Thesis Book

LIGHT TRAVERSES; VOYAGE BEGINS Ana Cristina Baquerizo

Light Traverses; Voyage Begins A Thesis Submitted in Partial fulfillment of the Requirements for the Degree of Bachelor of Architecture in the Department of Architecture at Rhode Island School of Design, Providence, Rhode Island By: Ana Cristina Baquerizo Rhode Island School of Design Class of 2016 Approved By:

(Jason Wood, Critic | Primary Advisor)

(Christopher Bardt, Professor | Secondary Advisor)

(Anne Tate, Professor | Thesis Coordinator)

c

Copyright | All Rights Reserved to Ana Cristina Baquerizo

To my parents, sister, roommate and loved ones for being my constant support throughout my years at RISD; without whom I wouldn’t be who I am and standing where I am today.

Thank you.

CONTENTS Abstract

01

Time

03

Time | Space

15

Time | Space : Motion

Scale No. 0

Scale No. 1

Scale No. 2

Scale No. 3

Scale No. 4

35 37 43 57 67 75

References

100

ABSTRACT

A traveler, an explorer, an adventurer; a sailor; a citizen is trying to find his course in the middle of darkest nights. In order for him to reach his final destination, he needs to traverse from point B to point C, from point C to point D, and so on.

As he navigates through city, he notices that he has maintained a constant speed. Every step he takes is measured; precautious. His compass is broken and so does his watch; therefore, he feels lost. The city changes its pace through out the day. Some moments appear to pass fast, while others seems to go slow. He wonders what changes his perception of time. He keeps on walking while staring at the buildings, cars, trains, people, and so on. As he continues to walk down the city’s main street, he realizes how his surroundings have given him a sense of direction.

He keeps on walking and notices how some objects start to grow, while others begin to shrink. By him being in constant movement, he has altered the scale of his surroundings. While sitting down, and some elements are set in motion, their scale changes as well. The faster that he moves, the quicker time appears to pass. The slower he travels, the slower time goes by. The city provides the rhythm of his expedition.

The sun is setting and he can finally perceive north. He is aware of the presence of light. During the day; the sun provides the light. The windows become mirrors that imitate the city’s actions. During the night, light bulbs replace the sun. Right at dawn, he discovers a new level of sight; the windows are now transparent allowing him to see throughout them. He wonders: how is the city seen from up there? These lights, whether natural or artificial have guided him throughout his journey.

The time spent; his duration, through this voyage has altered the scale of his surroundings. He has become a point of reference; that is constantly in motion, and so as his context.

1

01 TIME Time.- The indefinite continued progress of existence and events in the past, present, and future regarded as a whole, which is measured in hours, minutes and seconds.

Perception of Space

4

15”x30” Charcoal, Ink, Graphite on Paper

The experience of architecture is first stroked by the physical components, and then through intellectual engagement with materiality through time.

5

Overtaking Land

6

22”x30” Charcoal, Ink, Graphite on Paper

Altering Spaces

22”x30” Charcoal, Ink, Graphite on Paper

7

8

Exposure over Time

Each: 6”x 6” Salt, Vinegar, Water on Aluminum.

9

Miracle Grow + Water

Ammonia

Vinegar + Wood Dust

10

Exposure over Time No. 2

Each: 3”x 3” Chemicals, Vinegar, Water on Copper.

11

The materiality of experience relates to the presence of a time lag in the process of perception. Whatever the language of expression, whether brain, body or building it is the “thickness� of the medium itself that holds the potential of temporality.

12

Dynamic Spaces

22”x30” Charcoal,Ink,Graphite,Wood on Paper

13

02 TIME | SPACE Space.- The dimensions of height, depth, and width within which all things exist and move.

A position at a distance from one another.

Light | Space : Time | Space

16

18” x 24” x 4” Mixed Media on Wood

The study of different types of movement in Architecture also contributes to the definition of space. Therefore, the real program is a notion of time. The antagonism between a highspeed space or slow-speed space is a way to prove that movement defines space. However, can the Architecture define the contrast of movement as well?

The ability to see and perceive the space has to do with their movement. The faster someone is going through a space, the smaller their field of perception is because of the awareness that he has to put on his immediate surroundings.

The materiality of experience relates to the presence of a time lag in the process of perception.

17

Projection and Refraction of Light

20

18” x 24” x 4” Acrylic, Wood, Light

Time and space: A relation between our lived bodies and occurring phenomena. This experiential measure is duration.

Duration, a flowing time; tangled with the experience of being in a space where the past, present and future merge.

Measure of impressions; measure the images of the tones in one’s memory.

21

Projection and Refraction of Light

22

One Circle of Projection and Reflection

Projection and Refraction of Light

Two Circles of Projection and Reflection; Intersection

23

Projection and Refraction: Finding Tone

24

18” x 72” x 8” Acrylic, Wood, Light traced on Paper

The world is perceived as a constant flux of movement; a field of vibrations. There is continual relationship between the individual and the surroundings. The seeing self who moving changes the projection; therefore, changes things seen.

Tone, shifts through the movement of projection; altering space and time as a consequence. Without distrusting the rational; another world is revealed.

25

26

Projection and Refraction: Finding Tone

Light and Tone Refracting; Projecting.

27

Projection and Refraction: Finding Tone No. 2

30

30” x 44” Graphite on Paper

What is it about “the tone” that gives a sense of time and space?

How can “the tone” change the perception of time and space?

If at one moment, “the tone” can locate and guide you, how can it also completely disorient you?

31

32

Projection and Refraction: Finding Tone No. 2

Light and Tone Refracting; Projecting

33

03 TIME | SPACE : SPEED Motion.- The action or process of moving or being moved over time and space.

SCALE No. 0 Scale found through drawing.

38

Movement over Space

6” X 2” Ink, on Wet | Dry Paper

Movement over Space No. 2

6” X 2” Ink, on Wet | Dry Paper

Movement over Space No. 3

6” X 2” Ink, on Wet Paper

39

40

4.0735”

3.7140”

0.656” 0h 15min 22seg

0h 14min 18seg

0h 10min 04seg

8.7950”

8.4210”

5.0665” 0h 07min 51seg

0h 03min 32seg

Movement over Space : Time and Speed

0h 00min 01seg

5” x 8” Guoache on Paper

41

SCALE No. 1 Scale found within the body.

44

Motion through Space over Time

Each: 2.75’x 2” x1” Wood, Metal Connectors

45

Motion over Space: RISD Farm

46

30 Second Exposure.

8:00 pm

Motion over Space: South Water Street

30 Second Exposure.

7:30 pm

47

Motion over Space: Thayer Street

50

30 Second Exposure.

9:00 pm

Motion over Space: Kennedy Plaza

30 Second Exposure.

7:00 pm

51

Motion over Space: Federal Hill

52

30 Second Exposure.

8:00 pm

Motion over Space: Providence Station

30 Second Exposure.

7:00 pm

53

SCALE No. 2 Scale found in the State of Rhode Island’s Lighthouses.

LIGHT HOUSE STUDY Time- Space, absolute vs. relative (”Minimum” reach)

0m 1m 2m

Lighthouse Study No. 1

58

4m

8m

Time, Space Absolute vs. Relative “Minimum” Reach.

LIGHT HOUSE STUDY Time- Space, absolute vs. relative (”Maximum” reach)

0m 1m 2m

Lighthouse Study No. 2

4m

8m

Time, Space Absolute vs. Relative “Maximum” Reach.

59

Sailors use lighthouses in order to find shore. Depending on where they are situated at sea, the speed of light changes. The motion of the light is actually constant, but is relative to distance.

Duration over distance changes scale, but light is lite and can traverse, with enough time, all scales.

60

LIGHT HOUSE STUDY Time- Space, absolute vs. relative (“Real” reach)

0m 1m 2m

Lighthouse Study No. 3

4m

8m

Time, Space Absolute vs. Relative “Real” Reach.

61

LIGHT HOUSE STUDY

LIGHT HOUSE STUDY

SCALE:

SCALE:

Second 2

Second 1

3/32”=1mile

3/32”=1mile 0 1 2

4

0 1 2

8

4

8

Sec 2

LIGHT HOUSE STUDY Second 6

LIGHT HOUSE STUDY Second 7

SCALE:

SCALE:

3/32”=1mile

3/32”=1mile

0 1 2 0 1 2

62

4

8

4

8

LIGHT HOUSE STUDY

LIGHT HOUSE STUDY

SCALE:

SCALE:

Second 3

4

Second 5

SCALE:

3/32”=1mile

3/32”=1mile 0 1 2

LIGHT HOUSE STUDY

Second 4

8

0 1 2

4

3/32”=1mile 8

0 1 2

4

8

Sec 5

LIGHT HOUSE STUDY

LIGHT HOUSE STUDY

LIGHT HOUSE STUDY

SCALE:

SCALE:

SCALE:

Second 8

3/32”=1mile

3/32”=1mile 0 1 2

4

Second 9

8

0 1 2

4

Second 10

3/32”=1mile 8

0 1 2

Lighthouse Study No. 4.1

4

8

Time, Space Absolute vs. Relative Light Sequence

63

LIGHT HOUSE STUDY

LIGHT HOUSE STUDY

SCALE:

SCALE:

Second 11

3/32”=1mile 0 1 2

4

Second 12

3/32”=1mile 8

LIGHT HOUSE STUDY Second 16

0 1 2

LIGHT HOUSE STUDY Second 17

3/32”=1mile

3/32”=1mile

0 1 2

64

4

8

SCALE:

SCALE: 0 1 2

4

8

4

8

LIGHT HOUSE STUDY

LIGHT HOUSE STUDY

SCALE:

SCALE:

Second 13

3/32”=1mile 0 1 2

4

Second 14

8

0 1 2

4

LIGHT HOUSE STUDY Second 15

SCALE:

3/32”=1mile

3/32”=1mile 8 0 1 2

4

8

LIGHT HOUSE STUDY

LIGHT HOUSE STUDY

LIGHT HOUSE STUDY

SCALE:

SCALE:

SCALE:

Second 18

3/32”=1mile 0 1 2

4

Second 19

8

0 1 2

4

Second 20

3/32”=1mile

3/32”=1mile

0 1 2

8

Light House Study No. 4.2

4

8

Time, Space Absolute vs. Relative Light Sequence

65

SCALE No. 3 Scale found within the city of Quito, Ecuador.

Section

Plan

Openings Study No. 1

68

15” x 22” Charcoal, Graphite on Paper

Section

Plan

Openings Study No. 2

15” x 22” Charcoal, Graphite on Paper

69

Duration.- the length of time something continues or exists.

Distance.- the extent or amount of space between two points in a straight line.

Length.- the longest extent of anything as measured from end to end.

Quito’s Proposed Metro Stops

70

Distance vs. Length Time | Space: Speed.

km 0.47 d:

El Labrador

d: 1.1

4 km

t: 45s | l: 0.48 km

Jipijapa

d: 1.06 km

t: 1m48s | l: 1.14 km

Inaquito d: 1.28 km

t: 2m3s | l: 1.30 km

d:

d:

1.44

La Carolina

km

t: 2m26s | l: 1.54 km

La Pradera

2 km

0.9

t: 1m30s | l: 0.95 km

t: 1m52s | l: 1.19 km

El Ejido

t: 1m51s | l: 1.18 km

| Sp

eed

d:

: 38

0.73

km

km

h|

Dis

tanc

d: 1.0

e: 16

5 km

.99

km

Universidad Central

22.1

km

d:

1.63

km

La Alameda

t: 1m26s | l: 0.91 km

th:

San Francisco

Du

rati on

d: 2.

22

: 34

km

min

| Le

ng

t:3m3s | l: 1.94 km

La Magdalena

d: 1.5

5 km

t:4m14s | l: 2.69 km

5 km

d: 1.4

El Recreo

t:2m56s | l: 1.86 km

d: 0.9

6 km

Calzado

t:2m34s | l: 1.63 km

Solanda

d:

d: 1 l: 1 m48 .14 s km

2.0

6

km

t:1m38s | l: 1.04km

Moral Valverde

d: 1.8

6 km

t:3m25s | l: 2.17 km

Reach from Center

d:

0.42

km

Metro Line Quitumbre

t:3m6s | l: 1.97 km

Metro Stops

t:58s | l: 0.42 km

QUITO’S MAP: DURATION/DISTANCE | LENGTH/ DISTANCE

SCALE 250 mm : 1’000,000

0 km

1 km

2 km

4 km

71

By being above or under ground, different light conditions could be used in order to alter the perception of time in relationship to space.

Quito’s Suggested Metro vs. Subway

72

Distance vs. Length Time | Space: Speed.

Above vs. Under Ground

km 0.71 d:

El Labrador t: 1m7.3s | l: 71 km

Jipijapa

d: 1.46 km

Inaquito

La Carolina

t: 2m23s | l: 1.51 km

Universidad Central

.99

km

d: 0.4

8 km

La Pradera

: 38 eed | Sp

La Alameda

t: 1m41s | l: 1.1 km

22.1

km

View to El Panecillo

El Ejido

d: 0.

84

km

km

h|

Dis

tanc

e: 16

t:45s | l: .48 km

min

| Le

ng

th:

San Francisco

8

0.5

km

rati on

: 34

d:

Du

t: 0m54s | l: 0.58 km

View to El Teleferico

La Magdalena

d:

4

0.6

km

d: 0.

63

km

t: 1m1s | l: 0.64 km

El Recreo

d: 0.46 km

d: 0.4

2 km

t: 0m59s | l: 0.63 km

Calzado

t: 0m43s | l: 0.46 km

0.5

6

km

t: 0m42s | l: 0.44 km

d:

Solanda t: 0m53s | l: 0.57 km

d: 1.8

3 km

Moral Valverde

Reach from Center Underground Train Quitumbre

Above Ground Train

t: 3m2s | l: 1.9 km

QUITO’S MAP: SUBWAY VS. TRAM | ELEVATED CAR

SCALE 250 mm : 1’000,000

0 km

1 km

2 km

4 km

73

SCALE No. 4 Scale applied in Architecture.

The human eye was a degree of perception, which alters depending on the plane of vision.

76

Perception Field

22” x 30” Graphite, Ink, Pastels on Paper

77

A traveler’s paths alters according to its point of reference. The path may seem shorter from point B, than from Point C.

78

Distance vs. Length

22” x 30” Graphite, Ink, Pastels on Paper

79

Objects seem to appear smaller when the traverse further out the shore; while by being closer to land, they seem to grow in size

80

Closer vs. Further

22” x 30” Graphite, Ink, Pastels on Paper

81

82

Travelers tend to focus on arriving to their final destination, while leaving aside the journey that it takes for them to traverse from such locations. Is it possible that architecture can make you feel? Can disturbing, out of the normal, become powerful enough that challenges and disrupts the rational values of society in order to construct awareness. It is not about proposing “pretty/beautiful� architecture, but rather aim to design a space that allows us to feel and perceive. Design a space that changes in order to respond differently.

83

Zeotrope Study 1

84

22” x 30” Graphite on Paper

Zeotrope Study 1: To Architecture

22” x 30” Graphite on Paper

85

Zeotrope Study 2

86

22” x 30” Graphite on Paper

Zeotrope Study 2: To Architecture

22” x 30” Graphite on Paper

87

Zeotrope Study 3

88

22” x 30” Graphite on Paper

Zeotrope Study 3: To Architecture

22” x 30” Graphite on Paper

89

90

Transformation into Architecture

30” x 50” Graphite on Paper

91

Above Ground

Exploration Rendering

94

Middle Ground

Exploration Rendering

95

96

Under Ground

Exploration Rendering

97

98

Final Presentation

Set Up Zeotrope, Drawings 2016

99

REFERENCES Books Bachelard, Gaston, and M. Jolas. The Poetics of Space. Boston: Beacon, 2008. Print.

Bachelard, Gaston. On Poetic Imagination and Reverie: Selections from Gaston Bachelard. Dallas, TX: Spring Publications, 1987. Print.

Calvino, Italo. Invisible Cities. New York: Harcourt Brace Jovanovich, 1974. Print.

Deleuze, Gilles. Cinema 2: The Time Image. London: Athlone, 1989. Print.

Franck, Karen A. Architecture Timed: Designing with Time in Mind. N.p.: n.p., n.d. Print.

Giedion, S. Space, Time and Architecture: The Growth of a New Tradition. N.p.: n.p., n.d. Print.

Holl, Steven. Parallax. Basel: Birkhäuser-Publishers for Architecture, 2000. Print.

Holl, Steven, Juhani Pallasmaa, and Alberto Pérez Gómez.

Questions of Perception: Phenomenology of Architecture. San Francisco, CA: William Stout, 2006. Print.

Mindrup, Matthew. The Material Imagination: Reveries on Architecture and Matter. N.p.: n.p., n.d. Print.

Netz, Reviel. Barbed Wire: An Ecology of Modernity. Middletown, CT: Wesleyan UP, 2004. Print.

Pallasmaa, Juhani. The Thinking Hand: Existential and Embodied Wisdom in Architecture. Chichester, U.K.: Wiley, 2010. Print.

Trigg, Dylan. The Memory of Place: A Phenomenology of the Uncanny. Athens: Ohio UP, 2012. Print.

100

Movies Adaptation. Dir. Spike Jonze. 2003 Baraka. Dir Ron Fricke. Magidson Films, 1992 Being John Malkovich. Dir Spike. Janze. 1999 Conspirators of Pleasure. Dir. Jan Svankmajer. 1996 Darwin’s Nightmare. Dir. Hubert Sauper. 2004 Fitzcarraldo. Dir. Werner Herzog. 1982.

Man on Wire. Dir. James Marsh. Prod. Simon Chinn. By Igor Martinovic, Michael Nyman, J. Ralph, and Jinx Godfrey. Magnolia Pictures, 2008.

Memento. Dir. Christopher Nolan. 2001 There Will Be Blood. Dir. Paul Thomas Anderson. By Paul Thomas Anderson. Prod. Paul Thomas Anderson, Joanne Sellar, and Daniel Lupi. Perf. Daniel Day-Lewis, Paul Dano, Kevin J. O’Connor, Ciarán Hinds, and Dillon Freasier. Paramount Vantage. 2007 Synecdoche, New York. Charlie Kaufman. 2008

Other Thermal Vals by Peter Zumthor. 1986 Various works from James Turrell. 1966-Present

101

LIGHT TRAVERSES; VOYAGE BEGINS Ana Cristina Baquerizo Bachelor of Architecture Class of 2016

c

Copyright | All Rights Reserved to Ana Cristina Baquerizo