An Observatory for Light and Shadow by Aubrey Lynch

AN OBSERVATORY FOR LIGHT AND SHADOW

Aubrey Lynch Undergraduate Thesis Virginia Tech B.Arch, Spring 2013 Advisor: Hilary Bryon

contents

designing with light, shadow, space + time

explorations in light + shadow

inspiration + information

definitions light: (n.)1 1.

That natural agent or influence which (emanating from the sun, bodies intensely heated or burning, and various other sources) evokes the functional activity of the organ of sight. 2. Electromagnetic radiation ranging in wavelength from about 400 to 700 nm and propagated at a speed of 186,282 mi./sec (299,972 km/sec), considered variously as a wave, corpuscular, or quantum phenomenon. 3. Viewed as the medium of visual perception generally. Also, the condition of space in which light is present, and in which therefore vision is possible. Opposed to darkness. 4. Viewed as being itself an object of perception, cognized by means of the specific visual sensation indicated by the use of words like ‘bright’, ‘shining’, etc. Also, in particularized sense, an individual shining or appearance of light.

shadow: (n.)2 1. An area that is not or is only partially irradiated or illuminated because of the interception of radiation by an opaque object between the area and the source of radiation. 2. The dark figure which a body ‘casts’ or ‘throws’ upon a surface by intercepting the direct rays of the sun or other luminary; the image (approximately exact or more or less distorted) which this figure presents of the form of the intercepting body. 3. Partial or complete darkness created by the absence of light. darkness: (n.)3 1. Absence or want of light (total or partial). 2. Reflecting only a small fraction of incident light. 3. Of a shade tending toward black in comparison with other shades.

light-shadow: (n.) For the purpose of this thesis, the term “light-shadow” will be used to refer concisely to the collective qualities of light and shadow in a space or volume. Since the two phenomena by nature cannot exist without one another, using one term for the pair will place further emphasis on the importance of regarding not just one, but both at once in the design process. “light, n.1”. OED Online. June 2013. Oxford University Press. 19 June 2013 <http://www.oed.com/view/Entry/108172?rskey=CYG2T2&result=1&isAdvanced=false>. 1

“shadow, n.”. OED Online. June 2013. Oxford University Press. 19 June 2013 <http://www.oed.com/view/Entry/177212?rskey=7NkqRW&result=1&isAdvanced=false>. 2

“darkness, n.”. OED Online. June 2013. Oxford University Press. 19 June 2013 <http://www.oed.com/view/Entry/47317?redirectedFrom=darkness&>. 3

introduction

thesis statement

Throughout history, light and shadow have played crucial roles in the development of art, science, and architecture. From the times when humans believed that the sun and stars revolved around the earth and built worship spaces like Stonehenge or Newgrange to celebrate solstices, to modern scientific constructs like the Large Hadron Collider or the Hubble telescope which were built to study subatomic light particles and distant stars, our understanding of light has never ceased to evolve.

In architecture, a celebrated play of light and shadow can allow for a heightened awareness and understanding of one’s surroundings, and a greater regard for the changes that occur over time.

Light exists at every scale in the universe surrounding us, and is indispensable to our visual perception of the world. The word itself is used in an incredibly wide range of contexts. In science, it is employed in discussions of photons interacting at the atomic level, but is also used to describe the distance [i.e., light years] to far-off celestial bodies. In art and general description, it may speak about the value of a color - that is, how close the color is to white. In religion, “light” often alludes to or symbolizes a deity or spirit. In common speech, “light” can mean sunlight, artificial light, a degree of illumination, a source of illumination, etc. We often find beautiful moments of light-shadow by accident: dancing sunlight reflected off a pool of water, Escher-like shadows cast by a fire escape in an alley, alternating bands of light and shadow behind a line of trees at sunset. Once noticed, these instances of intrigue tend to instill in their observer a sense of discovery and of heightened awareness of his or her environment.

This thesis explores ways in which architecture can consciously engage and celebrate light and shadow. By designing with particular qualities of light in mind, while considering the fact that light itself is not a static intervention but a dynamic quality, the architecture will call the user’s attention to the indivisibility of light, shadow, form, and space. The purposeful placement of formal elements – e.g. openings, screens, and walls, etc. – is instrumental not solely in designing the individual spaces of a built environment, but to choreographing the overall experience of moving through and dwelling within it. To allow for a design which could be experienced by one user at all times of day, night, and year, the program through which the thesis is explored is a house for an astronomer.

PROPOSAL: DESIGNING WITH LIGHT, SHADOW, AND SPACE AND TIME Concurrent with a variety of short-term investigations into the spatial qualities of light and shadow, the thesis was explored in depth through the design of a house. Throughout the projectâ&#x20AC;&#x2122;s development, the main modes of exploration were hand-drawing and the construction and photography of physical scale models.

light and shadow in the realm of architecture: a house for an astronomer â&#x20AC;&#x153;The moment one gives close attention to anything, even a blade of grass, it becomes a mysterious, awesome, indescribably magnificent world in itself.â&#x20AC;? - Henry Miller

As someone accustomed to observing the mysteries and subtleties of the universe, where light travels for millions of years to reach his telescope, an astronomer becomes an ideal patron for whom to design a house of light and shadow. His research will stimulate his regard for the beautiful and complex play of light from Earthâ&#x20AC;&#x2122;s closest star during the daytime.

places from which to regard the sky

framed views and rays of light

receiving surfaces for shadows

places for bathing

dark spaces

regarding the sun and the sky: a tower house and astronomical observatory The habitual nature of home life fosters the conditions which allow changes in oneâ&#x20AC;&#x2122;s surroundings to be perceived with the passage of time. The sunâ&#x20AC;&#x2122;s position changes over both the span of a single day and the course of a year, so a place where the user dwells long enough to regard these changes creates the ideal circumstance within which the design of light and shadow of can be brought

forth and given meaning. The design of the house focuses on the precise orchestration of particular qualities of light, shadow, or both within and between spaces. Through continuity and contrast, the qualities of illumination that exist independently are choreographed to call attention not simply to that individual instance but to the greater whole as a place to observe light and shadow.

The tower form evolved from the desire to enable each individual space to receive sunlight on as many sides as possible. This abundance of available light allows for conditions within to be designed with precision, so that each volume may react differently to the changing position of the sun.

screen: casting shadow on surface The western tower of the house is wrapped in overlapping strips of aluminum, which create lines that cast geometric shadows into the interior spaces of each level. Theses shadows sweep dramatically through the spaces throughout the day, and the extent to which they penetrate into the space is different from one season to the next, as the sunâ&#x20AC;&#x2122;s angle of elevation rises and falls. To mediate between the steep northward slope of the site and the tall tower form, the astronomer enters his house via a bridge to the third level, which brings him to a central stair. The stair tower, wrapped in frosted structural channel glass, acts as the spine of the house by connecting the east and west towers and providing a neutral transition space between the two halves. To the south, where the bridge connects the land to the house, a high retaining wall holds the slope back and allows for the creation of an outdoor space that receives sunlight throughout the year. The lowest level of the west tower is tucked underground in a way that only allows light to reach the interior on the longest days of the year, when the sun sets in the northwestern sky.

mass: placing sunlight in volume The eastern towerâ&#x20AC;&#x2122;s massive walls are punctured with precisely choreographed openings on each level to control the amount of light that enters each volume, and where the light falls within that volume. The east tower is longer in the north-south direction than the west tower, which allows for subtle changes in the light and shadow from one end of each space to the other. The lowest floor is sunken underground, with a second retaining wall that holds back the hill on the northern side to enable that room to draw reflected light from the northern sky into the space. Moving upwards, the spaces become brighter with larger and more numerous openings whose placement controls the depth to which light can reach into each space. The tower is capped by a rooftop observation platform, where the astronomerâ&#x20AC;&#x2122;s telescope is housed and where one may have a panoramic view of the night sky, which is clearly visible in this remote location. During the day the view is no less dramatic, as the shadows and highlights on the surrounding hills give an ever-changing texture to the landscape.

dark spaces The bottommost levels of the house are nestled into the slope of the site. Their openings face north, allowing only soft, reflected light to enter. The northern side of the west tower - that is, the face that is not below grade, is screened by the same system as the rest of the tower. Because of the houseâ&#x20AC;&#x2122;s orientation, the patterned shadows only enter the space when the sun reaches all the way

around the corner of the house, signifying the arrival of evening, or celebrating the length of a summer day. The eastern room recedes even further back into the earth and is capped at the northern end with a wall of translucent polycarbonate. The soft gradation of tone as the light fades into shadow across the length of the room make it an ideal place for resting or sleeping.

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dark, with soft light and view through screen. for sleeping, reading, studying.

level -2.5 dark, with soft light. for sleeping or relaxing.

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places for bathing: in light, in shadow, in water We experience the relationship between light and water in a variety of ways, often without realizing that we are doing so. Limited visibility while driving on a foggy day; a rainbow seen as a storm clears; our perception of the depth of a river we wade into - all are products of light entering a body of water and reflecting or refracting before reaching our eyes and brain.

In this part of the house, the slope of the site is held back by a retaining wall to allow for a pool to exist on the southern side of the house, where the sunlight can reach it throughout most of the year. The shadow of the entry bridge above crosses over the pool, creating distinct moments of light and dark while the astronomer swims. The adjacent room functions as a sun-porch, or perhaps

rather a â&#x20AC;&#x153;shadow-porch.â&#x20AC;? Here the inhabitant may sit in the sweeping shadow patterns formed by the enclosing screen that wraps this part of the house. The east tower holds a bathing room, whose openings to the outside are infilled with frosted glass channels both to provide privacy and to create a softly diffused but warm light which is further dispersed by the steam within.

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brightly illuminated, with bold shadow patterns. for moving, playing, interacting.

level -1.5 sunlight brought below grade. soft northern light and framed views. for relaxing, playing, reading, bathing.

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receiving surfaces: shadows above, below, and around The astronomer approaches his house by crossing a bridge that connects the steep slope to the third level of the tower. The bridge passes high over a pool of water, casting its narrow shadow downward into the sunspace. The underside of the bridge provides a surface for reflected sunlight from the water below to play upon, which would be visible from lower levels of the house.

The room into which the bridge extends is a double-height space bathed in the dramatic shadows projected inwards by the surrounding screen. Not a fully conditioned space, the room responds to seasonal weather changes; in the summer the higher sun angle paired with the shadows from the screen keep it cool while the deep-reaching winter sun warms the concrete floors.

In the east tower a large opening to the north catches light from the summer sunrise and sunset, and provides a place from which to regard the changes in the sky and the landscape as time passes. To the south a single, small opening lets a sunbeam into the room which traces a path across the floor indicating the time and date of its occurence.

level 0.5 morning sun from the east. framed northern view. for gathering, dwelling.

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shadow patterns projected through glass ďŹ&#x201A;oor. for entry, moving.

level -0.5 sunbeam with screen shadow pattern. framed northern view. for gathering, dwelling.

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framed views and rays of light: places within which to dwell After passing through the volume that contains the entrance bridge, the resident may ascend several steps to a sitting area that reaches out into the larger dwelling space accessed from the level below. This balcony shares a large northern opening with room beneath it, bringing the sky and the landscape deep into the space. Window placement in this part of the house makes it so that

sunlight comes inside in bright slices, which appear and disappear as the sun rounds each corner. The west tower holds a space wrapped in the typical screen, with a single strip missing directly over the entryway. This lets a sunbeam into the space that relates to those in the opposite volume while still maintaining the language of the shadow patterns found throughout this part of the house.

level 2 screen pattern projected onto channel glass. for studying, nighttime observing.

level 1.5 observation deck. for taking in sunshine, and for stargazing.

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shadows projected onto walls and ďŹ&#x201A;oor. open to below.

level 0.5 morning sun from the east. framed northern view. for gathering, dwelling.

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regarding the sky: astronomical observatory and sun deck The uppermost floors of the home function as the “observatory” in a more literal sense. Having moved though the house and seen the range of light and shadow qualities therein, the observer (be it the resident-astronomer or a first-time guest) is primed to find new ways of looking at the world around him. From the central stair, the laboratory where the astronomer conducts his research lies to the

west. The equipment is protected from the direct southern sunlight by a wall of the same frosted channel glass that encloses the stair; the screen continues to wrap the house beyond this layer, resulting in the projection of its pattern onto the translucent glass wall. This condition is unique to the laboratory and emphasizes the room’s purpose as a place for making discoveries.

To the east a rooftop deck holds the telescope, symbolically raised nearer to the sky to celebrate the acts of observing and regarding the beauty of one’s surroundings, be they the immediate, tangible environment or the extensive, enigmatic universe.

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een pattern projected onto channel glass. for studying, nighttime observing.

level 1.5 observation deck. for taking in sunshine, and for stargazing.

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a room with subtle sunbeams: a place for reading

a room with diffuse, glowing light: a place for sleeping

EXPLORATIONS: REGARDING LIGHT AND SHADOW IN 2 AND 3 DIMENSIONS Over the course of the thesis development, numerous investigative studies were undertaken with the intention of learning about or testing specific conditions of light. A wide range of media were used; each was chosen for its effectiveness in addressing the particular question at hand.

graphic composition of light and shadow: balance and contrast “For me, content cannot be separated from form. By form, I mean a rigorous organization of the interplay of surfaces, lines, and values. It is in this organization alone that our conceptions and emotions become concrete and communicable.” - Henri Cartier-Bresson

Inspired largely by work with photographic media, many explorations throughout this thesis studied the balance and composition of lightness and darkness in two dimensions. Though not “architecture” in the traditional sense, these explorations relate to many of the same questions posed in the architectural realm and help inform simultaneous spatial studies.

Tadao Ando’s Kidosaki House: photograph by Richard Pare

Photogram construction apparatus: card stock on glass plate

Resulting photogram, with each section exposed for a different duration

iterating with tonal range: photogrammatic investigation into composition A deeper understanding of the intentional and carefully executed use of light and shadow, like that found in Richard Pare’s photographs of Tadao Ando’s built work, was sought through the construction of photograms. Made by exposing light-sensitive paper to an overhead light source for a calculated amount of time, photograms require methodical design and orchestration of light.

A photogram is a near-direct translation of light and shadow to image. Constructed rather than captured, the photogram allows for control over its content and composition. By choosing photographs of Ando’s work which are compelling in their own right, regardless of contextual knowledge, and translating those images into grayscale graphics through the photogram process, intuitive conclusions

about the success of each image may be drawn and analyzed. In the series on the opposite page, one is able to compare a range of outcomes in terms of contrast and tonal range. In general, the eye tends to dwell on the compositions with both a high degree of contrast and a broad range of tonal variation.

Tadao Andoâ&#x20AC;&#x2122;s Meditation Space, UNESCO: photograph by Richard Pare

Iterations of a single photogram construction, showing the range of outcomes produced by changing exposure times

nighttime section facing north, 7 November

contrast and continuity: tonal juxtaposition in graphite on bristol A set of graphite hand-drawings allowed for two-dimensional composition of light and darkness. Forms of varied sizes and proportions are woven together with gradation and contrast in a way that begins to hint at the spatial ordering that could exist in architecture. The drawings were developed conceptually as a plan and two sections through it.

At the time of this study, the idea of designing an observatory was nascent. In the sections, the night sky is drawn (with a relative degree of accuracy) to show how it would look on a chosen day of the year when looking in that direction. In plan, the solar path at 36ยบ is superimposed on the drawing in reference to the path the sun would travel in the sky at this location throughout the year.

change between light and shadow: spaces in plan, with sun-path diagram for 36ยบ N

volumes stepping toward the sky: section looking west, November 10

voids for the sky: section looking north, November 7

re-imagining the façade: post-project model remixes After having constructed a three-dimensional model to study and photograph, the removable façade pieces were overlaid and combined to create new graphic images. The study tied back to earlier investigations into pure tonal composition. Here the “screen” pieces contribute a sense of movement and change while the “windows” serve as anchor points to within each piece.

spatial choreography of light and shadow: volume and time â&#x20AC;&#x153;Light is the origin of all being. Light gives, with each moment, new form to being and new interrelationships to things...The creation of space in architecture is simply the condensation and purification of the power of light.â&#x20AC;? - Tadao Ando

Light and shadow cannot exist without the spaces that contain them and the forms onto which they fall. Our perception of the three-dimensional world is shaped by these phenomena, and our understanding of our surroundings is augmented as we recognize changes over time. Light itself occupies space, and when displaced by form the resulting shadows are equally spatial.

camera obscura: a “collecting place” for light The camera obscura is best known today as a “pinhole camera”, often in the form of a hand-held box with a tiny hole on one side and a sheet of photographic paper placed on the opposing wall. In its very early days, however, the construct was merely a hole in a window covering, which allowed an image of whatever lay outside the room to be projected through the space of the “camera”

and onto the opposite wall. The words “camera obscura” literally mean “dark room” in Latin, speaking to the device’s architectural origins as inhabitable spaces used for assisting artists in the accurate portrayal of three-dimensional scenes or by astronomers for viewing eclipses. It did not become tied to photography until the 1800s, when light-sensitive mediums that could successfully

capture the projected images were discovered and developed. Using the “camera obscura” as a non-inhabitable photographic device nevertheless brings forth applicable questions of time (exposure), proportion (focal length), and opening (aperture), which can all be used to inform the experiential qualities of a space made for the collection of light and shadow.

from left: cube 1 – illuminated reveal; cube #2 – light and shadow on a textured surface; cube #3 – movement of shadow lines over time

sunlight traversing space: time lapse of three south-facing cubes Three cubic volumes were constructed and then photographed over the course of a day. The southern faces of each were designed to create different qualities of light both at the boundary itself and within the space; some were deemed more successful than others. The construction of cube 1 creates a subtle illumination around the edges which remains the same as the sun moves past the

room. While not ideal if the aim is dramatic change in the space to emphasize the passage of time, the result is nevertheless one of subtle beauty that could be applied to many functions which require a more reserved use of natural light. Cube 2 was intended to call attention to the texture of the interior walls as the sunlight moved across them; the size and shape of the openings in this situation

could have produced a range of different results. Cube 3 produced the most expected results, with the shadows of the mullions travelling across the space and forming geometric rhythms on the floor and walls. By designing spaces free of function or scale, the light and shadow in each become the main focus and driving factor for the decisions and conclusions made in the study.

change in interior conditions from 9 a.m. to 5 p.m.

ROOM ONE: a room for diffuse light. A scale model made of translucent material diffuses the direct rays of sunlight, filling the interior space with a soft light that remains fairly even over the course of a day. As the only source of light in the room, the bright â&#x20AC;&#x153;lightboxâ&#x20AC;? back-lights the inhabitants, causing them to appear as silhouettes. ROOM TWO: a room for rhythmic shadow. A south-facing screen throws bold patterns into the room. The shadows fall across the floor, mold to fit the curved back wall, and seep into neighboring spaces. They sweep across the room as the sun moves through the sky, and the room is continuously enlivened by the play of these shapes. ROOM THREE: a room for passing time. A narrow window wraps around three sides of the room, allowing a sliver of sunshine to project onto the opposite walls and the floor. The sunbeam changes dramatically over the course of a day, and as the seasons change as well. These changes make this room a place to dwell and regard the passage of time.

three rooms: a study of distinct qualities

one room: a study of coexisting qualities After studying different light conditions in discrete spaces â&#x20AC;&#x201C; i.e., one space for each specific quality â&#x20AC;&#x201C; an investigation into the opposite limit was undertaken. How many qualities can co-exist, in an intentional way, in a single space? A room whose boundary conditions create soft, diffuse light, bright linear sunbeams, and sharply contrasting shadow patterns seeks to test this idea.

The resulting space becomes a container for a wide array of vividly evident moments that would be present throughout the course of a day. The space that each quality occupies establishes a zone that breaks the larger volume down into distinct rooms, each of which could be used for a different purpose at the same moment in time.

summer solstice: 21 June

fall equinox: 22 September

winter solstice: 22 December

spring equinox: 20 March

computer modeling: daylight conditions throughout the year Using Revit to model an iteration of the house, interior daylighting conditions can be rendered at different times of year and compared. For example, the space above faces south; as would typically be desired in a temperate climate, the design allows a large amount of light to enter during the colder months, while blocking most of the direct sunlight during the hot summer months.

15 August, 11:45 a.m.

INFORMATION AND INSPIRATION: SITE, RESEARCH, + READINGS As the thesis developed, many outside elements influenced its trajectory. The selection of a sloped site in the mountains ultimately led to the projectâ&#x20AC;&#x2122;s tower form; the study of photographic theories and methods fostered a regard for balance and juxtaposition; and built architectural precedents provided examples of ways to consider light and shadow in space.

site: rocky knob recreation area The site chosen for the thesis project is located along the Blue Ridge Parkway, an hour south of Blacksburg, Virginia on a large plot of public land. This location, which falls at approximately 36°N, experiences a dramatic change in the angle of the sun from the summer to the winter solstices. At noon on the longest day of the year, the sun is 77° from the horizon and on the shortest it only

ascends to 33°1. This creates the conditions necessary for an architecture that frames the passage of time using sunlight and shadows. Meanwhile, the site’s remote location in the mountains (and thus its low level of light pollution) makes it one of the region’s best spots for stargazing, and is frequently used by the Roanoke Valley Astronomical Society for observation sessions2.

http://www.jaloxa.eu/resources/daylighting/docs/sunpath_36_north.pdf http://cleardarksky.com/csk/prov/Virginia_charts.html 3 image source: Google Earth v 7.1.1.1580 1 2

View to the southwest of the tower

View to the north of the tower

Aerial overview of the site and Blue Ridge Parkway3

View to the northeast of the tower

1. Tranquil Morning, photo by Michael Kenna 2. Eclipse viewed with a camera obscura, from Vermeer’s Camera 3. Kielder Observatory telescope, Charles Barclay Architects. 4. Sayamaike Historical Museum, Tadao Ando 5. Jantar Mantar astronomical observatory 6. Keenan Tower House, Marlon Blackwell 7. Chinatown Shadows, photo by Aubrey Lynch 8. Villa Furulund by Oslo Apne Hus 9. Pabellón Eco 2011 by MMX 10. Mülimatt Sports Training Centre, photo by Eke Miedaner 11. Arch No 2 by Naum Gabo

precedents

bibliography Andō, Tadao, and Richard Pare. The Colours of Light. London: Phaidon, 1996. Print. Binet, Hélène, Roberto Casati, Werner Oechslin, and Tadao Andō. Das Geheimnis Des Schattens: Licht Und Schatten in Der Architektur = the Secret of the Shadow : Light and Shadow in Architecture. Tübingen: E. Wasmuth, 2002. Print. Bourcier, Noël, and André Kertész. André Kertesz. London: Phaidon, 2001. Print. Cartier-Bresson, Henri, and Michael L. Sand. The Mind’s Eye: Writings on Photography and Photographers. New York, N.Y: Aperture, 1999. Print. Coldwell, Paul. Finding Spaces between Shadows: Surface Layering Memory. London: Camberwell Press, 2005. Print. Eckler, James. Language of Space and Form: Generative Terms for Architecture. Hoboken, N.J: John Wiley & Sons, 2012. Print. Elkins, James. Photography Theory. New York: Routledge, 2007. Print. Fiedler, Jeannine, and László Moholy-Nagy. László Moholy-Nagy. London: Phaidon, 2001. Print. Higgott, Andrew, and Timothy Wray. Camera Constructs: Photography, Architecture and the Modern City. Burlington, Vt: Ashgate Pub. Co, 2012. Print. Holl, Steven. House: Black Swan Theory. New York: Princeton Architectural Press, 2007. Print. Köster, Helmut. Dynamic Daylighting Architecture: Basics, Systems, Projects. Basel: Birkhäuser-Publishers for Architecture, 2004. Print. Krauel, Jacobo, and Amber Ockrassa. Experimental Architecture: Houses. New York: Universe, 2004. Print. Kurrent, Friedrich. Scale Models: Houses of the 20th Century. Boston: Birkhäuser, 1999. Print. Kwinter, Sanford. Architectures of Time: Toward a Theory of the Event in Modernist Culture. Cambridge, MA: MIT Press, 2001. Print. Le, Corbusier, and Giuliano Gresleri. Le Corbusier, 80 Drawings. Bologna [Italia: Ente fiere di Bologna, 1977. Print. Leibowitz, J R. Hidden Harmony: The Connected Worlds of Physics and Art. Baltimore: Johns Hopkins University Press, 2008. Print. Moholy-Nagy, László, Renate Heyne, Floris M. Neusüss, Hattula Moholy-Nagy, and Herbert Molderings. Moholy-nagy: The Photograms: Catalogue Raisonné. Ostfildern: Hatje Cantz, 2009. Print. North, Michael. Camera Works: Photography and the Twentieth-Century Word. Oxford: Oxford University Press, 2005. Print. Nussaume, Yann, and Tadao Andō. Tadao Ando. Basel: Birkhäuser, 2009. Print. Sbriglio, Jacques. Le Corbusier & Lucien Hervé: A Dialogue between Architect and Photographer. Los Angeles [Calif.: J. Paul Getty Museum, 2011. Print. Steadman, Philip. Vermeer’s Camera: Uncovering the Truth Behind the Masterpieces. Oxford: Oxford University Press, 2001. Print. Smith, Joel. The Life and Death of Buildings: On Photography and Time. Princeton, N.J: Princeton University Art Museum, 2011. Print. Steane, Mary A. The Architecture of Light: Recent Approaches to Designing with Natural Light. Abingdon, Oxon: Routledge, 2011. Print. Sudek, Josef, and Anna Fárová. Josef Sudek. Prague: Torst, 2002. Print.

thank you to my mom, for selflessly supporting me in every way through my struggles, triumphs, travels, and stressed-out phone calls to my studio friends, for your encouragement, insight, and empathy; for all the shared adventures, potluck dinners, and late-night talks about life, love, and random things we found on the internet to my â&#x20AC;&#x153;non-architectureâ&#x20AC;? friends, for continuing to put up with my studioinduced flakiness over the past 5 years, and for loving me in spite of it to shelley, for showing me how to find beauty and order with light to patrick, for teaching me to appreciate the subtlety of a line to jim, for the best site visits ever, and for helping me learn the importance of context and place in design to frank, for all the insightful quotes sprinkled among my travel sketches, and for bringing barry to studio every sunday to carolina, for reminding me to dream and of course to hilary, for the endless amount of time and patience youâ&#x20AC;&#x2122;ve had for us, for believing in my thesis all through its ugly duckling phase, and for convincing me, somehow, to make models.