CONTEMPLATING THE UNMEASURABLE: Designing depth into darkness through fractures of light
CONTEMPL AT I N G T H E U N M E A S U R A B L E : D e s i gni ng d epth into darkness through fractures of light
Chair: Bradley Walters C o - C h a i r : M a r ti n Gu n d e r se n U F| So A Master of Architecture Spring 2011 Ga i l M i l a n o
To m y p a r e nts: Yo u a l w a y s said I would thank you someday.........................
Thank You.
Volume #1
[6 ]
Volume #2
Volume #3
Identity of the Conical form
Introductory work and Writings
INTRODUCTION
Origins of the Conical Form
Precedent investigations
08 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Contemplating the Unmeasureable
Light as Object 10-15. . . . . . . . . . . . . . . . . . . . . . . .
Light as the Byproduct
16-25 . . . . . . . . . . . . . . . . . . . . . . . .
Light Cloud
26-39 . . . . . . . . . . . . . . . . . . . . . . . .
Structure of Light
40-43 . . . . . . . . . . . . . . . . . . . . . . . .
The Mechanism of Light
light as Catalyst 48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Letting go of the Object
52 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fracturing Light
56 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
From Light to Depth
88. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
[s]Light Regression
Let as Speculation 92 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Neutral Ground
98 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Speculating Documents
104 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Revisiting the Object
109 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bibliography
[7 ]
“ My leader and I entered by that hidden road, to return into the bright world” and without care to h a v e a n y r e p o s e , w e m o u n t e d up, he first and I second, so far th a t t h r o u g h a r o u n d o p e n i n g I saw some of the beautiful things w h i c h H e a v e n ba r e s , a n d t h e n c e we issued forth again to see the s t a r s .”
- Da n te
D a n t e ’s I n f e r n o
INTRODUCTION:
order to sort through these questions, the
This research project is the intuitive
decision is made to develop a process that
exploration and retrospective understanding
does not work counter to the understanding
of the methods and significance of designing
of light. That is, working in a way that does
with light. Like noted by Dante, it is not
not assume the end, the success, or the
merely the design of light, but the distilling of
outcome of the process. The project morphs
light in design and in the process of design
into an exploration that in its totality is truer
into its most basic roles that it is important.
to the initial goals of the project, than any
It is focused on the duration of exploration,
one phase looked at individually. There is
not only the information which is learned.
no final proposal in this research project, or
Through this exploration, the role of light
any one particular section that is intended
is explored in varying roles. It moves from
to weigh more than the others. All three
study as an object, onto study as a catalyst,
sections are to be considered not in a
and then into study as speculation. The
particular order, though presented as such,
struggle of the exploration reveals the
but in relationship to each other. Dante’s
tendencies that emerge when designing
journey into the inferno stands as a muse
with light.
to the research as his journey parallels the process of exploring light. As Dante must
What is the controlling force when designing
descend into the Inferno to later understand
with light? Is it light itself, or is it the form
paradise, so too does this project delve deep
that bears the light? These questions bring
into the darkness of images to understand
forward a conflict of methodologies where
the roles of light in design.
the limitations of knowing light are juxtaposed [8 ]
with the ambiguities of speculating light. In
Gravity in Light- Gail
[9 ]
Byproduct: A sought after result that once achieved deviates from the original subject and becomes secondary in nature
[10]
Light as the Object
A Study of Light as a Byproduct of form
[11]
THE BYPRODUCT IS LIGHT DEFINE ATMOSPHERE: An atmosphere is a light condition that is a product of form. Atmospheres are visual, not physical. They are linked with passage of time and specific to the articulations and dimensions of the origin form. The development of an atmosphere can be related to the process of glass blowing using molds. A mother mold, similar to the initial conical form, is created. Articulations of depth create the surfaces of the initial form. An amount of molten glass is placed within the form and air slowly blown to expand and push the substance. When completely blown, the result is a form born of the mold, but is not the mold itself. The form is acknowledged, but is not the focus of the process. James Turrell speaks about atmospheres when describing his installation of sky spaces. These pieces deal with the juncture between inside space and outside space by eliminating the idea of the horizon line and amplifying the contrasts between the two lighting conditions. By offering more lighting or less lighting to a given atmosphere, Turrell controls the way in, which the exterior space, its color, and its tone, are perceived. In this case, an atmosphere is a condition to be looked through to its space of contrast1.
12
1.Turrell, James, Barbara Haskell, and Melinda Wortz. 1980. James Turrell, light and space: an exhibition. New York: Whitney Museum of American Art. pg10
Atmospheres are visual, not physical.
They are linked with passage of time and speci!c to the articulations of the form of origin.
[13]
THE BYPRODUCT IS LIGHT ON SPHERES: Robert Evans makes a clear distinction between spheres and circles in geometry, and spheres and circles in design. On their own within the realm of geometry, spheres are objects examined individually. Conversely, within architectural design they act as a media. As media circles and spheres posses a specific unchanging identity.1 While singularly unchanging, circles and spheres become dynamically reactive when merged with other external factors. Despite their simplicity of elements, the spheres and circles and all of their affiliates are, in comparison to other geometries, intricate and unpredictable. Spheres and circles involve two elements, the center and the periphery.2 This center, being invisible gives these forms the illusive characteristic of being present and not present simultaneously. While this center is rarely seen, it maintains its role as the organizing factor of the form from which every point along the surface of the sphere, and ever point along the periphery of circle maintains equal distance. In moving specifically into the threedimensional form of the sphere, the structural qualities of the form emerge. In examining the spherical and cylindrical forms, the self-sustaining properties of emerge. These forms become categorized as domes and vaults allowing the forces to move along the surface and through the material. This reveals another illusive 3
characteristic of the conical form where the form itself defines its visible weight.
[14]
1. Evans, Robin. 1995. The projective cast: architecture and its three geometries. Cambridge, Mass: MIT Press. Pg. 37 2. ibid. Pg 39 3. Moussavi, Fashid. The Function of Ornament. Barcelona: Actar, 2009. P 235
INVISIBLE
CENTERS:
SPHERICAL
DISTORTION As the conical form transforms, so too does the placement and the existence of its center. This center is crucial to the structuralism of the form, but as Derrida points out, there is an ambiguity to this concept of the invisible center. No longer a focal point an axis emerges as the new center driving through the form. The more elongated the conical form the deeper this central axis becomes. Each point along the line is associated with the planar circular section that creates the conical form.1 As the spherical form transforms and vertically elongates itself, it transitions into the conical form. With this conical form, there is an emphasis on directionality and movement. Spherical forms are not conical and conical forms are not spherical. The spherical form holds the origins of the conical form. The center point of the spherical form becomes the central axis of the conical form and establishes the path between upper and lower portions of the conical form, or between the upper conical form and its lower secondary structure.
1. Derrida, Jacques. 1978. Writing and difference. Chicago: University of Chicago Press.
[15]
LIGHT CLOUD: THE CHAPEL OF THE SHROUD GUARINO GUARINI Commenced in 1665 by Guarino Guarini,
the Trinitarian theme of the chapel.4 The
the Chapel of San Sidone stands as a
equilateral triangle form is invisible and
geometric insertion within the Cathedral
does not reside in a physical definition. In
of San Giovani in Turin Italy. Though
studying the plan of the chapel the triangular
Guarani’s plans for itinerary within the
form emerges as the organizing structure
chapel were thoughtfully choreographed
in both plan and section.
with the geometry and form of the
of means of egress from the chapel form
chapel, there is little indication of the
the points of a implicit triangle in the plan.
correspondence
larger
Upon examination of the section, the drum
1
context
between
including
immediate
and cupola’s composition falls in form with
cathedral. From the street view of the
an equilateral triangle. Referring back to
cathedral, the possible view of the chapel
perspective techniques utilized by Guarini
was limited to one that displayed only a
to adjust individual experience, the lantern
portion of the dome. In this way, Gurarini
serves as the vanishing point for in the
designs the chapel favoring the interior
one point perspective when an occupant
and the experience within. As a polymath,
observes the dome from the base of the
Guarini’s abilities fell within the realm
ground level of the chapel. This vanishing
of not only architecture, but physics,
point becomes highlighted through additional
engineering, astronomy, theology and
viewing techniques employed by Guarini to
philosophy.
contemporaries
pull the line of side upwards into the space
did not consider architecture to be one
of the dome and into the atmosphere created
of the stronger facets of his range of
as light penetrates through.
knowledge.
Guarini’s
the
the
Three points
2
In order to view into the dome, a line of sight While the proposed design for the chapel
passes into the pendentive zone. Normally
addressed
difficulties
the pendentive zone serves as a space of
presented, the geometries present in the
the
structural
transition from a square shaped lower zone
design had intentionality with respect
to a circular cupola. When there is no square
to the human psyche and experience.
lower zone, like in the plan of the chapel, the
Through the manipulation of geometries,
pendentive zone has no purpose.5Instead
structurally explicit and subtly ornamental,
of the traditional use of the pendentive
and baroque perspective devices Guarini
zone Guarini, utilizes the interior form of the
was able to create controls perception.3
space to deploy one of several perspectival methods for controlling view. Along the
[16]
The strong use of the circular form is visually
surface of the pendentive zone, Savoy
apparent in both the section and plan of
crosses are arrayed. These crosses diminish
the chapel. More subtly integrated is the
in size as they move upward appearing as
organizing triangular geometry attributed to
if they disappear underneath the edges of
1. Scott, John Beldon. 2003. Architecture for the shroud: relic and ritual in Turin. Chicago: University of Chicago Press. 110 2ibid. 120 3. ibid 123
4. ibid 140 5. ibid. 128 6. Norberg-Schulz, Christian. 2003. Baroque architecture. Milano: Electa Architecture. Pg 136 7. ibid. Pg 136 8. ibid Pg. 136
the view port of the dome, draws the eye upward to the lantern.
6
8
7
The lantern reveals the atmosphere Guarini’s atmosphere crowned in ornate geometries.
above: viewing sequence within chapel of the shroud.
[17]
the window. As their edges move outwards, the edges adjust to align with the vanishing points of the oculus.1 Within the pendentive zone, the patterns of Savoy crosses and stars work to create the perceptual illusion of an elastic space. John Beldon Scott characterizes the movement of the pendentive zone saying “it expand(s) visually the interior of the chapel as though that space were pressurized by the power of the relic pushing outward to infinity.�10 In the composition of the larger chapel the pendentive zones placement and presence is practical. The height that the pendentive zone contributes to the structure, but more importantly allowed for needed light to enter the space without interfering with the shroud display. The dome is elevated to protrude from the cathedral and surpass its surroundings to allow for ample amounts of light to enter the dome. The dome consists of a six bay drum where the most unique use of geometry occurs. This geometry transitions for the triadic theme of the pendentive zone into the hexagonal configurations above. As view passes from the pendentive zone into the cupola, the repeated rotating hexagonal geometries exaggerate the perspectival diminishing of the forms as they move upward into space. This movement upward appears even more vertical than the actual physical extension of the dome.11
[18]
1. Scott, John Beldon. 2003. Architecture for the shroud: relic and ritual in Turin. Chicago: University of Chicago Press. 128 10. ibid. Pg 128 11. ibid Pg 128 12. Norberg-Schulz, Christian. 2003. Baroque architecture. Milano: Electa Architecture. Pg 136 13. ibid Pg 136
Plan of Chapel exposing the underlying geometries present in a horizontal
12
13
section demonstrating the vertical composition of Geometries.
[19]
LIGHT CLOUD: THE CHAPEL OF THE SHROUD GUARINO GUARINI “ Architecture, as a discipline that uses measurements in all its operations, depends on geometry” 1 Guarini uses simple geometries to arrive at complex forms. His drawings are careful to present the inherent geometries clearly within the larger complex form. Through line weight and extraneous lines, Guarini’s drawings manage to be specific and
While the dome itself is not actually rotating or moving like the objects drawn in Albers school of teaching, the dome carries the same dynamic quality that separates itself from domes with only an oculus. 4
ambiguous at the same time. There is clarity in the geometry that is true to the buildings physics, but there is a speculation about the larger form that speaks more about the experiential way in which the geometries operate. Guarini’s drawings operate in the spirit of his predecessor Leon Battista Alberti.2 Alberti’s writings identify the lines as a means of identifying the organization and intention of the form of a building. A successor of Guarini Joseph Albers explored the idea of lineaments as a means of understanding a form, to understand what it could or might do, the skeleton and its movements. Within his drawings Guarini captures this past and present understanding of lineaments. In his plan diagram of the dome of the Chapel, it is understood where the controlling boundaries of the form lie. It is also clear that the forms utilized are of a hexagonal shape, and have a certain number to them. Ambiguity of the drawing arises from the uncertainty in connection between the forms as they move into each other. Instead, the style in which they are drawn and rotated suggests a type of predicted movement taught by Alber’s.3 1 Scott, John Beldon. 2003. Architecture for the shroud: relic and ritual in Turin. Chicago: University of Chicago Press. Pg 128
[20]
2 ibid Pg 139 3 Horowitz, Frederick A., and Brenda Danilowitz. 2006. Josef Albers: to open eyes : the Bauhaus, Black Mountain College, and Yale. London: Phaidon.
4 Scott, John Beldon. 2003. Architecture for the shroud: relic and ritual in Turin. Chicago: University of Chicago Press. Pg 139
Right: Exploratory drawings of the geometries within Guarino Guarini’s methods of extracting the lines of a building. Through this method, the whole volume can be understood through the sum of the statement of lines
[21]
CASTING SEARCHING LINES Drawings
exploring
different
scales
and geometries held within the Guarino Guarini’s Chapel of the Shroud. Each drawing is a composite of various layers information extracted from the more precise documents of plan and sections.
[22]
Finding through circular geometry
Finding through triangular geometry
[23]
LIGHT CLOUD: SHROUD’S LIGHT By perforating the dome, the structural load is reduced without compromising any of its structural integrity. The lightness of the dome allows for the bays to reach greater heights than would be allowed without the perforated nature1 While the physical height achieved is greater than other domes of the time, this physical measurement is still lacking in comparison to the depth achieved through Guarini’s many perspectival techniques. As stated in his statements about design Guarini wanted to created an architecture that pleased the senses. With the perforations in place, the themes of the dome became more than structural. Light entered from each of the arch like perforations solving the second issue of lighting within the chapel. Each opening flooded its bay with light. These bays cumulatively provided light to satisfy the entire space of the chapel without compromising the relic2.
[24]
1Scott, John Beldon. 2003. Architecture for the shroud: relic and ritual in Turin. Chicago: University of Chicago Press. Pg 137 2 ibid. Pg 138 3. Lobell, John, and Louis I. Kahn. 1979. Between silence and light: spirit in the architecture of Louis I. Kahn. Boulder:Pg. 99
“ Khan called light ‘the giver of all presences’, and believed that the mass and the structure of architecture‘ was made to cast a shadow, and the shadow belongs to the light’ Thus for Kahn, the counterpoint of structure and mass is light and shadow.”3 - Robert Mccarter
[25]
STRUCTURE OF LIGHT
Kimbell Museum Ft Worth Texas Louis Kahn 1972
[26]
[27]
STRUCTURE OF LIGHT
“A great american poet once asked the architect......”
“ What slice of the sun does your building have?”
[28]
“What Light enters your room?”
“-As if to say the sun never Knew how great it was until it struck the side of a building.”
- Louis Khan Light is the theme
[29]
STRUCTURE OF LIGHT COLORS OF KIMBELL Newton discovered that light generates
like good friends and their conversation is
color; Joseph Albers characterizes color
very charming.”3
as passive, deceptive, and unstable but to some extent predictable.1 If color is of this nature, then light too maintains the allusive deceptive characteristics. These discoveries prompted the objective scientific study of color. Johann Wolfgang von Goethe conducted a sixteen year color study confirming the allusive nature of color and volatile nature when introduced to multiple circumstances. In his studies Goethe referenced the idea of simultaneous contrast. Simultaneous contrast describes the tendencies of colors to heighten the vibrancy or brightness of their compliments when placed adjacent to each other.2 Also, when a color is placed adjacent to another color, it will pull that color more towards the tendencies of its compliment. When green is placed next to purple, the purple will appear “redder”. The color brought forth through light is capable of a dialogue with its environment including
adjacent
colors.
Through
simultaneous contrast, the conversation between a color and its environment can lead to a hierarchy in which the color becomes primary and a point of interest or becomes tertiary and part of the background. However, there exists another relationship between colors in which they were harmoniously to promote a united purpose. Albers best describes this relationship by saying “look! The color orange is at the door and says to the yellow, “You go first.” But the yellow is also polite and says “ no you go first” they are
[30]
1 Horowitz, Frederick A., and Brenda Danilowitz. 2006. Josef Albers: to open eyes : the Bauhaus, Black Mountain College, and Yale. London: Phaidon. Pg195 2 ibid. Pg 165
3 ibid. Pg 199 4 ibid. Pg 163
“This fact makes color the most relative medium in art. In order to use color effectively it is necessary to recognize that color deceives continually.�4
[31]
STRUCTURE OF LIGHT ARRAYS OF LIGHT AND TIME
Despite what the structure of the Kimbell Museum might reveal about itself. Kahn offers an array of forms that provide multivalient light conditions. As the day passes, it can be seen as one vault changes. The vaults become iterations of themselves. As one vault receives a certain type of light, another enters into darkness. Not soon after, the darkness befalls the rest of the vaults. Each of the vaults knows the activity of its companions as they all act as permutations of one condition. A silver vault becomes a blue vault, which soon will blacken, and find itself back in the whiteness of light.
[32]
5 Holl, Steven. 2000. Parallax. Basel: Birkh채user-Publishers for Architecture.
Dec. 4 noon Museum Opens
1 Hour later......
2 Hours later.....
30 Minutes Later.........
30 Minutes Later.........
30 Minutes Later.........
30 Minutes Later.........
4:30 P.m. Half an hour before museum closing.
“Composure and seduction: the way architecture involves movement. Architecture is a spatial art, as people always say. But architecture is also a temporal art. My experience is not limited to a single second�5 - Steven Holl Parallax
[33]
STRUCTURE OF LIGHT TIME LIGHT and EXPERIENCE Light is the measure of space and time. It cannot be talked about as its own singular architectural idea because it lies on the concept of form for direction. Form exists within the mind. It is something imagined and conjured. It does not cast shadow without the presence of matter. The two exist in symbiotic relationship creating the visible and the tangible. This perception is magnified when matter is specified, as material. Memory is the means by which we build sets of knowledge. It is key to our understanding of place and purpose. If knowing is based off of a set of memories, and memories are specific to each individual then knowing is specific to each individual. As these factors rely on each other to create an individual knowing and understanding specific to certain instances, so too can these qualities be extracted to create an architectural experience out of memory.
[34]
“The vault, rising note high, not in an august matter, but somehow appropriate to the size of the individual”
“and its feeling of being home and safe came to mind.”
- Louis Khan the theme is light
[35]
STRUCTURE OF LIGHT ARRAYS OF LIGHT AND REPEATING ATMOSPHERES
[36]
[37]
STRUCTURE OF LIGHT MEASURING THE UNMEASURABLE Below are a series of sketches done on site
Conversely,
at the Kimbell Museum. Each was taken
pronounced edges talk about a definitive
at a different point in the day and from a
volume which when activated hovers
different point within the building. There
quite effectively over the museum guests
were no parameters for the rendering
heads. To the right of these images lie the
techniques chosen, but the images
post rationalized measured drawings of
reflect the occupational impressions at
the Kimbell Museum. Void of any luminous
the time. For instance, singular cycloids
information the drawings merely make an
with extensions speak about a light and
attempt to define the occupiable vessels
contrast at certain times in the day where
for light rather than define what or how
all activity seems irrelevant in comparison
they operate
to the activity surrounding the individual.
[38]
sketches
with
more
[39]
MAKING THE MACHINE A PROCESS TO FORM The necessity of the actual mechanism
variations of its geometry contrasting each
arises from the chosen medium for
other, one narrow and another wide. The
modeling. Narrower forms are constructed of
assembly of each mechanism is repeated
1/16� basswood planks of varying width and
with every new form created.
wider forms created out of 1/8� thickness. The material interest is the result of trial and
In order for the wood to become bent, the
error experimentation with numerous types
wood must be soaked prior two bending then
of materials. Each of the previous studies
clamped and bent around the form. After the
explored the light component and the formal
forms have set for at least 4 hours, they are
component of each of the designs. In order
released and the process is repeated. This
to further study light and the relationship
mechanism allows for the rapid duplication
between conic forms, careful study into
of an exact form for the process of modeling
the origin of particular geometries was
light.
conducted. These geometries were three out of four of the conic sections, the circle, the ellipse and the hyperbole. Identifying the relationship between the geometries was integral in the design of the mechanism. The mechanisms consist of four primary elements: - base - geometry wheel - lever - clamps Of these elements the most important is the geometry wheel. This wheel is specific to each geometry with articulations that are integral to the formation of the geometry. Four clamp holes are located on each wheel. These holes are strategically placed in relation to the center lines of each geometry. In the study of the designated geometries, the foci of each become the manipulating factor in adjusting their width and height characteristics. The location of the clamp points is the physical marking of the invisible manipulation by foci to the original form. [40]
Each wheel should be able to produce two
Assemble geometric wheel to lever and fasten to base
screw points coincide with the foci points of the given geometries 2 hours- 2 days before soak wood completely in water
2 minutes later: Clamp # 1
Handle supplies leverage for bending wood against form
metal washers evenly distribute pressure
Clamp #2: drying time 4- 5 hours
3 different variations of form- 2 copies of each- staggered drying for production
Mechanism Form Light REFLECTING ON THE EXPERIMENT
In precedent study, there were two paths of
by the mechanism. More accurately these
investigation, that of the formal geometric
pieces were geometric extrusions. Because
qualities of the buildings, and those of
of the nature of extrusions, the light condition
the light qualities of the building. In doing
lacked the three dimensionality of complex
these studies, there was a questioning
light condition produced in precedent.
nature to each document produced. When the mechanism emerged, it emerged as a
While this experiment in light diverged from
result of geometry study and was no longer
the path of studying light as a primary subject
concerned with the investigation of light.
of interest, it has great significance in that it is responsible for the parti for the remainder
After producing numerous copies of the
of the research. By attempting to control light
same form, they were combined and
solely through the form is designing counter
assembled to operate as light models.
to the idea of light. In this respect, the
The episode to the left displays varying
analysis of precedents falls into a framework
forms in different conditions of light. In this
of decision making. In speaking on the
moment, different forms are intersected in
significance and detriment of knowledge,
an attempt to arrive at a more complex light
Louis Khan expresses “if you are crowded
condition. These images are the “proof” of
with that which does not belong to you, you
the light experiment of these forms derived
will forget it: It will never be with you, you will
from a process that assumed knowing the
lose the sense of your worth.”2 To partake in
product of light, the answer. In doing so,
the knowledge of the Kimbell museum and
light became the byproduct of form rather
the Chapel of the shroud, and not replicate
than the focus of study. Khan writes about
the knowledge of the precedents is the path
the limitations of knowing prior to exploration
to learning. This leads to the proposition of
when referencing his Kimbell museum “when
developing a process for learning of light.
you have all the answers about a building before you start building it, your answers are not true. The building gives you answers as it grows and becomes itself.”1 The issue with the mechanism, is that the process of making these forms proved more interesting than the forms themselves. By assuming the knowledge of the light, and the means to arriving at this light, the answer was provided before a viable question was proposed. The term “form” has been used vaguely throughout this phase of the project. In retrospect, form was not specific enough a term for the bent wood pieces produced
[42]
1 Kahn, Louis I., and Nell E. Johnson. 1975. Light is the theme: Louis I. Kahn and the Kimbell Art Museum : comments on architecture. Fort Worth, Tex: Kimbell Art Foundation.53
2 Lobell, John, and Louis I. Kahn. 1979. Between silence and light: spirit in the architecture of Louis I. Kahn. Boulder: Shambhala. pg 16
The Process to the mechanism,
The product of the mechanism: form/ conical extrusions
The biproduct of the mechanism is Light. By attempting to control light solely through the form is designing counter to the idea of light.
form was not speci!c enough a term for the bent wood pieces produced by the mechanism. More accurately these pieces were geometric extrusions. Because of the nature of extrusions, the light condition lacked the three dimensionality.
[43]
ARRAYS OF Speculative LIGHT
Though originally assembled linearly, The creation of these speculations is informed by Khan’s array of cycloids. They demonstrate the concept of varying conditions of the Same Geometry
[44]
By allowing the fragments to operate independently, it diminishes the understanding of the work as a linear creation. Each frame becomes a speculation in Itself without committing to an orientation or particular relationship with any of the other conditions.
[45]
CATALYST: An independent factor that is not consumed by the process but whose transformation is primary to the process.
[46]
Light as the SubJect
An exploration of light as a design catalyst
[47]
to the lineage of information that follows it.
LETTING GO OF THE OBJECT
The beauty of the found object is the lack The previous investigation of light provided
of information within the image. Because
results of a limited range. It left the
limited time was spent familiarizing with
exploration of light at a standstill. By fixating
the object, the entire process of examining
on the form that produced the light, the
these images is to not find the one answer to
possibilities of exploration implied that light
the light, nor process it as a constant stream
had to be studied in one way through one
of knowledge and facts from which to derive
method which led to one restrictive product.
an end. The goal instead is to explore and
To contrast this approach, and to refocus
exploit the uncertainties of the images
the exploration back to light, a mass found
to lead to the set of possibilities to move
object study was conducted. In this approach
foreword.
the images of light were more important than the actual form of the object from which they were born. One criticism of the previous phase was the answering of the question of light before actually proposing the question. With the found object study, a series of multi valiant images emerged as a pallet of information from which to study. The focus of this study is the light, and the movement within the light. While there are nuances of form sensed in the images, it is clear that the subject of interest is light. Found objects contain the variety of information and propose a variety of questions about the nature of light along different surfaces. In this moment of the research, the shift occurs most appropriately identified
by
Jun’ichiro Tanizaki, “ Such is our way of thinking- we find beauty not in the thing itself but in the patters of shadows, the light and the darkness, that one thing against another creates.”1 The objects ranged in materiality, size, color, texture, and location and numbers of apertures. After photographing each object, the objects were discarded and were no longer of significance, however not every image was carried forward and considered of significance to the exploration. Each of the images that moves through the process is considered a parent light image [48]
1 Tanizaki, Jun ichir!. 1977. In praise of shadows. New Haven, Conn: Leete’s Island Books. 21
[49]
OBJECTS OF LIGHT
[50]
[51]
FRACTURING LIGHT
[THE PROCESS OF TRANSFORMING LIGHT ARTIFACTS INTO CATALYSTS FOR DESIGN]
Fracturing light is the process by which
the direction of the source of light. but a
the light object is converted into a light
source of intense reflectivity. Within the
artifact. At this moment, the information
gradients of the image are other qualities
of the parent images of light have been
like the texture of light and the reflectivity
converted into catalyst that can be
of the light. This light information from the
speculated upon. In order to further
parent images prompted the investigation
separate light and the qualities of light
of the form origin leading to the discovery
from the object/form from which they
of parameters for light fractures. By
originate, the images themselves needed
isolating the relevant information and
to be dissected. Fracturing the images
adjusting the proximities of this information
is a means of focusing the exploration
in composition a new form is referenced.
of light onto certain qualities seen within
This form, is the speculation of light. It is
the images. Parameters for establishing
the allusion to form rather than a concrete
qualities of light were based around the
decision. It never undermines the quality
potential for achieving depth.
In most
of light within. Instead with its darkness
cases, this potential is only found in
(shadows) it provides a sense of mystery
a particular portions of the image. By
and depth.1
eliminating extraneous light information the
images
amplify
the
presence
of shadows the subtext to this light investigation. To create these fractures, the images where brought into a digital photo editor. Once converted into a black and white image, the process refocused on the extraction and separation of information based on the figure ground relationships within the images, but more importantly the gradients held within them. Converting the images to black and white assigned a new set of vocabulary to communicate the analysis of the images. The brightest portions of the images are the whitest portions of the images and the darkest portions of the images are the blackest. Through focusing on the distribution of gray scale gradient distribution including the purest whites and the darkest blacks, a sense of directionality emerged from the images providing an orientation. In some cases, this was not necessarily in [52]
1 Tanizaki, Jun ichir!. 1977. In praise of shadows. New Haven, Conn: Leete’s Island Books. 21 2 ibid. 21
“by cutting off the light from this empty space they imparted to the world of shadows that formed here a quality of mystery and depth superior to any wall painting or ornament.� 2 -
Junichiro Tanizaki
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ARTIFACTS OF LIGHT
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FROM LIGHT TO DEPTH [VISUALIZING LINEAGES]
Lineages of light are the direct comparisons
blurred relationships. In the fracturing phase
of the different stages of manipulation for
of the lineages, where the artifact emerged,
each light speculation. In retrospect the
the elimination of extraneous information
significance of each manipulation is its
provided
questioning nature. At the time of each
the relationships between very particular
manipulation the same sets of parameters
characteristics of the light within the
were considered as mentioned in previous
images. This manipulation focused on the
writings, but the majority of decisions were
implication of deep image with layers hinting
based on intuition. In transforming these
at the movement of light in a volumetric
images,
the intuitive knowledge learned
manner. With the development of the light
from the study of object light, precedent
speculations, the image was now beyond a
study, and creation of the artifact emerges.
point of suggesting depth.
particular
information
about
The images of speculative light hold the memory of the of the process from which
Through the analysis of the images, sets
it was born. These lineages, though the
of boundaries and edges were extracted
images themselves have omissions via
and superimposed over the artifact images.
the process, do not hide any information.
These markings were then used to erode
They investigate the relationship of part to
and further establish foreground planes of
part leaving current state as a memory of
reference for boundaries in three dimensions.
record of the process. As such is critical
In edges, there lies the difference between
to understand that each of these processes
the real edges and the transition edges.
achieved varying degrees of success and are
The real edges are of little interest to these
consistently more concerned with executing
speculative manipulations as they speak of
and learning from the process more than
the real concrete three dimensional form.
the resultant image. These new postulates
Transitional edges however, those that are
of light unlike their predecessors from the
seen in the speculations, are of a suggesting
first phase of this project are the synthesis
nature. They speak of the light and planes
multiple frames of intuitive reference rather
of reference turning away from view, again
than the statement of a singularity.
referring to a three dimensional volume that
1
is not yet specified.2 With the contrasts of The majority of the lineages operate around
the images, and the new bounding edges
three major events within the development
establishing boundaries of space, these
of the light speculation. First, the object
images are meant to suggest the ability of
light, then the creation of the light artifact
light to imply the large volume within which
followed by the light speculation. In the
the condition resides.
object phase of the lineages, light within any given image could have a weight towards
The significance of the speculations could be
a figure ground reading approaching the
easily questioned. If these images are only
flattening of the image, or an ambiguous
about the “what ifs� of light, then anything is
perception of depth where foreground,
possible, and how is that relevant to an actual
middle ground, and background all maintain
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1Kahn, Louis I., and Nell E. Johnson. 1975. Light is the theme: Louis I. Kahn and the Kimbell Art Museum : comments on architecture. Fort Worth, Tex: Kimbell Art Foundation. pg59
2 Horowitz, Frederick A., and Brenda Danilowitz. 2006. Josef Albers: to open eyes : the Bauhaus, Black Mountain College, and Yale. London: Phaidon. Pg 171
understanding of light? It is necessary to refer back to the method through which these speculations emerged, intuition. Despite the existing parameters for manipulation, these images were largely a result of intuition. Kahn justifies our idea of intuition by putting it in reference to knowledge. He states that knowledge is significant as a vehicle towards intuition. Without execution through intuition, knowledge remains something that is impersonal and retained, but never truly owned. 3 Kahn also mentions knowledge’s role in learning, forming the relationship of knowledge begets learning, and learning begets intuition. This intuition leads us to investigation in design. This moment is the meeting of intuition with making
It is
obvious that the lineages shown were not the result of intuition through making by hand. They have a pragmatic relationship with an intermediate medium that champions a process of rapid repetitive action.
“ your intuition is your most reliable sense...... Intuition not knowledge, but be considered your greatest gift.” 4 - Louis Kahn
3 4Lobell, John, and Louis I. Kahn. 1979. Between silence and light: spirit in the architecture of Louis I. Kahn. Boulder: Shambhala. pg 16
[57]
Lineage # 2 [Black matte vacuum crevice attachment]
Fracturing of the image focuses attention on the gradient light bands in the center of the image and the peripheral lower edge.
[58]
1 Lobell, John, and Louis I. Kahn. 1979. Between silence and light: spirit in the architecture of Louis I. Kahn. Boulder: Shambhala. pg 16
“ your intuition is your most reliable sense...... Intuition not knowledge, but be considered your greatest gift.�1 - Louis Kahn
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Lineage # 2 [Black matte vacuum crevice attachment]
Before.................................................................
Light qualities if interest: Gradient f igure ground relationships edge
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A linear structure has been superimposed in an attempt to further separate the speculation from its original parent image; however the structure cannot accomplish this task alone and is in need of further excavation
[61]
Lineage # 3 [Light gray PVC plumbing joint: cleanout T]
The beauty of the found object is the lack of information within the image. Because limited time was spent familiarizing with the object,
[62]
The entire process of examining these images is to not f nd the one answer to the light, nor process it as a constant stream of knowledge and facts from which to derive an end.
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Lineage # 4
Singularity...........................
Frame of reference.................................
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Postulate...........................
These new postulates of light unlike their predecessors from the !rst phase of this project are the synthesis multiple frames of intuitive reference rather than the statement of a singularity.
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Lineage # 5 [Black matte vacuum crevice attachment]
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Lineage # 6 [Black matte vacuum upholstery attachment]
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Lineage # 7 [Light gray PVC plumbing joint: cleanout T]
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The portion of Interest in this image are re"ected Light. By Preserving only these portions of the light Image, a new surrounding condition of darkness can be proposed. In order to achieve this, those reFlected light areas of interest are heightened and Exaggerated Thus Removing
the speculation even further from Its Image of Origin. IT is not about the exact light that to original image proposed, but the suggestion of the light’s presence that is important.
Above is the new sectional proposal for the dark canvas. In Extracting the Light from the Images it Is the dark space that Is actually designed. The composition of the darkspace around the light is the proposal for the design of darkness.
[71]
Lineage # 8 [Black matte plumbing elbow]
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Lineage # 9 [Black matte vacuum crevice attachment]
[74]
As Stated In Earlier commentary, Not all of the experimental processes yielded successful results. While the Transformation from Light Image to Light artifact was drastic, the new speculation was Unsuccessful.
The weakness of The Speculation arises from its lack of composition of darkness. Since a larger section of light was extracted from the original image, the darkness had the responsibility of holding and anchoring the image, which it does only partially.
[75]
Lineage # 10 [Light gray PVC plumbing joint: cleanout T]
[76]
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Lineage # 11 [Black matte vacuum crevice attachment]
“ it is much better not to cover anything up but to show the full nature and the relationship of part to part, including the present condition of each which is a record of how it got that way� -kahn light is the theme
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THESE TRANSFORMATIONS EMBODY THE PROCESS IN
OPPORTUNITY ARISES FOR THE OBJECT TO DROP AWAY AND THE
THEIR CREATION. EVERY EXCAVATION LEAVES SOME MARK
PROCESS OF UNKNOWING TO BEGIN. IT IS THROUGH THIS PROCESS OF
ON THE ARTIFACT THAT IT CHANGES. LIKE KAHN NOTES,
UNKNOWING THAT INNOVATION CAN EMERGE.
THESE LINEAGES ARE ABOUT THE RELATIONSHIP TO THE PART TO PART. IN MOMENTARILY DENYING THE WHOLE THE
[79]
Lineage # 12 [Black matte plumbing elbow]
[80]
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Lineage # 13 [Light gray PVC plumbing joint: cleanout T]
Light gray PVC plumbing joint: cleanout T
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[83]
Lineage # 14
As one of the more successful Lineages of the Process, The careful reduction of both Light and darkness is evident.
[84]
Where other lineages tend to favor either lightness or darkness, this lineage displays the integral relationship in using darkness to discover light, and likewise the white space of the image holding darkness.
“How would a painter or Poet express anything other than his encounter with the world�1 - Maurice Merleau- ponty
The clear indication of background middle ground and foreground through the interplay of the whites and blacks of the image, make for a successful spatial proposal, but the distillation of lightness and darkness from the original image is the most signi!cant Concept to acknowledge.
[85]
SPECULATIONS OF LIGHT
[86]
[S]LIGHT REGRESSION [BOUNDING LIGHT]
In reflecting on the second phase of this
these sections were necessary as a means
exploration, the final document finds itself
of solidifying the next phase of testing, the
regressing to the limiting conditions of
relationship of speculations.
form. The sections were initially created to transition forward into developing these speculations into forms; however, by creating these sections, and moving them into a decisive tectonic development, the process of speculating on light is under minded once again. The process transformed into a means to arrive at a product to lead to proof or answer or what has been referred to as the object light. The sections, while derived from the speculations of light, are void of the immeasurable. They are fixated on knowing. These sections carry with them the characteristics of Khan’s scientist from between silence and light. “The scientist has the unmeasurable qualities as man, but he holds his line and does not travel with the unmeasurable because he is interested with the knowing.”1 Through knowing there is an acceptance of knowledge and the end of speculation at the level of light. These sections are of the nature of the scientist. They are objective, and while the object itself may not be solidified its change and transformation seeds an exploration that is not focused on light.2 This regression does however act as a method for refocusing on the issues of light. By examining the results of the process, void of their dynamic light characteristics it does expose a new set of question in terms of tectonics. It is this constant debate between the poet and the scientist, the measurable and the unmeasurable that allows for the calibration of the research in this project. In its simplest sense, though a regression at first glance,
[88]
1. Lobell, John. Between Silence and Light. Boston: Shambhala, 1979.pg 13 2. ibid. pg 13
[89]
PARADIGM: a problem whose solution destroys the necessity of solving the problem
[90]
Light as the speculation
The pursuit of light as a design paradigm
[91]
NEUTRAL GROUND [DARKNESS AND THE PARADIGM OF LIGHT]
reluctance to dwell more than momentarily The catalyst phase developed each of the
is the strength of the paradigm; however, the
light artifacts into individual speculations.
paradigm can operate within a framework.
Each of the images existed in a bound frame
There is a moment in the process where a
of its own forming relationships with the
mediator is necessary for further progression
white or black foreground. The foreground
in understanding the relationships between
relationships are a result of the manipulation
light and darkness. The image may appear
and fracturing of artifacts. As individual
insufficient. Therefore the study of light in
frames, none of the speculations have any
external sources, such as literary allusions,
connections beyond origin to the original
and the search for juxtapositions within these
light object. With the spectrum of light
sources is critical to further questioning and
speculations present, the earlier precedents
learning.
now pose questions to the individual speculations. These light precedents begin to question the nature of the conditions within the speculations, not in terms of their tectonic structures or proposals, but of their relationship to each other. In summarizing the precedents Kahn’s Kimbell museum and Guarini’s Chapel of the shroud offer the juxtaposition of the horizontal array and the vertical singularity light conditions. The episode to the left proposes the combination of the two conditions offered by the precedents into one design experiment by uniting them with a neutral territory. The speculative composition combines the multiplicity of the arrays of Khan’s vaults with the individual verticality of Guarani’s dome. The neutral sheath of darkness becomes a canvas for upon which these speculations can begin to bleed into one another and break the boundaries not only of their bounding frame but also of those established through manipulation. It is within this neutral canvas of darkness, a necessity to build investigates these relations, where the future of these conditions will be questioned. Through the neutral ground, the light paradigm is preserved. The constant questioning of [92] the images provided by the research and the
[93]
FIGURE GROUND LIGHT AND DARKNESS STUDY To Explore the concept of a blanket of darkness or neutral ground, figure ground studies where conducted with charcoal media. Though not pursued further, the studies suggest the gradient that could image from embedding light vessels/speculations into the darkness. This gradient communicates information about possible relationships between the individual instances within the larger array.
[94]
[95]
COMPOSING SPECULATIONS The section below is the accumulation of all information and research from this thesis. It is the combination of light studies, tonal studies and the superimposition of finding, organizing lines. Suspended beyond is the suggestion of a neutral ground.
[96]
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SPECULATIVE DOCUMENTS [ VERSUS A FINAL PROPOSAL]
One of the main struggles of this research project
is
the
delineation
between
speculative light and the “real” light or object light. With object light, the designer runs the risk of limiting the design proposal by not simply knowing, but functioning under the assumption of knowing. In essence, these speculative documents and the process developed are ways of finding through making. The strength of these documents is their lack of “answer”. In a way they act like the light of James Turrell in that they possessive an illusive quality that references what is known and understood about light without committing to its means.1 When hard lines, real edges the edges of the form, and known figures are introduced into these images, a whole new set of questions are proposed about scale and tectonics that cannot be answered by the document. The following 2
episodes encompass the uncertainties of the succeeding documents whose speculations propose information about the relationships of individual speculations to each other. At the same moment, they put these dynamic suggestive compositions in contrast to a rigid set of known information. These suggestive documents find themselves at a crossroads between the movement to the next step of design where light meets its partner, form, and decisiveness.
1 Turrell, James, Barbara Haskell, and Melinda Wortz. 1980. James Turrell, light & space: an exhibition. New York:
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Whitney Museum of American Art. 2 Horowitz, Frederick A., and Brenda Danilowitz. 2006. Josef Albers: to open eyes : the Bauhaus, Black Mountain College, and Yale. London: Phaidon.
“ I like illusion when it is so convincing that we might see reality this way- I like to present our belief system with something that is convincing that we know not to be.1 [99] - james turrell
There is a point mediator is necessary for further progression in understanding the relationships between light and darkness. The image may appear insuf!cient; Questioning the scale and means of occupation are a methodology for furthering design and speculation
[100]
[101]
“ Deep shadows and darkness are essential, because they dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy� -Juhani Pallasma
[102]
[103]
REVISITING THE BEGINNING: [ THE SIGNIFICANCE OF THE OBJECT and THE CONTINUATION OF LIGHT DESIGN ]
Three major turning points identify the scope
Studying the unmeasurable, transformed into
of the exploration of this research project.
the study of evolutions of space depth and
The first is the understanding that light has
darkness through light. The unmeasurable
a variety of roles ranging from byproduct to
is a central component of architecture
catalyst. The second is that light at some
beyond the propositions of speculations.
point in the design process, cannot work
It is relevant on the fundamental level of
alone. If a design is to progress forward, the
understanding and reading volume but also
nuances of form that light exposes must turn
relevant on a more complex level within the
into tectonics. When tectonics are of concern,
larger field of architecture. In the field, light
the same amount of critical experimentation
should participate in the evolution of space
is necessary to the process. This research
before and after physical realization. Light is
has the intention of defining the roles and the
a critical character of any building. It is as
reasoning behind designing with light. What
necessary to the understanding of a building
resulted are series of speculations, which are
as a physical built framework or foundation
permutations of the same idea and concept.
is to building construction. Without it, no
They are a means of testing the potentials of
building can be complete. With it, the pieces
light on a visual and theoretical level.
of the whole are united in one volume.
To move beyond this point would move into
Light needs to be considered equally with
the tectonic where variations would take on
the different systems of construction when
a different nature than the unmeasurable
designing a building. So willingly do we
qualities of light and become the measured.
as designers make accommodations for
Moved past these series of testing, this
mechanical equipment and structure, and
process would return to its beginning from
yet we leave light to be an after thought
which an object of light would emerges.
of the form at hand. It is obvious that light
These objects of light would act as answers
cannot construct a building; however,
to the questions posed by documents similar
light can participate in making a building.
to the experiments to the left. To move
Pallasma gives us insightful information in
beyond this point destroys the purpose of
Images of Action into the understanding of
the exploration of light without boundary
architecture through images. He implies that
or expected result. Beyond the point of
there is a component of building that is about
speculation, the evolution of space ends, and
the architectural space, the lived space that
development and refinement of space begin.
transcends geometry and measurability.1
This transition is not without the resonance
Pallasma Buildings are more than their static
of speculations imbedded into the space.
pieces that appear in architectural images
Within these speculations are the memories
that suggest of action or function. Pallasma
and markings of intuition and design. They
They contain the sets of “interactions and
are integral.
interrelations� that create an understanding of space.2 Light and darkness for vehicles of this conversation of interactions and 1 Pallasmaa, Juhani. 2005. The eyes of the skin: architecture
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and the senses. Chichester: Wiley-Academy. Pg 63-64 2 Pallasmaa, Juhani. 2005. The eyes of the skin: architecture and the senses. Chichester: Wiley-Academy. Pg 63-64
interrelations where light and shadow ask more of our buildings than only their tectonics. ÂŹÂŹ
[105]
[106]
“A great building must begin with the unmeasurable, must go through measurable means when it is being designed and in the end must be unmeasurable.� -Louis kahn
[108]
AKNOWLEDGEMENTS: To Gundersen and Walters: For making every meeting full of laughs To my brothers and sister: I’m difficult. Thanks for loving me anyway. To Whitebread: For the paper trail that ties us together forever. To my peeps: You know who you are. You know I love you. Thanks To Larry: [1] For your patience. [2] For your understanding.
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REFERENCES Corner, James. 1999. Recovering landscape: essays in contemporary landscape architecture. New York: Princeton Architectural Press. Einstein, Albert. 1955. Sidelights on Relativity “ Experience and Geometry” http://www.gutenberg.org/ebooks/7333l (accessed NOV.15, 2010). Eisenman, Peter. 1999.Diagram Diaries. New York: Universe. Evans, Robin. 1995. The projective cast: architecture and its three geometries. Cambridge, Mass: MIT Press. Holl, Steven. 2000. Parallax. Basel: Birkhäuser-Publishers for Architecture. Horowitz, Frederick A., and Brenda Danilowitz. 2006. Josef Albers: to open eyes : the Bauhaus, Black Mountain College, and Yale. London: Phaidon. Kahn, Louis I., and Nell E. Johnson. 1975. Light is the theme: Louis I. Kahn and the Kimbell Art Museum : comments on architecture. Fort Worth, Tex: Kimbell Art Foundation. Lobell, John. Between Silence and Light. Boston: Shambhala, 1979. Norberg-Schulz, Christian. 2003. Baroque architecture. Milano: Electa Architecture. Moussavi, Fashid. The Function of Form. European Union: Actar and Harvard University Graduate School of Design, 2009. Pallasamaa, Juhani. 2006. Questions of Perception. Japan: a+u Publishing. Pallasmaa, Juhani. 2005. The eyes of the skin: architecture and the senses. Chichester: Wiley-Academy. Plummer, Henry. 1987. Poetics of light. T!ky!: " ando Y# Rasmussen, Steen. 1962. Experiencing Architecture. Cambridge: MIT Press. Ronner, Heinz, Sharad Jhaveri, and Alessandro Vasella. 1977. Louis I. Kahn: complete works, 1935-74. Boulder, Colo: Westview Press. Scott, John Beldon. 2003. Architecture for the shroud: relic and ritual in Turin. Chicago: University of Chicago
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Turrell, James, Barbara Haskell, and Melinda Wortz. 1980. James Turrell, light & space: an exhibition. New York: Whitney Museum of American Art. Tanizaki, Jun ichir!. 1977. In praise of shadows. New Haven, Conn: Leete’s Island Books. Ursprung, Philip. 2002. Herzog & de Meuron: natural history. Montréal: Canadian Centre for Architecture. Zumthor, Peter. 2006. Atmospheres: architectural environments, surrounding objects. Basel: Birkhäuser.
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