................................................... 8 2.3.3 Light and Shadows ..................................................................................................... 8 2.3.4 Surface Articulation and Ornamentation.................................................................. 10 2.4 COMPOSITIONS USED IN PHOTOGRAPHY ............................................................ 11 2.4.1 The Rule of Thirds ................................................................................................... 11 2.4.2 Balance ..................................................................................................................... 13 2.4.3 Leading Lines ........................................................................................................... 14 2.4.4 Size Equals Power .................................................................................................... 14 2.5 COMPOSITIONS USED IN ARCHITECTURE ........................................................... 14 2.5.1 Pattern....................................................................................................................... 15 2.5.2 Symmetry ................................................................................................................. 16 2.5.3 Contrast .................................................................................................................... 17 2.5.4 Rhythm/ Movement.................................................................................................. 18 2.5.5 Technical terms for Composition in Architecture .................................................... 18 2.6 COMPOSITION AND FRAMING ................................................................................ 19 3.0 VISUAL RELATIONSHIP BETWEEN PHOTOGRAPHY AND ARCHITECTURE..... 20 ARJUN SINGH THAKUR (16BAR005) VISUALS IN ARCHITECTURE
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3.1 Axial Relationship ........................................................................................................... 20 3.2 Visual Balance Relationship ........................................................................................... 20 3.3 Relationship between leading line and continuity........................................................... 21 4.0 CASE STUDY .................................................................................................................... 23 4.1 Visual Analysis of Taj-Mahal, Agra ............................................................................... 23 4.2 Visual Analysis of Jama Masjid, New Delhi .................................................................. 26 4.3 Visual Analysis of Hawa Mahal, Jaipur .......................................................................... 28 5.0 COMPARITIVE ANALYSIS ............................................................................................. 31 5.1 Bibi ka Maqbara and Taj Mahal ...................................................................................... 31 5.2 Qutub Minar and Hastal Minar ....................................................................................... 33 6.0 DESIGN CONSIDERATIONS........................................................................................... 35 6.1 Scale and Proportions ...................................................................................................... 35 6.2 Elements of Contrast ....................................................................................................... 35 6.3 The Right Colour Pallet................................................................................................... 35 6.4 Emphasize Leading Lines ............................................................................................... 35 7.0 CONCLUSION ................................................................................................................... 36 8.0 REFERENCES .................................................................................................................... 37
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FIGURES Figure 1: Jojutla Central Complex/ MMX (© Cassey Dunn, 2020) _______________________________________4 Figure 2: Kargil Main Bazar, Ladakh (©Author, 2020) ________________________________________________6 Figure 3: Madurodam Miniature Park (© Hague, Netherlands 2019) ___________________________________6 Figure 4: Buland Darwaza (© Delhi, India 2016) ____________________________________________________7 Figure 5: Scale defining its role in Architectural Visualisation (©Anush Aleksanyan , ©courtesy of air mesh pavilion, ©Dane Alonso, ©Dylan Perrenoud ) ______________________________________________________7 Figure 6: Use of complimentary colour tones to change visual experience________________________________8 Figure 7: The Church of Light (©Tadao Ando, Japan 1989) ___________________________________________9 Figure 8: Section and Top View of The Church of Light (©Tadao Ando, Japan 1989) _______________________9 Figure 9: Surface articulation using patterns by paint on left and ornamentation on right __________________10 Figure 10: Rule of Thirds grid __________________________________________________________________11 Figure 11: Disobeying the Rule of Thirds Figure 12: Obeying the Rule of Thirds _______________11 Figure 13: A lot of different things in focus _______________________________________________________12 Figure 14: Balancing the frame by adding a subject ________________________________________________12 Figure 15: Balancing the frame ________________________________________________________________13 Figure 16: Balance in Photography ______________________________________________________________13 Figure 17: Leading lines creating a visual path ____________________________________________________14 Figure 18: Pattern using staircase in Chand Baori (Abaneri, Rajasthan) _________________________________15 Figure 19: Pattern using Jharokha’s in Hawa Mahal, Jaipur (©Author, 2018) ___________________________15 Figure 20: Bilateral Symmetry at Humayun’s Tomb (Delhi, India 2017) _________________________________16 Figure 21: Radial Symmetry at Great Stupa Sanchi (Madhya Pradesh, India 100 B.C) ______________________16 Figure 22: Contrast by colour Figure 23: Contrast by Size at entrance of Jama Masjid _________17 Figure 24: Contrast by Shape in Dancing House (© Frank Gehry) ______________________________________17 Figure 25: Rhythm by repetition of architectural feature Figure 26: Rhythm by repetition of columns _____18 Figure 27: Ratio Rules in Framing and Composition (Golden Spiral, Golden Triangles, Golden Rectangle, Harmonious Triangles) _______________________________________________________________________19 Figure 28: Golden Ration in Parthenon at exterior dimension of building _______________________________19 Figure 29: Delhi Central Vista (© Flashpacker Travelguide / Flickr) ____________________________________20 Figure 30: Radial Symmetry ___________________________________________________________________21 Figure 31: Rose window (©Notre Dame,Paris) ____________________________________________________21 Figure 32: Used of repetition in the façade of the building. (© Josef F. Stuefer/Getty Images)_______________22 Figure 33: Leading lines with repetition of elements in the great Chaity, Maharashtra (© Kevin Standage, 2017) and spiral staircase. __________________________________________________________________________22 Figure 34: Analysis of Taj Mahal Agra (© E. de Gracia Camara 2008) __________________________________23 Figure 35: Volumetric analysis and spatial field outline of Taj Mahal ___________________________________24 Figure 36: Monumental Scale representation of Taj Mahal with respect to human scale. __________________25 Figure 37: Leading Visual Lines in Taj Mahal ______________________________________________________25 Figure 38: Analysis of Jama Masjid, New Delhi ____________________________________________________26 Figure 39: Framing of leading lines, Surface Ornamantention, Monumental Scale of Jama Masjid, New Delhi __27 Figure 40: Hawa Mahal, Jaipur (©Author, 2018) ___________________________________________________28 Figure 41: Leading line Hawa Mahal, Jaipur (©Author, 2018) ________________________________________29 Figure 42: Repetition of Jharokhas Hawa Mahal, Jaipur (©Author, 2018) ______________________________29 Figure 43: Emphasis by Contrast in Hawa Mahal, Jaipur (©Author, 2018) ______________________________30 Figure 44: Light entering Hawa Mahal through a colourful mesh (©Author, 2018) _______________________30 Figure 45: Taj Mahal at left and Bibi ka Maqbara at right ___________________________________________32 Figure 46: Detailing in Taj Mahal at left and Bibi ka Maqbara at right _________________________________32 Figure 47: Dome of Taj Mahal at left and Bibi ka Maqbara on right____________________________________32 Figure 48: Qutub Minar on left and Hastal Minar on right ___________________________________________34 Figure 49: Use of arches to provide visual framing for magnificent structure ____________________________34
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1.0 INTRODUCTION We often understand architecture as an identity of physical – visual appearance. With developing phase in photographic field one realizes as the visual medium in photography, the image changes the overall perception of viewer in a way how he perceives the design of building. Being a part of digital era, makes us believe what we see. As a propagator tool to derive human attention human eye personalize the vision, subjecting a line between aesthetic and unaesthetic imagery. When we use the word “Visualization” we are entering and allowing a unique experience of depth to go through the channel of our eyes and enter our mind. Let’s wait and ask ourselves what’s that visuals which create the impact of existence to a viewer’s mind for instance TajMahal, Eiffel Tower, Colosseum and Qutab Minar etc. Their shape the elements used and the form of existence and the notion of feeling behind it. That is the impact of pictographic sense created in our sub conscious mind we would refer to as “Visuals in Architecture” or “Pictographic Architecture” for that sense. This dissertation is subjected to put light over technical terms and elements which are involved behind the process of differentiating imagery as aesthetic or unaesthetic imagery. From proper visualization techniques in photography we will be going to derive that aspect to architecture visualization and same time highlighting, how an architect can change the perception of architectural visuals which directly creates a unique user experience at back of mind intentionally and unintentionally. I really feel these are two separate worlds which have their own power of existence to transport creators in a different world i.e. Pictoric Architecture, Photographic Architecture or Iconographic Architecture.
1.1 AIM To study Architecture visuals, of buildings in Indian Context choreographing the engagement between photography and space architecture.
1.2 OBJECTIVE
To derive the relationship between photographic eye and architecture visuals.
To study the Iconic Indian Buildings perceiving the laws behind their aesthetic visuals.
To study and explore the importance of visuals in architecture and overcome with solutions to enhance it.
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1.3 SCOPE
The dissertation will strive to understand how architecture visual as entity contributed to development in architecture field.
It will focus on how architecture visuals are perceived, understood and pioneered through eye as medium.
The study will be based on qualitative facts owing to the subject of topic with respect to the Indian context.
The chosen illustrative examples will comprise of images of buildings for the study as the study is to understand imagery and its perceptions.
1.4 LIMITATIONS
A qualitative analysis will be made and conclusions will be drawn out studying and looking at real life situations in this case study.
A thorough study supplemented by virtually unlimited images is subjected in order to reach any substantial conclusion in this case study.
As, per the visuals are concerned, there can never be rules, as they aren’t same for everyone. This makes it difficult to draw a common baseline and generalities. The limitation of my knowledge and skill of photographic eye makes me ill-equipped to deal with certain issues.
1.5 SIGNIFICANCE OF STUDY
To draw a difference between good and bad imagery perception. This is only achieved by studying and knowing about architecture visuals.
To draw an understanding about principles of composition and other design principles and see how it affects shaping perceptions and user experience in real life scenario.
Spatial perception influencing the moods of the user i.e. interplay between architectural visuals and human psychology.
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1.6 METHODOLOGY Project Brief Phase 1
Identify the study intent
Aim, Objective Scope & Limitations
Books, Articles Phase 2
Literature and Internet Study
Research Papers, Journals, Blog etc.
Phase 3
Deriving relationship between Photography and Architecture.
Identify Phase 4
Comparative analysis
Preliminary design Parameters.
Phase 5
Design Consideration and Conclusion
At last, comparing the case studies and drawing inferences from both literature and live case studies we will identify the design parameters to promote importance of visuals in architecture.
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2.0 LITERATURE STUDY 2.1 PHOTOGRAPHY AND ARCHITECTURE Architecture is a unique art form which comprises of much more than simply making buildings, as a designer’s way to express feelings and emotions to the concern of its efficiency in structure alongside its physical functionality in a way that there forms a blurry line between building and artwork in a most elegant way possible. (Hotle, 2018) Similarly like architecture, Photography is a unique form in itself which is more than just clicking pictures. As, a photographer’s job to create aesthetic eye visuals it aims to capture light and physical form interplay interactions, to strive the mood and feeling of the moment in a frame as a pleasing subject to human eye to perceive a good imagery possible of that scenario. The relationship between photography and architecture is immensely implacable Photography is art concerned to converting and creating perceptional 3D imagery to 2 D Architecture is art concerned to converting 2D perceptional imagery to 3D. But, in both the context (i.e. Photography and Architecture) art deals with the aspects of creation in visuals). The data in both the cases collected is an image itself.
Figure 1: Jojutla Central Complex/ MMX (© Cassey Dunn, 2020) (Source:https://images.adsttc.com/media/images/5f9b/0307/63c0/17d5/3500/015f/large_jpg/Casey_Dunn.jpg?1603994368)
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2.2 VISUALS IN RELATION TO ARCHITECTURE FIELD The built environment from the centuries has been shaped to address the visual senses – rhythm, ornamentation, symmetry, rigid proportions and patterns etc. are principles catering solely to the visual realm (Rushika, 2018). So, the prime vehicle for the visual perception is eye. Architecture of change has always been there from passage of time and with the change in modern time and technology the enhancements in visual realm is also taking place, as the design adjusts to the age of flux (Foy, 2004). The visual architecture of change embraces the paradigm shift that embraces the transience in today’s culture and life though it has always served to protect, provide shelter, memorialize and emphasis life and as the creature of new centric era as we are ruled by flux and mobility. Architects have tried to improve and improvise the visuals over time to accommodate and become beset with styles, trends and other forces responsible for visual change. Thus, to help sustain adaptability in the built world framing our perception time to time is rapidly emerging. And this is how visuals in architecture as an identity kept changing and contributing likely to the mood and unique user experience.
2.3 FACTORS AFFECTING VISUAL PERCEPTIONS IN ARCHITECTURAL REALM The factors affecting the visual perceptions are directly dependent upon two major factors i.e. Psychological factors and Perceptual set. A psychological factor involves the ways in which our eyes, nervous system and brain process visual information involving mental processes such as our past experiences, socio-cultural background, memory, thinking, language, motivations and emotions whereas the perceptual set is the predisposition, or 'readiness', to perceive something in accordance with what we expect it to be. Our expectations of what an object or event will be make us more likely to interpret the object or event in the predetermined way. The five things that influence perceptual set are context, motivation, emotional state, culture and past experience. The factor that contributes to the development of the psychological and perceptual set is as follows: 2.3.1 Scale of the project: Scale directly refers to the ratio of size the object to the actual size of the object. The standard scales in architecture plays a very important value in shaping psychological perception of the building. With the use of scale, the sizes of the object are set as in miniature scale, human scale or monumental scale which helps to make the composition in imagery more accurate and aesthetically pleasing. With due reference to the scale, the sizes of the form are set in monument. In these cases Taj Mahal or Humayun Tomb, the monumental scale was set to make it look more pleasing and to consider it as monument. Types of standard scales for architectural drawings Human Scale: The scale with reference to human dimensions is termed as Human scale with all the dimensions set accordingly. The human scale is practiced in all the objects and buildings for daily purposes. The sizes in the human scale appear to be convenient and handy in accordance to the user. The live day examples are the sizes of chairs, staircase, table, doors, riser and treads etc.
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Figure 2: Kargil Main Bazar, Ladakh (©Author, 2020)
The practice of human scale is represented in figure 2 of main bazar in Kargil, Ladakh where all the basic daily activities are set upon human scale. Miniature Scale: When the size of the object or building decreases from the actual size of the object it is termed as miniature scale. Various forms, elements and sculptors in buildings come under the category of miniature scale. Madurodam Miniature Park near Rotterdam is the best example of miniature scale. It is 1:25 scale model replicas of beautiful cities of Holland.
Figure 3: Madurodam Miniature Park (© Hague, Netherlands 2019) (Source: http://www.xinhuanet.com/english/2019-08/26/c_138339567_10.htm)
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Monumental Scale: When the size of the object or building increases by the actual size of object it is called to be in monumental scale and is much bigger than the normal human scale. The scale is mostly practiced in Architecture buildings where there is a large crowd gathering. The Buland Darwaza is in monumental scale so as to give the feel of grandeur.
Figure 4: Buland Darwaza (© Delhi, India 2016) (Source: http://www.kamit.jp/02_unesco/14_fatehpur/xgat_eng.htm)
Hence if a vision of scale is developed it emphasises the size of object seen with reference to objects around it. In such cases the elevation of buildings are defined by its size and the height of doors and windows are set accordingly to architecture scale. In this scale the composition of facades made are more aesthetic and pleasing.
Figure 5: Scale defining its role in Architectural Visualisation (©Anush Aleksanyan , ©courtesy of air mesh pavilion, ©Dane Alonso, ©Dylan Perrenoud )
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2.3.2 Color and Texture Color and Texture is another essential factor which plays an important role in shaping visual perceptions in architectural realm. It adds more of a personality and a right amount of zest to image. Both color and texture can be used to express emotions, create contrast and depth and a rich sensory experience to stimulate in our own collective senses through eyes. The psychology studies proves that the different type of colors hues have different types of effect on human behavior and using distinct color scheme approaches in design different emotional responses can be evoked to trend in gaining momentum. In order to create a space to meet their aesthetic vision the designers incorporates color and texture. A correct pallet of color can be crucial to represent good architectural visualization. The best way to practice this is to keep one primary color and rest complimentary colors matching the tones of primary color merging it to the background to support the frame. The adding of more vivid colors in frame can make the visuals go busy and more active. It all depends on the purpose and what look designer wants for. For more calm and soothing effect cold color tones can be practiced whereas for vibrancy warm tones can be bought in action.
Figure 6: Use of complimentary colour tones to change visual experience (Source: https://i.pinimg.com/originals/5a/4b/d3/5a4bd3a12b309086be090e7d51178a26.jpg)
2.3.3 Light and Shadows ―Architecture is a learned game, correct and magnificent of forms assembled in light‖ -
Le Corbusier.
The Light plays a very important role in affecting the visual perceptions. Even a color and texture needs support of light to show their distinctive properties. In a paper the transformation of reality (Chapman, 2006) investigates over theme of transformation for architectural imagery from his photographic aspect for him that articulated the moment of illusions which were Decontextuating realities, Flattering spaces, Directing vision and Capturing time. Shadows are a part which comes along with light. Without light shadow doesn’t have its own formation whereas the shadows in architecture helps break up the vast amount of space. A three dimensional feeling is perceived through the building enhancing the shadows. A more ARJUN SINGH THAKUR (16BAR005) VISUALS IN ARCHITECTURE
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dynamic appearance is created with the shadows cast by the natural light as the sun moves giving life to the space changing visual perceptions. Also, transformation of theme in photographic eye in architectural visuals is varied by the ability that shows passage of time in a 2D image i.e. by capturing the shadow light effect. The use of natural light helps illuminating the interior spaces and casts a comfortable light onto the work of display. The interior of the architecture is animated by the light play, transforming the user experience throughout the day, also creating the connection to the outer environment enhancing the nature of building creating depth to the naked eyes.
Figure 7: The Church of Light (©Tadao Ando, Japan 1989) Source: (https://www.archdaily.com/101260/ad-classics-church-of-the-light-tadaoando/5037f3b828ba0d599b000648-ad-classics-church-of-the-light-tadao-ando-drawings?next_project=no)
Figure 8: Section and Top View of The Church of Light (©Tadao Ando, Japan 1989) Source: (https://www.archdaily.com/101260/ad-classics-church-of-the-light-tadaoando/5037f3b828ba0d599b000648-ad-classics-church-of-the-light-tadao-ando-drawings?next_project=no)
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The play of light and shadow can be seen in above figure of Ando’s work in The Church of Light which embraces Ando’s philosophical framework between nature and architecture through the way in which light defines and creates new spatial perceptions equally. 2.3.4 Surface Articulation and Ornamentation It shapes the perception of the shape, proportions, size and scale along with the visual weight of plane which is influenced by its surface properties which adds to its visual context. Optical patterns and fragments can be used for surface articulation. In architecture, ornamentation proves to be one of the distinguishing features between two sites or buildings making it unique in its own different way, and thus, adds a major feature of aesthetics. An ordinary person, other than an architect, can easily decipher the ornamentation of a particular building by just observing the entablatures, columns, top of the buildings, entrances and windows. Particular ornamentation of a building carries a specific motive, referring to its history, making it symbolic in nature. From, ancient times, ornamentation has been applied for making aesthetic religious buildings and many historically important buildings. Also, ornamentation in architecture affects human visuals and change the perception about Architectural moiety as human brain makes abstract thoughts based on the memories. Therefore, it’s the ornamentation in architecture of buildings that gets added in the memories of a person and reminds him about the individual experience. To understand this relationship between ornamentation and human visual impact, digital formalism was applied along ornamentation for maximizing visual impact of the building but it wore off because it produced loss of interest. After the failure of digital formalism, material experimentation was incorporated for divine visual experiences and it was found both, formal and material experimentation, produced visceral and non-cognitive sensations that get added to the so called nostalgia (On intelligence, Jeff Hawkins).
Figure 9: Surface articulation using patterns by paint on left and ornamentation on right
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2.4 COMPOSITIONS USED IN PHOTOGRAPHY When we talk about photography we consider envisioning, imagining and recreating of the image seen or the unseen and the composition plays a very important role in making of best imagery (Kulkarni, 2017) . The composition gains more importance when it comes about capturing architecture due to the interplay between negative spaces and structural elements. It has a power to make or break an architectural image. Here, we will be very first putting the light on factors which behind the human retina acts to enhance visual perceptions of an observer. 2.4.1 The Rule of Thirds This rule comes with the basic principle that things look really good when you put points of interest on thirds of your frame. Basically what I mean by that is the emphasis of places where the lines intersect shown in figure below:
Figure 10: Rule of Thirds grid Source: (https://expertphotography.com/wp-content/uploads/2018/05/Rule-of-thirdscomposition-grid-2.jpg)
Understanding it by the shot of the ocean in Figure 9 ; it’s just centered on the horizon but if you lower the horizon down on lower third the image perceived feel better and is perceived as a stronger imagery seen in Figure 10 below :
Figure 11: Disobeying the Rule of Thirds
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Figure 12: Obeying the Rule of Thirds
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Now there are a lot of reasons why people claim this works but the brief overview summarizing people thoughts, “when we perceive anything we get a lot of different things where people could focus on in fig below”:
Figure 13: A lot of different things in focus
As, there are technically a lot of things and user don’t know where to start, if we put out this person at a third of the shot here shown in fig. there is the person we start looking when we mentally taken the shot it becomes the road map for image. Starting from the persons objective and moving the left way and taken the rest of visual from there.
Figure 14: Balancing the frame by adding a subject
But this phenomenon can go deeper than that, like this individual is in the context of what this character is thinking or feeling. ARJUN SINGH THAKUR (16BAR005) VISUALS IN ARCHITECTURE
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Now the question arises how do we see imagery perceived if we place our element in the centre of the frame? This takes us to our rule number two symmetry. 2.4.2 Balance Typically there are two different options in which we balance a frame. First is when we want to highlight the image perception. The balanced patterns can be captured in huge arches, small murals or for building as whole. For some reasons as humans we really respond to symmetrical balance. It looks and it feels good shown in fig: below:
Figure 15: Balancing the frame
And this is the main reason why most people like to use it because balance in frame just looks good to look at but one has to keep in mind the second piece, that whenever you put someone or something in center of plane you telling the observer’s eye deriving the attention that you really want them you focus on this. This is why these type of elements are used a lot to create powerful attraction.
Figure 16: Balance in Photography Source : (https://www.beyondphototips.com/symmetry-a-users-guide/)
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2.4.3 Leading Lines Leading lines are those invisible lines in image that leads the viewer gaze directly in a particular direction or to infinity itself and sub consciously gives a message to the brain how the eye sight of viewer travels and where they should be looking at as depicted from figures below. Mostly these leading lines are used to create unusual depth or shallowness as they contain the property to tend the visual flow to the image.
Figure 17: Leading lines creating a visual path
When you perceive this type of imagery, those lines draw the attention of viewers acting as a gentle way to guide the audience to focus on a specific point you want them to. And like symmetry in becomes the element to overall visual perception. 2.4.4 Size Equals Power This seems to be pretty simple but has a huge implication on human project. If the object takes a large amount of visual frame then the viewer perceives the overall image element as big and important. Similarly if it takes the small amount it is insignificant to viewer’s minds. This can be better used in places to bring the focus on it dominates the visuals and changes helps changing our perception.
2.5 COMPOSITIONS USED IN ARCHITECTURE To create order in architectural compositions for visual aesthetics a path is needed to organize form. These compositions are created with the help of principles of design. A natural diversity and complexity exists in the program requirement of buildings. A user experience monotony or boredom if order is lead without diversity and vice versa chaos is produced when diversity is led without order. For the ideal situation sense of unity with variety should be practiced. Ordering principles shown below shape the perception of user in building architecture as visual devices to allow varied and diverse forms of a building to coexist perceptually and conceptually within an order, unified as harmonious whole (D.K.Ching, 2018).
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2.5.1 Pattern A regular arrangement of alternated of repeated elements like shape line, colors or motifs form a pattern. Patterns are usually good to see and enhance the overall imagery perceived in design.
Figure 18: Pattern using staircase in Chand Baori (Abaneri, Rajasthan) Source: (https://dp5zphk8udxg9.cloudfront.net/wp-content/uploads/2016/08/ChandBaori-e1472538739791.jpg)
Figure 19: Pattern using Jharokha’s in Hawa Mahal, Jaipur (©Author, 2018)
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2.5.2 Symmetry The balance of arrangement of equivalent patterns of elements on opposite side of a central dividing plane or central axis gives rise to the symmetrical condition in visual realm. A feeling of balance results when the elements of design are arranged symmetrical or asymmetrical to create the impression of equality in weight or importance. It is mostly of two types: Bilateral symmetry: The balanced arrangement of equivalent or similar elements on both sides of a medium plane so that two identical halves can be obtained is known to be bilateral symmetry.
Figure 20: Bilateral Symmetry at Humayun’s Tomb (Delhi, India 2017) Source: (https://dp5zphk8udxg9.cloudfront.net/wp-content/uploads/2016/08/Humayuns_Tomb_at_Delhie1472538622171.jpg)
Radial Symmetry: The balanced arrangement of radiating similar patterns such that a composition by passing a plane can be divided into two similar halves around the center point or axis at any angle.
Figure 21: Radial Symmetry at Great Stupa Sanchi (Madhya Pradesh, India 100 B.C) Source: (https://ramaarya.blog/tag/the-great-stupa/)
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2.5.3 Contrast It is created by the juxtaposition of different elements of design for example using rough and smooth textures, dark and light values in order to highlight or create visual interest. Contrast has the ability to hold on visual lines to further put emphasis in human eyes. Hence, Emphasis can be achieved through placement of contrast i.e. importance to the object.
Figure 22: Contrast by colour
Figure 23: Contrast by Size at entrance of Jama Masjid
Source: (https://www.holidify.com/places/delhi/jama-masjid-sightseeing-1720.html)
Figure 24: Contrast by Shape in Dancing House (© Frank Gehry) Source: https: (//eliinbar.files.wordpress.com/2012/06/dancing_house_frank_gehry1.jpg)
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2.5.4 Rhythm/ Movement The use of recurring elements to drive the eye through the image, in a way the elements are organized to lead the eye to the focal area. The eye can be directed, for example along the edges and by means of shape and color. Through the sequence of spaces, movement of the rhythm can be characterized by the paternal recurrence of motifs or building elements of our bodies or in compositions. In case to organize form and spaces in architecture, the fundamental notion of repetition incorporates in case of rhythm as a device in visual perception. To form repetition as a device beams and columns repeat themselves to form structural bays and modules of space. According to the closeness and proximity with one another and the sharing of their visual characteristics in common the human eye tends to group elements in random composition and utilizing both the concepts of visual perception to order recurring elements in composition
Figure 25: Rhythm by repetition of architectural feature
Figure 26: Rhythm by repetition of columns (Parthenon, Greece)
In the figure 26 (Garcia, 2014) in Parthenon the Rhythm of columns and symmetry attributed to the aesthetic of visual perceptions and can be easily identified as it gives more of a balance and harmony to the space in such a way that the rhythmic lines give motion and direction to human visuals. 2.5.5 Technical terms for Composition in Architecture Unity - All parts of image works together to be seen as a whole Variety - Using different elements in an image to create visual interest. Harmony - The arrangements of elements to give the viewer the feeling that all the parts of the piece form a coherent whole Emphasis - Special attention importance given to one part of work of art ( for example a dark shape in a light composition ) . Emphasis can be achieved through placement, contrast , color, size, repetition Scale - The relationship of objects with respect to size, number and so on including a relationship between the parts of whole ARJUN SINGH THAKUR (16BAR005) VISUALS IN ARCHITECTURE
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2.6 COMPOSITION AND FRAMING When we talk about composition, we are talking about what our camera sees and by extension, of what our audience sees. Composition and Framing play a significant role in enhancement of visual perception of a building or any architecture. The various elements can be used to the framing and compositions in architecture can be practiced by using various design elements and principles that we discussed above like repetition, creating harmony and contrast etc. ―Composition‖ is basically the arrangement and rearrangement of design elements in a harmonic way and on the other” Framing‖ is termed to lead the visual aspect of human eye that see in a particular direction as whole. Both Composition and Framing complement each other.
Figure 27: Ratio Rules in Framing and Composition (Golden Spiral, Golden Triangles, Golden Rectangle, Harmonious Triangles)
Based on Fibonacci sequence the golden ratio describes the relationship between two proportions. Fibonacci number follows 1:168 which we prefer as golden ration. The above figure 27 depicts if the golden ratio rules are considered while framing the elements the architectural visuals appears to be more aesthetic and eye pleasing.
Figure 28: Golden Ration in Parthenon at exterior dimension of building Source: (https://i.pinimg.com/originals/93/f9/19/93f9193f8603c6feed981267e848780e.jpg)
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3.0 VISUAL RELATIONSHIP BETWEEN PHOTOGRAPHY AND ARCHITECTURE 3.1 Axial Relationship Axis is the most common way along which form and space are organises in architecture. It is always established between two points in a space. Forms were arranged in regular and irregular manner between these two points. These axial lines are imaginary not visible to eyes but only to mind’s eye. People love to move along these axis in urban areas where public used it for different activities. From visual point of perspective, it has great significance in urban areas to attract people and also to settle different functions along it. From photography point of perspective people love to click photographs of such axial streets due to its symmetry and balance. Viewers induced or envelop themselves into such kind of axial street photography.
Figure 29: Delhi Central Vista (© Flashpacker Travelguide / Flickr) Source: (b70f8e35-c6da-4c8c-9824-9d79756d95d2.jpg (2048×1538) (telegraphindia.com))
3.2 Visual Balance Relationship We use the term balance and symmetry both in architecture and in photography. In architecture we achieved balance and symmetry by repeating certain elements in the facade of the building and photographs taken on that façade appears to be aesthetic due to balance by symmetry. Therefore Balance and Symmetry are quite similar terms. Fenestration, mass and void also play an important role in achieving balance and symmetry in architecture. The visual relation between the architecture and photography is that, the photographer positioned themselves at a certain place or point and then clicks the photograph of the building. Rule of third also play an important role here as well as the subject.
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Figure 30: Radial Symmetry
Figure 31: Rose window (©Notre Dame,Paris) Source: (https://gharpedia.com/blog/the-symmetry-in-architecture/)
3.3 Relationship between leading line and continuity Without repetition and continuity architecture remains incomplete. Repetition of a window or repetition of any single element of building creates a sense of complete or continuity. We can find repetition of shapes and form in every natural element that exists. Some studies say also shows that repetition of a particular element in the façade of the building rather than using multiple elements reduced the cost of the building and it looks esthetically good also. ARJUN SINGH THAKUR (16BAR005) VISUALS IN ARCHITECTURE
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Figure 32: Used of repetition in the façade of the building. (© Josef F. Stuefer/Getty Images) Source: gett_repetition-56af95c45f9b58b7d01ad580.jpg (768×576) (thoughtco.com)
As, seen it figure 32 below the leading lines when articulated with the repetition of beam and columns creating a depth in the imagery and emphasis is put on the central dome in The great Chaitya. In this way the both leading lines and repetition works hand in hand to create interesting visual lines when looked at whole and can really enhance the imagery perceived even in smaller architectural elements such as staircase.
Figure 33: Leading lines with repetition of elements in the great Chaity, Maharashtra (© Kevin Standage, 2017) and spiral staircase. Source: (https://en.wikipedia.org/wiki/Ancient_Indian_architecture#/media/File:Karla_caves_Chaitya.jpg)
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4.0 CASE STUDY Focusing points in case study: • To understand the principles acting behind better image perception with help of images • To study and formulate the visual language of architecture for Iconographic architecture in Indian Context.
4.1 Visual Analysis of Taj-Mahal, Agra
Figure 34: Analysis of Taj Mahal Agra (© E. de Gracia Camara 2008) Source: (https://whc.unesco.org/en/list/252/gallery/)
Architect- Ustad Ahmed Lahouri, Ustad Isa Year- 1632 Venue – Agra, India Taj-Mahal is an immense mausoleum constructed using white marble built in Agra by the order of “Mughal Emperor Shah Jahan” in the memory of his beloved wife “Mumtaz Mahal” as the one of finest jewel of Muslim art in India and is universally admired in seven wonders of the world (UNESCO, n.d.) . ARJUN SINGH THAKUR (16BAR005) VISUALS IN ARCHITECTURE
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The points marked in the plan makes a position in the space. In plan below its marking the intersection of two lines. The points found here are stable and the rest of organizing elements dominating its field around itself. The points connected are formed as base plane for tomb in all directions The visuals perceptions in the Figure 30 have following notions behind the formation of aesthetic imagery of Taj-Mahal: The Red line that divides the frame into two equal halves justifies the symmetry practiced in the architectural structure. In Taj Mahal both bilateral symmetry practiced along the axis and radial symmetry are reflected in the tomb The Blue line justifies the structural placement practiced on the rule of thirds which makes the visual perception balanced and comfortable to watch giving a strong base to highlight all the features of the creation. The Yellow line represents the repetition of columns as the vertical linear minarets in the Taj Mahal are defining transparent volume of spaces. In figure 31 below the four minarets outline the spatial field from where dome raises shows use of different wall planes as well as creating volumetric elements.
Figure 35: Volumetric analysis and spatial field outline of Taj Mahal
Emphasis: The emphasis is bought to the structure by placing the onion dome above the main entrance gateway of Taj Mahal. Other signs used to bought in emphasize the visual field are the lotus decoration above onion dome. The size of main entrance arch is larger than the others to emphasize visual lines entering the Taj Mahal. Golden section rule – Framing and Composition of the iconographic architecture is based on golden ratio rule. If we talk about the proportions and scale of the building, it follows the
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golden ratio as all rectangles used in the tomb and its main building are golden rectangle with height to width ratio equal to 0.618 Scale - Use of different scales can be seen in the architecture elements with human proportions giving the architecture a monumental scale and perceiving a bold imagery of perception shown in figure 32. Where 1x represents the human scale and 36x represents the scale of a minar, which justifies the monumental scale of the architecture building to make the visual perception of important and more grandeur.
Figure 36: Monumental Scale representation of Taj Mahal with respect to human scale.
Leading Visual lines - The concept of serial vision is also followed by using the concept of leading lines to perceive the image and forward human attention to the main structure. These serial visions are created along the axis, which is created by the linear planning of the water body from entrance gateway to the tomb shown in figure 33 below:
Figure 37: Leading Visual Lines in Taj Mahal
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4.2 Visual Analysis of Jama Masjid, New Delhi
Figure 38: Analysis of Jama Masjid, New Delhi
Year - 1656 Venue - New Delhi, India The Masjid-i Jehan Numa "Mosque of the Celestial Sphere" commonly known as the Jama Masjid of Delhi, is one of the largest mosques in India. After studying briefly by implementing the laws of visual perceptions in architecture we would know all the elements combined to its architecture are directly linked to the photographic aspect of eye and how the imagery of Jama Masjid is formed as whole, making the form dynamic and creating interest making the form and user experience at the place more interesting sited on a high plinth atop a natural hillock. The white line balances height of different elements of building using the proportions of rule of thirds as shown above representing the grid and architectural feature dome placed on the intersection points. The red line represents the symmetric form of the monumental structure, and an interesting focus is created as the entrance for whole, such that the design entrance acts as a strong entity to the building structure. The green line represents composition of the building made by the repetition of highlighting architectural components i.e. minar which are placed on the both sides. Playing with the size of arch design as medium for light and ventilation openings and identical minarets placed on the both side of frame.
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B. Arch. DISSERTATION 2020-21 The framing of the mosque is done by separating it from nearby roads and the dense city fabric by open lawns of about thirty meters in depth. Elevated approx. ten meters from the level of the city, the mosque contains a square courtyard (ca. 115 meters/side). The main prayer hall (70 meters north-south by 25 meters east-west) is located along the western side of the courtyard. The property of size equals power is also subjected in architectural design to emphasize the central entrance of building in blue as the entrance takes a large amount of visual frame perceiving the overall image element as big and important and small mass like minars used to make it dominate in center of frame.
Figure 39: Framing of leading lines, Surface Ornamantention, Monumental Scale of Jama Masjid, New Delhi Source: (https://neja.kurat.li/portfolio/ornaments-in-the-jama-masjid/)
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4.3 Visual Analysis of Hawa Mahal, Jaipur
Figure 40: Hawa Mahal, Jaipur (©Author, 2018)
Architect- Lal Chand Usta Year- 1799 Venue- Jaipur, India Symmetry- The imagery perceived by the image seen in figure35 of Hawal Mahal, in Jaipur is aesthetic in nature because of it creates visual perception of symmetry. This aesthetic imagery feature of Hawa Mahal which attracts the audience around the world is contributed by its divine architectural beauty as captured by me as photographer. The Mughal architecture giving it special appearance and elegance contributed by Rajput architecture make the photographers from corners of the world to get best out of their works, hence we can derive that the major attraction for the monuments is just not its prestige or history but the architecture which contributes to aesthetic imagery.
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Leading Lines- The interiors of the palace consist of pillared chambers and minimally ornamented corridors that reach up to the top floor which are supported by the property of leading visual lines that are framed by the arches to experience space and passage leading the viewer gaze directly into the particular direction in a aesthetically pleasing way. These leading lines in Hawa Mahal Jaipur are used to create unusual depth or shallowness as they contain the property to tend the visual flow to the image.
Figure 41: Leading line Hawa Mahal, Jaipur (©Author, 2018)
Repetition of Jharokhas – The Hawa Mahal is five storied structure that rises up to a height of 50 feet. In front façade of the palace there are 953 windows featured which give the building a honeycombed hive look (Taheem, 2019). It is because of the exceptional lattice work on these windows, the palace experiences a cooling effect as the breeze blows in through them along with delicately designed hanging cornices are another attractive aspect to enhance the visuals of Hawa Mahal’s architecture. These recurring elements of Repetition in windows form a harmonious outer facade. The rhythm in the building façade can be characterised by motifs and carvings designed on the walls of Hawa Mahal which makes the surface articulating, symmetric and enhancing its visual perceptions.
Figure 42: Repetition of Jharokhas Hawa Mahal, Jaipur (©Author, 2018)
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Emphasis by Contrast- As, we know the honeycombed hive repetition of jharokhas is the main element of this architectural form. So, the emphasis is being provided to it by change in colour to appear it in focus making it dominant part of frame in visual perception shown in figure 38 below:
Figure 43: Emphasis by Contrast in Hawa Mahal, Jaipur (©Author, 2018)
Play of Light and shadow- The play of light and shadow can be experienced in Hawa Mahal Jaipur all time of the, The diffused light coming in through the canopy and large arches articulates the interior of Mahal. A more dynamic appearance is created with the shadows inside the Mahal, casted by the natural light through a colourful mesh as the sun moves giving life to the space changing visual perceptions.
Figure 44: Light entering Hawa Mahal through a colourful mesh (©Author, 2018)
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5.0 COMPARITIVE ANALYSIS Why some monuments are on the wish list of travelers, to be photographed and why there are certain monuments which are just not recognized? Architecture plays a very important role behind the aesthetics of a venue, its degree of attractiveness and definitely the count of tourists. Let's study all these parameters by exploring some comparative analysis between the following:
5.1 Bibi ka Maqbara and Taj Mahal Bibi ka maqbara also known as “The Tomb of the lady” was built by price “Azam Shah” between 1651-1661 A.D, in the memory of his mother, “Dilras Banu Begum”in Aurangabad, Maharashtra (Patowary, 2014) Bibi ka Maqbara is also known as another Taj Mahal but its visual impression on human user is not as popular to that of Taj Mahal. Considering the statement and data of foot fall of tourists per year collected in the survey found that tourist gathering at Taj Mahal is much more than that recorded in Bibi ka Maqbara. The comparative ananlysis based on laws and features supporting visual perception are based below:
Characteristics
Taj Mahal
Bibi ka Maqbara
Monumental scale
Architectural scale
(Visual Parameters) Scale Shape and Structure
The structure is octagonal The structure in cuboidal in shape in shape
Leading Lines
A large variety of leading Not much leading lines lines are formed due to due to the less area monumental scale of covered. building and with respect to its surroundings.
Framing
Ornamentations
Color
More precise framing techniques are implemented in taj to adorn the creation
No such framing techniques used.
Very detailed &precised carvings are practised.
Not much detailed as compared to Taj
The white appears to be The walls are little dusky bright due to finest quality by contrast. of marble used.
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All Structure is made using Pure white Marble
Material
Plaster Polished to give marble look
Figure 45: Taj Mahal at left and Bibi ka Maqbara at right Source: (https://www.amusingplanet.com/2014/11/bibi-ka-maqbara-other-taj-mahal.html)
Figure 46: Detailing in Taj Mahal at left and Bibi ka Maqbara at right Source: (https://www.culturalindia.net/monuments/taj-mahal.html)
Figure 47: Dome of Taj Mahal at left and Bibi ka Maqbara on right
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5.2 Qutub Minar and Hastal Minar Now, talking about two minars - Qutub Minar and Hastsal Minar, both situated in Delhi, both contributing to the history of India but one being very popular for its aesthetics and its degree of tourist count, beside the other one which comes under the category of least popular monuments in Delhi. When the comparative study of both the monuments is been done, we find that architecture plays a major role in their varying degrees of aesthetics and hence, the degree of photographic beauty which could attract tourists around the world.
Characteristics Scale
Qutub Minar Bigger in size
Hastal Minar Smaller in size
Shape and Structure
Curved Cylendrical base with Octagonal Base with 72.5 m tall structural height 16.87mts overall structural height
Leading Lines
Pleasent leading lines leads Leading lines are not the visuals due to massice aesthecially pleasing due to height of minar. low height due to breakage of structure.
Framing
Much of reference frames are No such reference frames included around the site to were added when making the embrace the beauty of structure . structure
Articulation
Intrinsic Articulation done on Mostly the surfaces are plain all the surfaces of minar with basic articulation
Material
Pale red sandstone
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with
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Figure 48: Qutub Minar on left and Hastal Minar on right Source: (https://en.wikipedia.org/wiki/Qutb_Minar#/media/File:Qutb_Minar_2011.jpg) Source: (https://en.wikipedia.org/wiki/Mini_Qutub_Minar#/media/File:Hashtsal_Minar_10.jpg)
Figure 49: Use of arches to provide visual framing for magnificent structure
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6.0 DESIGN CONSIDERATIONS 6.1 Scale and Proportions Use of right Scale and Proportions are the most important design consideration to enhance architecture visuals of any space. The proportions of the space should be in respect to its function and the scale of the space with respect to its design elements and users are very important. The active Greek and Roman mythology from ancient times explain how expression for scale and proportions carve aesthetic. In every aspect human dimensions should be considered.
6.2 Elements of Contrast Practising the elements of contrast in architectural design contains the ability to hold the eye of sight in a frame to a particular area in building design or the whole and emphasize the structure. It can be also used to define the difference between two or more elements in composition, more the number in element of contrast, the greater they become easy to be compared and comprehend (Garg, 2020). It gives rise to the pre attentive processing and accumulation of information gets started from compositions that occur in early vision. It is like reading a poster, unknowingly at the first glance. The element that stands out the most is seen first and that is the element with high contrast as in this process, our eye movement is not determined by tradition from reading left to right, bottom or start but is driven by primitive feature of elements.
6.3 The Right Colour Pallet Colour is very effective tool for communicating as it directly effects an experience, feeling or emotion and therefore becomes critical when comes in engaging visual communication (Bartram et al., 2017). As, each colour has its own properties of lightness, Chroma and hue it influence and defines the mood changing the overall perception of space image. Light colour used reflects light making the space perception feel exposed and bigger than the actual size while the Dark colours absorb light giving the sense of visual confinement of eye within space. The selection of colour pallet is also done as a means to bled in the architecture with its background or more often to make it stand out.
6.4 Emphasize Leading Lines Human vision have natural tendency to travel along the leading lines. The leading lines are also useful in creating the sense of depth in imagery perceived. Putting emphasis on leading line will help to create the aesthetic in perspectives of design. The leading lines can be subjected to articulation using patters and rhythm in elements. Mostly seen in ancient architecture the leading lines are articulated by ornamented beams and columns. The texture and colour variation is also implemented in creating good visual lines. This immediately captures the human attention and adds on to the visual weight as the visual lines convey balance, motion, scale and perspective.
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7.0 CONCLUSION The main objective of this dissertation work is to review and understand the importance of visuals in architecture and how the visual perceptions are framed and changed by implementing the above overall design parameters to understand and justify the notion of imagery lines perceived behind sub-conscious mind of observer. Through studies it has been proved and concluded that the visual realm in architecture contains its depth from the ancient times and is still present to the modern times. The knowledge about visualization not only help in increasing building aesthetic but helps perceiving notions of human mind. There are different factors like symmetry, contrast, emphasis, leading lines, framing and frame articulation etc. which work hand in hand to make imagery perceptions aesthetic in photographic and architectural language are same and relates to each other. Visuals have a great role to play when it comes to the buildings and architectural visuals itself affords to encounter threats like visual degradation, So, studying and practicing all the above principles we have reached to a final conclusion that only Aesthetic buildings emits aesthetic imageries and there is always a room of improvement and change we could provide from our end to human eye from the visual realm.
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8.0 REFERENCES Bartram, L., Patra, A., & Stone, M. (2017). Affective color in visualization. Conference on Human Factors in Computing Systems - Proceedings, 2017-May, 1364–1374. https://doi.org/10.1145/3025453.3026041 Chapman, H. E. (2006). Photography in Architecture : The Transformation of Reality. D.K.Ching, F. (2018). Form, Space and Order. In e-conversion - Proposal for a Cluster of Excellence. Foy, R. (2004). Architecture of Change: Design Adjusts to the Age of Flux DesignIntelligence. https://www.di.net/articles/architecture-of-change-design-adjusts-tothe-age-of-flux/ Garcia, N. (2014). id2126nicoleg [licensed for non-commercial use only] / Rhythm Architecture. http://id2126nicoleg.pbworks.com/w/page/69375812/Rhythm Architecture Garg, C. (2020). Principles of Design: the application of contrast and similarity | by Charchit Garg | UX Collective. https://uxdesign.cc/principles-of-design-the-application-ofcontrast-and-similarity-d87f261fb84f Hotle, J. (2018). Relationships 101: Photography and Architecture — Streamline Architects. Streamline Architects. https://streamlinearchitects.com/blog/2018/1/9/relationships-101photography-and-architecture Kulkarni, R. (2017). Compositions used in architectural photography – Architecture & more by Square One. http://squareone.blog/compositions-used-in-architectural-photography/ Patowary, K. (2014). Bibi Ka Maqbara: The Other Taj Mahal | Amusing Planet. https://www.amusingplanet.com/2014/11/bibi-ka-maqbara-other-taj-mahal.html Rushika. (2018). ARCHITECTURE AND THE SENSES. ―The hand wants to see, the eyes want… | by Rushika H.P. | Medium. https://medium.com/@holos.design/architecture-andthe-senses-35b7dc1c0a82 Taheem, M. (2019). Hawa Mahal, Jaipur: Information, History, Architecture, Entry Fee, Timings. https://www.fabhotels.com/blog/hawa-mahal-jaipur/ UNESCO. (n.d.). Taj Mahal - UNESCO World Heritage Centre. Retrieved December 15, 2020, from https://whc.unesco.org/en/list/252/
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