daniel clark murrow undergraduate architecture thesis virginia polytechnic institute and state university architecture + design 2013-2014
Like its counterpart in painting, architectural collage is a matter of incorporating and exploiting elements previously irrelevant to the art. Zygas, Kestutis Paul. Form follows form.
daniel clark murrow undergraduate architecture thesis virginia polytechnic institute and state university architecture + design 2013-2014
to connect: to join, link, or fasten together; unite or bind; to establish communication between to compose: to make or form by combining things, parts, or elements
PART I the angle
PART II the focus
PART III the development
PART IV the situation
PART V appendix
Individual elements, originating from a composed photograph, become decontextualized, allowing for the formation of a new composition. Without first breaking an existing relationship, the formation of new connections is severely limited. This is not to say that separated elements will not find the opportunity to rejoin in a similar fashion. However, such elements, standing alone, have the possibility of finding a stronger context within the overall composition. The recomposition of contextual elements allows the opportunity for better relational qualities that did not previously exist, activating and bringing focus to specific moments within the larger composition. Although the content has not changed, our understanding of it as a whole has. Subject matter of this newly composed set of relationships is not defined, nor particularly important. The importance is that tools of connection can be found which are fundamental to this thesis because they endure throughout the exploration.
PART I the angle
composition a: one black and white photograph, three copies cut and attached to chipboard
findings: the composition of various degrees of shading define the elements of the collage with either distinct or gradual continuity this gradient allows for perception of depth, or lack thereof, and develops the spatial aspect of the composition absence of gradient allows contrast to emerge as a characteristic of connection; gradient and contrast become relational to one another
composition b: four black and white photographs, one copy each cut and attached to chipboard
findings: the method of cutting and re-assembling photographs directly determines the success and depth of understanding that can occur with regard to composition and connection by methodically cutting photographs into identical strips, the ability to create a composition in reference to abstracted content, shade, lines, and surfaces is severely limited
composition c: one color photograph, two copies cut and attached to chipboard
findings: orientation of placed elements is an important aspect in the process of creating a composition these placed elements have many opportunities to exist in the new composition a simple shift in orientation of one single element creates a completely different perception of a region, if not an entire composition, as seen in these two iterations
composition d: one color photograph, two copies cut and attached to chipboard
findings: color adds information which is not necessary for these basic studies of composition and connection by removing color, one may be removed from the immediate content of the photograph and therefore focus on the elements of the photograph which actually produce the composition
process explained In exploration of what constitutes connection, composed photographs are manipulated to a point in which what exists in the photograph can be rearranged and related with other existing elements in new ways. Composition b was generated by regulating the way that every photo is cut (1/4� slices on the long edge). However, the ability to develop a more unified series of connections based on what the four distinct photos offer is limited by this process. There is still a level of separation between the photos and the process of slicing is still apparent. There is a need to further relate each element as a part of the larger whole in order to produce a well connected composition. The elements should be cut in a way that removes familiar content, but also in a way which allows for new opportunities of connection to emerge and the system of cutting to fade. This means a non-systematic process, unique to the photo and more specifically to the area of the photo being manipulated. Although the subsequent collages are generated in a “non-systematic� way, increasing the freedom for exploration, there is still a need for order. Without first breaking the existing relationships of a composed photograph, the formation of new connections is severely limited. This is not to say the separated elements will not find the opportunity to rejoin in a similar fashion, but such elements, standing alone, have the possibility of finding a stronger context within the overall composition. The orthogonal character of these elements acts as an ordering device, allowing for this possibility of rejoining with a similar relationship. Elements that still exist in proximity to one another, if not in direct contact, generate an understanding of connection based on this positional factor. From each collage, successful moments of connection are beginning to be seen. The range of gradient and relations between multiple elements can be read as a composition free of recognizable content. Elements defined with a darker gradient become contrasted with lighter elements when in close proximity. The greater the contrast between elements adjacent to one another, the greater the perception of similarity in elements with only slight differences. The inclusion or removal of color is a decision to be made consciously in exploring relationships. Color has a direct relationship with the content of the photograph. If the intention is to remove an understanding of content in order to focus more clearly on characteristics of connection, then the removal of color is obvious to the success of the exploration. Color remains in compositions c and d as a development of this understanding. The perception of siding and roof (composition c), glass and stone (composition d) will continue with more clarity as long as color continues to exist. Removal of content is confined. The content of the original photograph has a significant impact on the connections of elements that can be made. Lacking many hard lines or patterns, a collage can develop with smooth transitions between gradient. Literal linear connections may exist, but the perception of the whole lends more toward soft delineations and subtle evolution over the composition. This evolution, or series of transitions across the arrangement, finds specific moments of focus, particularly in areas of high contrast. Although high contrast was not as apparent in the original photograph, the process of cutting and rearranging opens the possibility for a reading of greater distinction.
Literal, physical connections are the most primary relationships developed in collage. Linear connections link multiple elements into a holistic piece. However, focusing solely on the links made from one element to the next leaves gaps, space between. This space has the ability to enhance and bring focus to instances within the composition, but may also read as incompleteness. In attempting to “fill in� these gaps with remaining elements from the original photographs, the composition develops a new level of perception and relationships which were orginally unintended may be realized.
PART II the focus
composition e: black and white photograph, three copies cut and attached to chipboard
findings: the re-use of all pieces of the original photo, and with no gaps left unfilled, develops complexity in the work that are beyond the original intent of the composer all pieces which once existed as a whole of different relationships remain, but in a new way, creating a sense of authenticity in the piece although developed at the scale of the individual connections and relationships between elements, the perception of the whole becomes unique from those generating relationships
composition f: black and white photograph, three copies cut and attached to chipboard
findings: the scale of the original photo, as well as the scale of the cuts made, effect the new relationships that are found and the level of content removed a strong character of repetition allows for relationships to be established between distant elements directionality of pieces also establishes a relational character outside immediate proximity with regard to the holistic composition
composition g: black and white photograph, three copies cut and attached to chipboard
findings: the role of contrast in composition, as found in composition a, is developed further with the same original photograph used dark elements generate a perceptible form as they connect with one another and are supported in contrast by adjacent and surrounding light elements the intent to fill in all spaces between elements does not have an effect on the role of gradient in a composition, except to make those connections more or less precise; the content of this composition lends to a series of subtle shifts in gradient around moments of high-contrast, similar to composition a
focus explained In attempting to “fill in� these gaps with remaining elements from the original photographs, the composition develops a new level of perception and unintended relationships may be realized. By using all elements of the original photograph, the composition develops a level of honesty or authenticity. The choice cannot be made to only use elements which easily or obviously relate. With the inclusion of all elements, the less obvious connections arise. The development of the finished piece is out of the control of the composer and is a direct correlation to what existed previously and is being reused. Composition e is a direct manifestation of the idea of part to whole. This collage developed at the scale of each single element and finding those unique relational moments. However, once all of the original photographs were used, and the space between filled, a new perception was realized of the whole. There was not an intention for what the whole would be perceived as before it was completed, but it can be perceived as a large dark mass covering lighter gradients of space with moments of opening to reveal that lighter gradient. This perception of the whole is the phenomenon of gestalt. Gestalt: a functional unit with properties not derivable by the summation of its parts The orientation of each element continues to be a significant character of the overall perception of connectedness and composed elements. Similar orientation gives directionality of moments and progresses the work in a generative manner. This directionality, or repetition of elements lends to a relational character. The nearness of two objects has the ability to generate strength in composition, even without physical connection, the otherwise would not exist. Having defined the types of individual connections that are made between elements (gradient, orientation, proximity and composition) the composition can be analyzed both on a holistic scale and on an elemental scale. Without shifting between scales, the effect of compositional decisions that are made in process are not understood completely. Each decision changes the overall set of relationships as the whole is produced. Perceptible form is generated through overlaying of elements of similar gradient in particular regions of the overall composition. These forms develop based on a contrast between dark and light elements, as is the case in composition g. The development of form also means the development of space: a spatial composition to be read with depth. Similar gradients, even at varying proximities, read as the same depth, surrounding, supporting, and bringing definition to the larger masses and generating a hierarchy of perception with foreground, middle ground and background.
composition f
composition a: detail
composition e: detail
Masses of connected elements are given definition and supported by elements of contrast. This gives spatial quality of foreground, middle ground, and background - ultimately leading to depth in the composition. The give and take of contrasting gradient over the composition transforms a series of two-dimensional connections and relationships into a construct with a perceived three-dimensional perspective of space. Although the third dimension is physically lacking, the photo-collage can be used as a reference for generating an actual three-dimensional form. This is achieved either through generating in three dimensions what is actually perceived in the collage, or using the process of collage to create a three-dimensional construct.
PART III the development
composition h: black and white photograph, one copy cut and attached to chipboard
findings: the intention of organizing gradient from light to dark recomposes these photographic elements the composition is not completely free from discernible content, although the arrangement of elements begins to question the expected spatial relationships and tests new perceptions of depth connections in orientation, gradient and proximity operate separately but simultaneously, clearly defining enduring qualities of composition the ordering system of orthogonal cuts is broken, a decision not made arbitrarily, but as a reaction to factors present in the original photograph, The breaking of the rule does not create chaos, but builds upon the existing character, strengthening the relationship of elements and understanding collage as a tool on connection in a new way
composition i: black and white photograph, one copy cut and attached to chipboard
findings: the cuts are made orthogonally, but existing directional elements of the photograph determine connections without regard for the orientation of the fragmented photograph gradient also becomes fragmented and disconnected through this technique of collage; the primary source of connection becomes those directional elements all of the found characteristics of connection do not exist simultaneously or in the same capacity; a composition is generated as a series of incongruent connections the relationships between the connections preserve a holistic arrangement even if the composition contains moments of disconnected elements
composition j: black and white photograph, one copy cut and attached to chipboard overlaid fragments of same photograph, xylol ink transfer
findings: with the introduction of transparency, adjacent overlapping components can exist simultaneously, strengthening relationships the border between elements becomes blurred and the characteristics of connection interact with greater synchrony the level of transparency determines perception of elements with more or less definition and brings particular elements to depths of focus that may not otherwise be seen
development explained The development of form also means the development of space: a spatial composition to be read with depth. Similar gradients, even at varying proximities, read as the same depth, surrounding, supporting, and bringing definition to the larger masses. Perceptible form is generated through overlaying of elements of similar gradient. With the introduction of transparency, the boundary between elements is blurred. Two elements can exist in contact with one another and relate without distinct division based on gradient. As gradient takes a secondary position in the composing of elements, other characteristics arise as the primary means of connection, such as the directional character found in composition j. Connections in orientation, gradient, and proximity can operate simultaneously at different degrees within a composition, but not all characteristics must exist at the same moment. Therefore, the composition becomes a series of incongruent connections, forming and disappearing as subsequent elements are composed. An incongruent set of connections does not mean disconnection or incompleteness. The relationships between and among the differing methods of connection preserve the whole and once again transform the arrangement into a construct with perceivable form and space. When the ordering system of orthogonal cuts is broken, the breaking of the rule does not necessarily create chaos. Opportunities are created for stronger relationships that would not exist within the order, and the connection of elements can be analyzed in a new way. However, the decision to break from the ordering principles should not be made arbitrarily, but instead as a reaction to factors present in what is existing. The existing elements here being the photograph. As in the case of composition i and composition j, characteristics of elements from the original photographs did not always align with the ordering of the orthogonal collage. By breaking this principle, the inherent character began to play a greater role in the development. Understanding the importance of existing conditions as well as the way in which multiple characteristics of connection can relate and interact within a composition results in a stronger and more significant whole, no matter the situation.
The inherent character plays an important role in the development of composition. Understanding the importance of existing conditions as well as the way in which multiple characteristics of connection can relate and interact within a composition results in a stronger and more significant whole, no matter the situation.
PART IV the situation
composition k: black and white photograph, two copies, 11�x17� cut and attached to chipboard
In the same way that this architectural thesis exploration began, photographs were taken. This time, a site was chosen and it was documented through photography. The photographs acted as a new, more specific tool in the translation of photo collage composition into the development of architectural form. The composed photographs of the site were manipulated in the same way as previous explored in photo collage. Working with photos taken on the chosen site offered the opportunity to focus in on details of the site which may have previously been overlooked. This process also helped to bound the site into an area for composition to occur.
site: Lee Hall Train Depot Newport News, Virginia
The chosen site was bounded based on characteristic moments noticed during photographing. Moments specific to the site included the concrete slab on which the Lee Hall Train depot once sat opposite the tracks from its current location, the branching off of a sevice track near the current site, the nearby intersection of a local road and the tracks, as well as the location of trees on site. These moments provided the opportunity to begin re-activating the site using elements from the existing train depot much in the way that elements from the original photographs produced a new composition.
site development: process of site bounding
A literal translation of the photo collage to three-dimensional form simply adds a third dimension. Composed space and the effect of shadow is understood through an attempt to physically model composition h There is a direct translation of the findings in depth and spatial development that occurred in the photo collages, allowing composition to become established with a third dimension The bounding of site, along with what explorations in modeling collage begin the exploration of architecture as a composing and claiming of site through connections
physical model of composition h chipboard (.080” and .125” thickness) and glue
Much like the original photograph which is subsequently manipulated, this site offers an empty train depot which can be utilized in the process of strengthening situational relationships.
axonometric drawing, existing train depot pencil on bristol, smooth surface
The recomposition of contextual elements allows the opportunity for better relational quality that did not previously exist, activating the site and bringing focus to moments of composition. Although the content has not changed, our understanding of it as a whole has. The site can now be read holistically, although each individual connection is specific to that moment of connection.
The physical manifestation of form on the chosen site is a series of incongruent connections, stemming from moments of intrigue that were found through photography. Architecture connects these moments through orientation of elements, the physical contact of material, proximity of similar spatial features, and the compositional whole that evolves.
physical model, chipboard + matteboard composition of architectural elements interact across train tracks
The scale of connections provides a system for the development of the holistic composition. Beginning at larger scales, the site is bounded by important moments with the intent of connection. Focusing more closely, relationships of form based on enduring compositional techniques create gestural moments, supporting the claiming of a site as one whole. The physical elements that come together enable these moments of relationship to develop another scale of connection. The shifts between scale in the composing process is important in understanding the effect each decision has on the greater whole.
The breaking of an orthogonal ordering system should be based on a reaction to factors present in what is existing. In photo collage, the original photo dictates the conscious choice to make non-orthogonal cuts. The same conditions occur when analyzing a site. At the Lee Hall Train Depot in Newport News, Virginia, the site is predominantly parallel and orthogonal. However, the moment when the two roads converge and one road intersects the train tracks, the site offers a condition to break the ordering system and create a stronger relationship to the situation that would not exist within the order.
exploded axonometric pencil on bristol, smooth surface
Beyond the relationships that closely relate to eachother, connections can still exist. The question of proximity again arises. Outside immediate proximity, elements find connection through reference to form and also the visual sight lines that are offered at specific moments of experience. By realizing these moments, connections are strengthened and the whole is understood through the many elements which formed it. The composition of elements, the architecture, claims the site.
Without first breaking the existing relationships of a composed photograph, the formation of new connections is severely limited. This is not to say the separated elements will not find the opportunity to rejoin in a similar fashion, but such elements, standing alone, have the possibility of finding a stronger context within the overall composition. “...the visual experience is a composite of shifting views focused by interest and inflected by concept and memory. Sensations of depth and movement are intrinsic to eyesight...� (David Hockney A Retrospective, 56).
PART V appendix
photograph 1 blacksburg, virginia
photograph 3 blacksburg, virginia
photograph 2 blacksburg, virginia
photograph 4 blacksburg, virginia
photograph 5 richmond, virginia
photograph 6 blacksburg, virginia
photograph 7 blacksburg, virginia
photograph 8 blacksburg, virginia
photograph 9 blacksburg, virginia
photograph 10 blacksburg, virginia
photograph 11 newport news, virginia
photograph 12 newport news, virginia
photograph 13 newport news, virginia
photograph 14 richmond, virginia
Special thanks to the following for guidance in completing this thesis Paola Zellner-Bassett, Primary Thesis Advisor Faculty of the School of Architecture + Design Virginia Tech
Daniel Clark Murrow School of Architecture + Design Virginia Tech, 2014