Choreographed Spaces

CHOREOGRAPHED SPACES

CHOREOGRAPHED SPACES An inquiry into the subject-observer relationship through a controlled assembly of spatial tectonics A Design Research Thesis

by Harleen Dhawan guided by Prof. Ratna Sutaria Shah

Undergraduate Interior Design Thesis Faculty of Design, CEPT University May 2020

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Abstract

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Modernism is conceptual, psychological and phenomenological concept, that, in the late 19th and early 20th centuries, saw notable characteristics of self-consciousness concerning social and artistic transformations, which led to conceptual experiments. These experiments challenged the ways we perceive the world around us, defying the existing limitations of singlular and static perception of the surroundings. This gave way to the creation of more profound and evocative works of art. This thesis aims to first understand the evolution of a subject-observer and creator relationship from the classical creations, that led to the modern experiments with perceiving visuals and spaces.The conception of movement and perception is introduced, which governs the essence in exploring the space-time relationship.

Modern architecture is appreciated by walking and observing, with its aspects gradually revealed by the manipulation of the observer’s frames of vision. The study leads to decipher the visual frames at multiple viewpoints, as the observer sequentially progresses through the spaces to perceive the overall image of the spatial relationships.

Keywords: Point of View, Orchestrated Movement, Spatial Configurations, Kinesthetics, Perception, Assembly

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Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text.

I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name & Code No: Harleen Dhawan UI1115 Signature of student:

Date: May 8, 2020

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Acknowledgments I would like to dedicate this thesis to my parents, who, with their incessant and unconditional love and support, believed in me through this journey of five years, providing me with utmost and constant boost of motivation for the thesis. I am especially indebted to them for their constant encouragement to help me finish this thesis with full sincerity, while in the unfavourable situation of being stuck in another city during the world pandemic.

I would also like to dedicate this particular subject of thesis to Alfred Hitchcock and Le Corbusier, and their works of art, which inspired not only my work but also helped in formulating and sensitizing me to the way I approached my design thinking in the past few years.

I would like to give my heartiest thanks to my guide, Mrs. Ratna Sutaria Shah, who, from being a studio faculty to being the guide for this thesis, has incessantly shown deep interest and involvement in the process of exploration of this topic. The long discussions with open ended explorations on meaning, essence and expression of an experiential quality of works, not limited to architecture, but paintings, cinema or any other form of expression, has been extremely helpful in channelizing my inherent curiousity of a meaningful design.

Her encouragement to let me get inspired from the learnings of any form of work, be it art, architecture or cinema, helped me to weave attributes of various forms of fields, and articulate their influence on each other.

I would also like to thank my dear friends - Siddharth Arya, Mohit Ahuja and Devika Kurup, all of different educational and cultural backgrounds, for providing me with long discussions and debates, opening me up to different point of views and perspectives, which through the journey shaped my way of thinking and processing ideas and thoughts.

Lastly, I would like to thank my guiding mentors throughout the five year course - Hamid Raj, Ruchi Mehta, Ruhee Gala, Errol Reubens, Ayaz Pathan, Zaid Pathan, Rajkumar, Manisha Basu, Niraj Shah, Payal Sheth, Amal Shah, and Prahlad, for influencing and shaping my way of thinking with their productive questioning.

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Contents

conception - theorization - application Abstract Acknowledgments Contents

05 07 09

Thesis Framework Aim and Objectives Methodology Scope and Limitation Literature Review Relevance of the Study

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Understanding the Historic Background of Subject-Observer Relationship through Art, Cinema, Architecture

1.

Overview

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1.1 Progression of the Semantics of Interior Spatial Experience

1.1.1 The Beginnings of a Static ‘Order’ for The Medieval Age

1.1.2 Classical Conception of Space a. Gothic and The Beginnings of An Anthropocentric Expression

b. Renaissance and the liberation from Divine Orders

1.1.3 Baroque and The Use of Compelling Visual Techniques

1.1.4 Architecture during the Age of Enlightenment

1.1.5 19th Century and the Development of Industrial Age

1.1.6 Cubist Art - Man’s Investigation Into Perception

1.1.7 Modernism - Age of Reinterpretations

1.1.7.1 Cubist Concepts in Le Corbusier’s Architecture 1.2. Motion Pictures as an Expression of Movement in Time

1.2.1 Perception of implied movement

1.2.2 Influence of Modernist Concepts on Cinema

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Concluding Inference

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Movement and Perception in Time

2.

Overview

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2.1 Comparitive Argument 2.1.1 Kinesthetic Approach of Traditional Indian Architecture vs

Modernist Approach of Le Corbusier

2.1.2 Inference - Movement and Perception in Space-Time Context

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2.2 Expression of Movement

2.2.1. Visual Movement

2.2.1.1. Types of Visual Movement

2.2.2 Spatio-Compositional movement

2.2.2.1 Types of spatio-compositional movement

2.2.3 Spatial movement

2.2.3.1 Circulation and its types

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2.3 Perception in Space-Time Context

2.3.1. Types of Perception

2.3.1 Types of Perception- Visual, Compositional, Spatial 2.3.2 Montaged Perception

2.3.2 Role of Perception in Choreographing Sequential Unfolding

2.3.2.1 Mapping an architectural stroll - Bernard Tschumi’s

Manhattan Transcripts

2.3.2.2 Capturing Serial Vision

103 103

2.4. Progress of Time

2.4.1 Pace of movement - Conflict in Momentum

2.4.1 Time and progress

132 132 135

Concluding Inference

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79 90

95 101

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Understanding the Application of Concepts through Case Studies

3.

Overview

141

3.1 In conversation with Shivdatt Sharma

3.1.1 Key inference- Interpreting sequential stages of experience path 3.2 Criteria of Selection 3.3 Implication of Concepts by Le Corsbusier through Mill Owner’s Association, Ahmedabad and Chandigarh High Court

3.3.1 Overview of articulated concepts

3.3.2 Proportions and anthropometry

3.3.3 Expression of Multiplicity in spatial volume

3.3.3 a. Interpretation of Multiplicity and Transparency in the horizontal continuum

3.3.3 b. Interpretation of Multiplicity and Transparency in the vertical continuum

3.3.4 Architectural stroll

142 145 148

3.2 Implication of Strategies in Palace of Assembly, Chandigarh

3.2.1 Framework of Analysis

3.2.2. Overall spatial composition

3.2.3 Movement in the context of space and time

3.2.3. Perception in the context of space and time

3.2.4 Relative comparison of manipulation with pace of movement 3.3.5.1 Qualitative inference

Concluding Inference

171 171 173 177 179 192

Conclusion Scope for Further Research

195 199

Bibliography List of Figures Appendices Glossary of terms Review Feedback Report Plaigarism Report

201 204 212 214 216 219

151 151 159 161

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Aim The study aims to observe the implications of movement and perception in spatial-temporal context, and its contribution in evolving a dynamic subject-observer relationship under Modernism.

Objectives Movement

Perception

Subject-Observer Relationship

Predominantly, a theoretical approach is adopted to derive a full contextual essence and standpoint of Modernism, deducing the lens and framework, before attempting to analyse it.

• Historical observations of spatial inter-relationships to derive a lens that separates the conception of Modernism from the other periods.

• The implications of art and cinema across time periods, influencing the perception of cultural and philosophical notions of man’s relationship with nature, and hence, reflecting on the perception and conception of space.

• Cubism in interpretating new concepts of perception, and its implication in architecture.

• Role of movement and perception in exploring spatial-temporal nuances.

• Features of a spatial configuration in Modernist architecture allowing the overall kinesthetic perception for the observer moving through the spaces.

• The spatial composition leading the observer through a sequential, choreographed movement to encounter various visual frames that aid in the unfolding of spatial layers.

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Methodology

conception - theorization - application

• • • • • • • • • • •

Chronological reflection on space conception Key observation: subject-observer-creator relationship Inferences that govern the theoretical concepts of context (modernism) Deduction of key concept - movement and perception in time Challenging the key concept to derive key sub-concepts Detailed study on concepts and sub-concepts Implication of theories in precedent cases Deducing a framework of strategies employed Analysis of strategies in case study Deduction of impact Relevance of interpretation of space conception in design process

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Methodology

conception - theorization - application Intent: Establishing the essence and therefore, the lens, to study Modernism by comprehending the evolution of spatial interrelationships.

Historical Background of semantics of interior spatial conception

Evolution of subject-observer relationship- through art, cinema and architecture

Classical relationship of Man and Nature

Expression of moveme contex

Renaissance and the liberation from Divine Orders

Perception in space

CONCEPTUALIZATION

Baroque and the use of compelling visual techniques

THEORI

Montaged per

Age of Enlightenment and the conception of composition

Sequential unfolding in a movement through

Development of Industrial Age and the will to visualize Modernism and the age of reinterpretations From an viewer to observer, to an explorer - Man’s role in space, encouraging kinesthetic perception.

Inference: Modernism began an interplay of perception between the observer-creator, as the explorer moves through the spaces in space-time context.

Movement and Perception in Space-Time Context

Kinesthetic approach Indian architecture architectu

Medieval age and its static Order

Cubist art - Man’s investigation into perception

Intent: Factor and manipulati an observer in interplay of con

Motion pictures capturing movement in space-time context - the role of perception.

Progress of time and manipulate mom motion in sp

Inference- The essential d between an orchestrated choreographed movement- the e perception.

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rs affecting, guiding, ing the movement of space to accentuate the nstant perception.

h in traditional vs Modernist ure

ent in space-time xt

Intent: Implication of Cubist and Modernist concepts and theories by Le Corbusier Precedent studies - Mill Owner’s Association and High Court building In conversation with S.D. Sharma the stages of experience path in a Le Corbusier’s spatial composition Visual, spatial and compositional framework of strategies conceived

e-time context

IZATION

rception

a choreographed h serial vision

d strategies to mentum of pace

APPLICATION

Analysis of application of visual, spatial and compositional strategies in the Palace of Assembly

Inference: The potential of composition of space-tectonics has the ability to manipulate the interplay of subject-observer-creator, through choreographing movement and perception in space-time context.

difference d and essence of

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Note • Any human in the context is mentioned as Man with the pronoun ‘he’ for the sake of convenience of communication.

• The study is more theoretical, historical and reflective in nature, with observationa and deductive inferences than a quantifiable conclusion.

• The study predominantly reflects on the shifting relationship of man with nature in the history, to allow a qualitative approach to compare and study the conception of space across different eras, going beyond the stylistic reading of architectural periods.

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Scope and Limitation Scope • The first section focuses majorly on the understanding of the change in the spatial conception in Western architecture. The historical background studies Christian architecture so as to compare architecture under similar background and functional requirements.

• The study derives inferences from montaged perception or sequential perception of visual frames and spatial layering, as the observer moves through the spaces.

• The case study is selected as a public/institutional building to understand the formal impactful path incorporating the strategies movement and perceptions through visual frames in space-time context.

• The scope is of delving into the subject of the role of movement and perception as a notion of space and time; the perception affecting visual reading of the relationships of spatial nuances in its entirety, including the role of tangible factors such as colors, textures and shades of materials employed of materials, details of lines on the finish on materials, forms, composition and assembly of systems and elements, and intangible factors such as quality of light and shadow, and interpretations of Gestalt’s principles.

• The study aims to conclude if architecture can be designed inside-out, i.e. considering the primary requirement as observer’s point of view and thereon, composing the spatial configuration.

Limitations • Diagramatic study of spatial manipulations and its implication on visual perceptions. The study does not delve into the structural study in plans and sections.

• Understanding spatial composition in terms of the observer’s point of view.

• The study does not delve into the analysis of materials and construction, but their visual implication on perception.

• The study considers functional decisions as a secondary requirement.

• Process of form-building in consequence to human psychology and behavior is not the scope of the study, though its implication is discussed.

• The study does not deal with historical, contextual, conceptual, semiotic, socio-political, and economical connotations of examples and case studies so as to follow a unified interpretation of design decisions.

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Literature Review Table : Research Papers Research Paper 1 ViewPoints- Visual Narratives in the Promenade Architecturale

Research Paper 2 Choreographing Architecture

Author

Megan Jenkins

Ashley Brooke

Citation

Jenkins, M. (2013) ViewPoints- Visual Narratives in the Promenade Architecturale. (Master’s thesis). University of Cincinnati, Ohio.

Narrative-explorative

Brooke, A. (2015) Choreographing architecture.

(Master’s thesis). Ryerson University, Ontario.

Architecture as a type of ‘site-specific theatrcality’ and its potential to combine context and view with movement and sequence.

The prolonged threshold is able to intersect all of the spaces through the view, and choreograph movement in such a way that activates the site, augmenting out experience of the context.

How can human kinesis be translated into form for a choreographed architecture?

Main inferences

Movement inciting elements like thresolds, focal points, and its effects on perception of space in time are discussed narratively.

All bodily responses and movements as per specific activities are mapped and hence an architectural form is generated.

Learnings

Narrative aspect of reading a building, phenomena of serial vision through the use of montaged perception.

As a result of external forces of architectural form, a choreographic architecture embraces human kinesis as the force of its creation

Gap in the study

Analytically dissecting the elements contributing to shifting eye movement and viewpoints - role of visual perception in understanding visual frames.

The study relates human body movement with architecture in order to come up with a specific form, without delving into the organization principles that govern a choreographed architecture for an observer moving through the spaces.

Title

Typology of approach Research question/ aim

Key concepts

Table 1 Literature Review

Explorative - form-finding

• • • •

Movement and the body Movement and the arts Movement and space Body and space

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Title

Research Paper 3 Concepts of Cubism

Author

Poonam Jolly

Research Paper 4 The experience of movement in the built form and space: A framework formovement evaluation in architecture Mosleh Ahmadi

Citation

Jolly, P. (1989). Study of cubist concepts. (Undergraduate’s thesis). CEPT University, Ahmedabad.

Historical, analytical

Ahmadi, M. (2019) The experience of movement in the built form and space. Cogent Arts and Humanities, Iran.

Empirical, Quantitative

Research question/ aim

To demonstrate a common interpretation of an artistic concept in two different fields, namely Architecture and Painting.

This research aims to provide a taxonomy in the form of an assessment table correlating with various types of movements along with their generator factors and architectural elements, between Iranian Khaju and Tabiat bridge

Key concepts

Significance and analysis of cubist concepts under the lens of multivalence and its direct influence towards the formation of architectural principles of Corbusier.

Movement in architecture is an overall culmination of various types of movements - physical movement stimulated by architectural elements, associated with mental and sensational coordinates of an explorer in the architectural promenade as well as the physical coordinates of the building itself.

Main inferences

The approach of reading a space A comparative framework can be using visual interpretations similar achieved to assess quantitatively, to paintings. the types of movement possible in architecture.

Learnings

Art history and the role of Cubism in adding dynamic and multifaceted layers in intensifying the observer-subject relationship.

A comparative framework can be achieved to assess quantitatively, the types movement in architecture through a descriptive report.

Gap in the study

Role of visual and spatial layering perception is discussed. This can be further elaborated to study the role of visual and physical movement in paintings and architecture, respectively.

The study empirically compares and draws relations between intangible and intuitive movement, through a matrix method. These visual frames inciting intuitive movement can be further analysed for choreographing an observer’s journey in space.

Typology of approach

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Relevance/ Significance of Study As observed from the literature reviews, several studies have attempted to explore various aspects of a choreographed architecture. However, although many studies explore different aspects that govern this phenomena and the chronological history underpinning its conceptualization during Modernism, there exists a gap in weaving the aspects together in a structured format to understand a basic elemental aspect behind this phenomena, i.e. the subject-observer-creator relationship.

The role of Man in space has undergone many significant shifts from the medieval age. It, thus, holds crucial to understand the underlying lens - transformation of Man’s presence in space largely from a mere viewer, to an observer, to finally an explorer in space, participating equally with the creator’s perception of his work of art - so as to deduce the underpinning concept behind the context of Modernism - the anthropometric concern of Modernism.

The concepts of Cubism introducing elements of spatial layering for the active participation of the observer’s reading of space was consciously provided by Le Corbusier in his paintings and architectural promenades, hence it is beneficial to study how subject-observer relationship is intensified in his works through shifting viewpoints, encountering various facets from multiple angles to get the whole perception of the entire space.

The inter-relationships between various volumes, elements and systems explored by the Modernist architects lead to an conscious effort at the careful assembly of these functional entities, keeping the explorer’s perspective and relative scale in mind, which is the ultimate scope through the case study- which will be studied under the lens of movement and perception in space-time context.

The architecture in contemporary times, with the exponential growth of accessibility to cameras, is reducing into the art of the two-dimensional printed image. The interior are inreasingly becoming a montage of flattened visual frames, which when experienced in three-dimension contains no careful composition of visual depth for a person in moving through the spaces.

The gaze itself tends to flatten into a picture or a graphical composition, losing its malleability.

We behold it from outside as spectators of images projected on the surface of the retina. This further leads to loss in experientiality as a three-dimensional space as a spatio-temporal entity.

Therefore, proposed approach for the topic is to observe the role of space tectonics through the frame of the eye and how it helps to stitch the perceptions of space into a form of montage, making sense through sequentially unfolding of volumes, encountering of the various tectonics of a space.

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“Architecture exists, like cinema, in the dimension of time and movement. One conceives and reads a building in terms of sequences. To erect a building is to predict and seek effects of contrast and linkage through which one passes (...). In the continuous shot/sequence that a building is, the architect works with cuts and edits, framings and openings (...). I like to work with a depth of field, reading space in terms of its thickness, hence the superimposition of different screens, planes legible from obligatory joints of passage which are to be found in all my buildings.�

- Jean Nouvel

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Part I Understanding the Historic Evolution of Subject-Observer Relationship through Art Cinema Architecture

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Overview “All art originated in the mind, in our reactions to the world rather than in the visible world itself, and it is precisely because all art is ‘conceptual’ that all representations are recognizable by their style.” 1

- E.H. Gombrich

Each era or period of civilization, with the changing culture and beliefs, developed its own comprehension and expression of Man’s existence - within himself, the relationship with his immediate surroundings and his role in the world.

The categories of expression can be divided largely into two parts - Art (including paintings, literature, cinema, etc.) and Applied Art (including architecture, furniture design, fashion industry, etc.) What sets one architectural style apart from the other, also unifies it with other cultural expressions of the man, such as religion, arts, literature/philosophy - the relationship between man and his surrounding nature.

The very nature of what an occupancy means has undergone a great deal of modifications since the first conception of inhabitation. The very phenomena of architecture, from a single simple void in a cave with free standing objects in the vastness of space, to a complex transparent spatial configuration that now needs an intellectual reading of the space, suggests the evolution in spatial conceptions along with the intellectual development of human consciousness. Spaces could be read as an applied art, where rather than a static shelter, sculptors and artists attempting to add a sense of dynamics by sculpting the inhabited spaces, while also keeping them functionally clinical .

The intent of the first part of thesis is to observe and discuss the perception of man’s role in the world and its reflection in spatial character, and further a shift in the relationship of man and the objects, leading to a profound consciousness, shifting the process to the act of perception itself, and ultimately to the notions of space and time.

In the Classical approach, space was the direct reflection of man’s uni-dimensional and static view of reality. With the course of time, as the primitive man began deciphering the laws governing the natural phenomena, it allowed a more evolved relationship between Man and the Nature in terms of its understanding, through the process of constant observation, analysis, followed by conclusion/deduction. With the advent of the Age of Enlightenment/ Reason, Man eventually found a sense of personal expression through “the will to order and reason” , as opposed to the rigid prescribed approach form the Divine orders of the Classical age. This dynamism helped man explore slowly through the ways of religion, art, language/ literature and science, to attempt to build up a coherent understanding of the world.

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Hence, for each period in history, “the spatial conception becomes a mirror of the will or the intention to portray the epoch’s order of reason.” - a reflection of the subject in the context of the principles, culture, and progress of its specific period. Therefore, it stands essential and significant to study the historical background of man’s changing relationship with the universe around, and the shift in his interpretation of it in art and applied art so as to observe the basics of the avant-garde conceptions of Modernism.

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Gombrich, E. H. J. (2014). Art and illusion: A study in the psychology of pictorial representation. London: Phaidon.

Sutaria, R. (2000) Understanding the change in the meaning of space from its spatio-tectonic context.

(Undergraduate thesis). CEPT University Sutaria, R. (2000) Understanding the change in the meaning of space from its spatio-tectonic context.

(Undergraduate’s thesis). CEPT University

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“The artist will tend to see what he paints than paint what he sees.”

- E.H. Gombrich

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Hence, understanding the basic role of man’s changing perception in his desire to see what he tends to make ultimately led to the conception of an evolved and dynamic relationship between the subject, the creator and the observer during Modernism.

In case of a Modernist, the order of reason shifted to a function of human intentionality, where man was regarded as the central or most important element of existence, especially as opposed to God (anthropocentricism). As explained by Gombrich, “The ‘concept’ or ‘will’ was elevated to a position of highest authority and certainty through perception wand interpretation was identified as the origin.” Hence, man began institutionalizing the now anthropocentric occupancies, not through decorative symbols and flat visual frames, but means of new and changing spatial experiences.

With this, the inter-relationships of space making elements became a crucial aspect to be considered while ‘designing’. Hence, design, in a true sense of the word, came into existence in relation to interior architecture, with the inhabitant’s functionality and experience as its central scope, as opposed to the earlier mere assembly of prescribed and unquestionable elements with a mathematical combinations method, focussing only on the Divine’s presence.

The concepts of a continuous, infinite and flowing space viewed and appreciated at different viewpoints gained significance.

The psychological effects, and hence, perception, of both, a two-dimensional art (paintings, motion pictures) and a three-dimensional applied art (architecture) stands the same, wherein the two dimensional shapes become three-dimensional forms, essence of relative sense of direction, relative proportion, sense of axis, and certain properties such as light, texture and colour evoke the same kind of perception of the object in consideration.

Since the shifting theories of art has continuously been shaped by and has also in turn, shaped the way of man perceives the world around him, it is crucial to understand the development of art theory in all three realms - paintings, motion pictures or cinema and architecture.

This section attempts to lay down the basic premise of conception of spatiality and indicates at the direction of study in general.

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Gombrich, E. H. J. (2014). Art and illusion: A study in the psychology of pictorial representation. London: Phaidon.

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Figure 1.1 Bruno’s ontology of the The Universal Soul, Universal Intellect and Universal Matter

Figure 1.2  A mural of 2000 BCE in an Egyptian tomb at Beni Hasan is designed as a continuous strip sequence of wrestling, so accurately represented that it appears to be photographed as a set of sequential images for animated film cartoon.

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1.1 Progression and Transformation of the Semantics of Interior Spatial Conceptions All the movements, although seemingly independent and in isolation to each other, a comparitive study through the lens of subject-creator-observer relationship reveals them to be a part of an intricately woven fabric, each playing a crucial role in the transformation and progression ultimately for the formation of Modern movement in visual arts and applied arts.

1.1.1 The Beginnings of a Static ‘Order’ for The Medieval Age

“In the earliest development of man, instinct is still everything, reason is nothing.”

- Worringer Wilheim5 To the primitive man, the idea of God came into being as a way to establish feelings of stability as a response to the uncertainty and chaos around him, in the form of a personified image of the Divine Power, the central idea to whom all the purposes were linked. Thus came into being the institutionalization of religion and beginnings of art as an endeavour to organize the intuitive creation of these religious values. (Figure 1.1) Inclination towards geometry for the appeal of regularity and stability

Art - Since the artistic development through the classical times had run parallel to the religious development, art in the form of geometry became a method of “conquest over nature, as well as attainment of Divine qualities.”6 - an appeal of geometry to attain a sense of stability.

Order of Geometry and the association with Divine qualities

Philosophers such as Plato, Pythagoras, Archimedes and architects such as Imhotep, Iktinos, Anthemios were great mathematicians and geometers.

Hence, art and architectural practice belonging in a system of classical rules of mathematics and geometry was claimed to be superior over other practices, further being regarded as grammatical rules or orders - a preestablished model as proposed by the Church - for both aesthetic as well as constructional code.

Perception and representation of movement in art

The arrangement of lines, shapes, and emphasis on tone or colour in a painting guides the eye across the picture surface at controlled tempos and rhythmic directions. These arrangements provide and add to the expression of a particular mood, vision, and idea.

Centuries before cinematography, painters attempted to produce kinetic sensations on a static, flat surface. As described in the book Painting: Materials, Techniques, Styles and Practice, “A mural of 2000 BCE in an Egyptian tomb at Beni Hasan, for instance, is designed as a continuous strip sequence of wrestling holds and throws, so accurately articulated represented that it might be photographed as an animated film cartoon.”

(Figure 1.2) Hence, the conception of articulation of movement in a method of sequential images began, wherein however, the sense of movement was representative in nature, meaning, it was illustration of the movement as directly seen by the eye, without an interpretation of the drawer.

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5 6

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Worringer, W., & Read, H. (1972). Form in Gothic. New York: Schocken Books.

Antoniades, A. C. (1990). Poetics of architecture: Theory of design. New York: Van Nostrand Reinhold.

McGuinness, D., & Campbell, K. (2010). Painting: Techniques, Styles, Instruments, and Practice. Chicago, IL: Britannica Educational Publishing.

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Figure 1.3 Elevation according to divine proportions.

Figure 1.4 Medieval cathedral geometry. Equilateral triangles determining major proportions .

Figure 1.5 The diagram representing the attributes of God : Universe as a harmonious whole reflected in the mathematical relations and pure geometrical shapes.

Figure 1.6 Eqyptian pyramid

Figure 1.7 Sanchi stupa

Appeal of geometric whole balanced forms in the early ages of architecture.

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Representation of polydimensionality

Art was more symbolic in nature, which progressed to an anti-naturalistic and abstract articulation of polydimensional attributes of the world. The representation of polydimensional space was more abstractly depicted with the use of montaged perspectives. In much of ancient Egyptian paintings, for instance, the head and legs of a figure were shown in profile, but the eye and torso were drawn frontally. In Indian, Islamic, and pre-Renaissance European paintings, vertical forms and surfaces were represented by their elevation view (as if seen from ground level), while the horizontal planes on which they stood were shown in isometric plan (as if viewed from above). This technique produces the overall effect that objects and their surroundings have been compressed within a shallow space behind the picture plane, limiting to a geometric composition of the overall elements.

Theocentric Expression of Space

Architecture - Through the course of time, Man began to develop and construct symbols and semiotics as an attempt to represent the Divine Power in geometrical forms. As a response to the chaos around, man began to channelize the artistic intuitions into strong stable geometrical possibilities - starting from the creation of a line, to its further geometrical possibilities making him explore shapes of conherence leading to triangles, squares, circles, with a gradual understanding and discovery of the advantages of regularity. During the ancient times, as well as the beginnings of the classical times, science was fundamentally based on innate ideas, which were thought of as “implanted by God in the form of ‘wisdom’ constituting valid authority.”8 Moreover, knowledge gained by experience and practice was measured against this authority, leading to a subordinate role of Man in the universe, and hence, in the interpretation of the spatial character.

Geometry and organizational stability

These geometric shapes, due to their superiority as a “Divine order” , stability and regularity became the central theme for philosophers, architects and aesthetes of the ancient times. (Figure 1.3-1.5)

Static, unidimensional and inert ManNature relationship

Further, since the Divine Power was deemed to be the source and reason behind all the phenomenon in nature, He became the central concept to whom all the purposes were linked in all disciplines. The spatial character under Byzantine period can be observed to reflect an inanimate, static nature, since architecture was only a kit of parts of these prescribed geometrical forms with religion as its core in order to achieve a balanced, equal whole.

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With this initial interpretation of the world and acceptance of being a subordinate entity in the universe, man regarded architecture solely as a monument to God. Hence, during the entire Classical period, the articulation of the relationship between the Supreme power and Man, and therefore, the relationship between Man and surrounding nature, was static, unidimensional and inert.

8 Sutaria, R. (2000) Understanding the change in the meaning of space from its spatio-

tectonic context. (Undergraduate’s thesis). CEPT University 9 Gelernter, M. (2005). Sources of architectural form: A critical history of Western design theory. Manchester: Manchester University Press.

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Figure 1.8 Maupertius, 1776 by Claude-Nicholas Lodux, Conical Cenotaph, 1884 by Étienne-Louis Boullée

Figure 1.9 Byzantine churches with a central plan

Figure 1.10 From left: Doric base, capital, and entablature as per the divine proportions.

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Appeal of balanced forms

1.1.2 Classical Relationship of Man and Nature For the Classical period, with the attempts of interpreting and representing the world in mathematical formats, architecture too, became regarded as a branch of science of mathematics which worked with units of spatial geometry.

Certain geometric shapes which were considered perfect, harmonic as well as balanced, such as a triangle, can be seen used heavily in cases of Pyramids, the circle, cylinders, squares and rectangles in Christian churches along with spheres and hemispheres in Gothic, Byzantine and Romanesque as well as in Hindu and Muslim architecture, incorporated in the overall organizational principles down to the details of planes.

(Figure 1.6-1.8)

Perception of spatial nuances

Peter Collins, reflecting on the “complex sequences of interrelated rooms and courtyards” of the Classical period, observed that these elements were only exemplified and explored in terms of proportions and structure. Space was considered as only a “blank space to be filled with ‘decorations’ to deal with these amorphous, formless surfaces with painted ceilings, having no intention of illustrating the three dimensionality to the space or void.”

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Thus, plan and section in the classical age was regarded as the basic notational devices which then translated into physical manifestations, showing that architecture was a mere assembly of kit of parts leading upto a central focus area, not delving into the experience value of man inside the space.

Central Plan of Churches

The literal transformation of this philosophy of singularity appeared architecturally as a complete series of central plan churches as an apt expression for the Divine. The imagination of the architect was limited by this schema, with the concept of a central radiating force generating a feeling of confrontation of God and Man as separate, independent powers, was seen repeating everywhere. (Figure 1.9, 1.10)

Man as a confrontational viewer in space

With the notion of authority in focus, the attribute of relationship between man and space was more confrontational in nature, with Man looking in awe at the monument to God in the Classical age.

Hence, man was a mere viewer in a space till this point.

Expression of dynamic elements - staircase

With the attributes of classical architecture having full giveability of entire space from one point of view, the element of movement - the staircase, had minimal to no relationship with the rest of the building, i.e., no participation of a moving observer in experiencing the composition of the overall spatial enclosure.. The view while climbing was limited to what was immediately in front, with each staircase being a whole element in itself within a confined designated space, acting solely as a functional element connecting the two floors of the volume.

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Collins, P., & Frampton, K. (2014). Changing Ideals in Modern Architecture, 1750-1950.

Montreal: McGill-Queens University Press.

Collins, P., & Frampton, K. (2014). Changing Ideals in Modern Architecture, 1750-1950.

Montreal: McGill-Queens University Press.

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Figure 1.11 Gothic art in Barcelona from the MNAC-museum Lluís Dalmaus’ painting of Saint Mary and Jesus

Figure 1.12 Notre-Dame de Reims, France

Figure 1.13 Notre-Dame de Reims, France Man accepted feeling dependent upon God, which resulted in a space characteristic of Mass, Confessions and Sermons, with the observance of a formal behavior in exchange of redemption from sins.

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a. Gothic and The Beginnings of An Anthropocentric Expression (12th-16th Century)

The conception of God in the early phase of Gothic period continued the intangible, separate singular force of a much higher power in relation to man, and the interrelationship was formal and linear, a personification of the ideal of ‘perfection vs sinner’.

Art- The earliest Gothic art was monumental sculptures on the walls of Cathedrals and churches. Christian art was often assorted in nature, showing the stories of the New Testament and the Old Testament side by side with the depiction of lives of saints. Images of the Virgin Mary changed from the Byzantine form, which was more stiff, symbolic and anti-naturalistic in nature, to a more human and emotive figures with curving lines and minute details.(Figure 1.11) Painters began seeking spatial depth, which eventually led to the expertise of perspective during Renaissance.

Shift in the relationship with the Divine Power

Architecture- Gradually, both conceptually and architecturally, Man, instead of looking at God in awe and reverence, took the position of a ‘sinner seeking redemption’, which also reflected architecturally. Man accepted feeling dependent upon God, which resulted in a space characteristic of Mass, Confessions and Sermons.(Figure 1.12, 1.13) 12

Two sided relationship between Man and God articulated in space

This two sided inter-relationship between God and Man gave rise to an interior space with two-sided character, reflecting into a dramatic, overwhelming walkway where man makes his motion in a long stretched linear way leading finally to God’s dwelling place. As Paul Frankl observes, “the will behind this creation was to emphasize the impact of the grace that radiated from God upon the receiver. Because the Supreme Being demanded a certain kind of response from the recipients of his grace, He became well equally dependent upon these subordinates.”

This shift in philosophy gradually enhanced Man’s importance in the world as an independent and equal entity.

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Points of View

The classical architecture primarily composed of ‘instances’ , i.e. prescribed points or centres from which the observer viewed the spatial effect at a static standpoint.

Expression of dynamic elements - interior elements and passage

The Gothic cathedral composed of regular monotonous repitition of identical elements, which through their expression of verticality created a tunnel-like effect, accentuate and emphasizing on the Divine as the ultimate destination. Though present physically, the effect of tunnel itself is more so acquired by the sheer scale of the elements. (Figure 1.14)

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Sutaria, R. (2000) Understanding the change in the meaning of space from its spatio- tectonic context. (Undergraduate’s thesis). CEPT University Frankl, P. (1997). The Gothic: Literary sources and interpretations through eight centuries.

Princeton, N.J: Princeton University Press.

Zevi, B., & Barry, J. A. (1993). Architecture as space: How to look at architecture. New York: Da Capo.

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Figure 1.14 Expression of verticality along with linearity in an attempt to create a tunnel-like effect

Figure 1.15 Evolved expression of ceiling and vaults

Figure 1.16 Evolved expression of ceiling and vaults

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Intent vs actual perception

However, this tunnel like effect fails to compell the movement inside. If the factor of the towering vertical scale is removed from the repetitive ordering of monotonous elements, it can be objected that the tunelling pulling-compelling effect can become redundant. In addition, the effect of pull also fails with the wholly giveable view of the ultimate destination and the path through it right from the entrance.

Articulation of complex forms

During the early Gothic period, masons solved the issue of heavy ceilings by developing a ribbed vault that is composed of mere thin stone panels.

This reduced the weight and outward thrust of the ceiling since the weight was only carried by discreet points rather than along a continuous edge. Separate widely spaced vertical piers to support the rubs could replace a continuous thick wall. The round arches of the barrel vault was replaced by pointed arches, which transfered the thrust in more directions downwards from the topmost point, further enabling taller buildings than the predecessors. (Figure 1.15, 1.16) This also allowed a more complex ground plans with several flying buttresses, tall and thin walls. The interior structural system of columnar piers and the ribs implied an impression of soaring verticality.

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Figure 1.17 The figures in Leonardo’s Virgin of the Rocks - Stable composition of Renaissance paintings

Figure 1.18 Cathedral Basilica of Sant’Andrea, composition based on Divine order

Figure 1.19 Figure 1.20 Francesco Geiorgio: Design of a Church abstracted from the mathematical proportioning of Man. Renaissance archiects leaning towards the belief that ‘Man is the measure of all things.’

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b. Renaissance and the liberation from Divine Orders

(15th-16th

Century) Divorce of art and science from the rigidity of religion

With Man’s increasing knowledge about the science behind the surrounding natural phenomena, led to a gradual decrease in the faith of immovable Supreme entity, leading to a divorce between the believers of science and religion. This disintegration and new scientific approach to interpreting nature, and the intervention of science as a distinct field from religion helped in ‘liberating’ from it the domains of art and architecture., which got rearticulated establishing themselves as the liberal arts , and from there on, led to artists, architects and researchers of science, to search for the ‘truth’ - through their own interpretations of the Nature.

Therefore, the interpretation of Nature shifted from literal or representational to a more revolutionary act of intellectually abstracting them as proportions, to make sense of, decode and illustrate the surrounding nature.

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Visual composition and balance

Art- “The experience of walking to the end of a long, processional Renaissance mural by Andrea Mantegna or Benozzo Gozzoli is similar to that of having witnessed a passing pageant as a standing spectator.”

One of the most prominent approaches to visual composition of High Renaissance painting is the pyramidal composition. Pyramidal composition focuses strongly on unity, while dynamic composition, in Baroque, is primarily concerned with contrasting and dynamic composition.

A sense of unity and order can be achieved through repetition of parts, as well as balanced arrangement of elements. The figures in Leonardo’s Virgin of the Rocks are arranged such that the ‘pinnacle’ of the painting is Mary’s head, with other figures to either side and to the foreground.

(Figure 1.17). The arrangement of these figures is thus characterized by symmetry, balance as well as a sense of depth. With the sense of stability, the eye is naturally drawn to a single point, Mary’s face, exemplifying a sense of visual hierarchy and consciousness of composition. In terms of colour, the bluish patches of sky in the upper part of the painting are visually balanced with the bluish robes in the lower part.

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Gradual shift of man from viewer to observer

Conscious efforts in designing visual frames

Architecture- The personal relationship of Man and the surrounding nature was reflected as architects shifted their focus from the Divine to a creation of harmonious unity with nature. (Figure 1.18-1.20)The search for Divine was sought through the use of interpreted proportions, which proposed a clear and measured expression defining the built space, encouraging in the ‘spectator’ or an ‘observer’, who was earlier a mere viewer, to get an immediate and whole comprehension of the interior space standing at a point in space.

This ‘designed’ articulation of space to achieve a particular view, was a result of compositional value - i.e. there is a conscious effort in deciding and designing the inter-relationships of the pre-established elements, which was worked out by mathematical proportioning from the ancient orders.

15 arts such as literature and history, as discreet from science and technology. liberal, distinct from slavish or mechanical (i.e. manual labour) originally referring to arts and sciences considered ‘worthy of a free man’; later the term related to general intellectual development.

16 McGuinness, D., & Campbell, K. (2010). Painting: Techniques, Styles, Instruments, and

Practice. Chicago, IL: Britannica Educational Publishing.

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Figure 1.21 Staircase at the vestibule of the Laurentian Library, by Michelangelo Buonarroti, Florence, Italy, 1524–1534

Figure 1.23 Plan of Vierzehnheiligien, Pilgrimage Church, 1743

Figure 1.22 Peter Paul Ruben’s ‘Raising of the Cross’ The diagonal lines creating a dynamic visual

Figure 1.24 Interior view of Vierzehnheiligien, Pilgrimage Church.

Figure 1.25 Augustusburg Palace, Bruhl, Germany by Florian Monheim

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Expression of dynamic elements - staircases

In the post-medivial architecture (16th century), the expression of staircases connecting one volume to another, visualized a spatial revolution. For instance, in the Laurentian Library in Florence (Figure 1.21), the structure of staircase was not only reflected as an independent free-standing element but helped conjoin the otherwise two discreet volumes, getting incorporated in both the spaces. It essentially began the conception of visually fusing together various parts or systems of a building, enrichening the experience of an observer moving through the space grasping the fused layers.

By this point, man’s role in space shifted from a subordinate ‘viewer’, to an ‘observer’, although with static view points which was a result of “newly established laws of perspective, standing at a prescribed viewing point from which the entire picture in front could be grasped.”

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1.1.3 Baroque and The Use of Compelling Visual Techniques

(17th Centuy- 1740s) Balance vs Dynamism

Art- Just as a sense of unity and balance can be achieved through repetition and balanced arrangement of the elements, a sense of dynamism can be achieved by composing sharply distinct objects in an unbalanced manner.

Peter Paul Ruben’s Raising of the Cross (Figure 1.22), features diagonal configurations of figures characterized by asymmetry and imbalance. A strong sense of dynamism (a sense that the painting is “in motion” or captured in motion) results as the eye is drawn restlessly along each line.

Th use of color is also imbalanced, for instance, while the left and centre panel feature a dark background, the right panel is set against a light sky, again triggering a compelling visual with greater sense of hierarchy.

Architecture- The visual perspective of the world around the man gradually reflected in the architecture, with the liberation of any unexplanable ‘Divine’ power and the man slowly coming into the ‘centre’ (an anthropocentric representation), rationalizing the surroundings.

The intent of architectural form now shifted from the articulation of pure forms and absolute geometries to optically interesting spatial compositions within a building. not fully grasped from a static viewpoint. The entire space or it’s subdivisions began to be composed of forms of complex geometry, the calculation of which was possible only with the help of higher mathematics. (Figure 1.23, 1.24) 18

Visual montage using overlapping perspectives as a visual approach - still static in nature

This phase enabled architects to work like artists to explore and provide a more enriched experience for an observer moving in the space, with the use of overlapping perspectives which recede from the point of view of the observer. However, the consequence of such a spatial configuration was the creation of such a space where observer stood at one prescribed spot to observe these visuals, taking in the impressions of various images confronting him overlapped in one, a sense of montaged whole perspectives.

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Banham, R. (1982). Age of the masters: A personal view of modern architecture. London: Architectural Press.

Sutaria, R. (2000) Understanding the change in the meaning of space from its spatio- tectonic context. (Undergraduate’s thesis). CEPT University

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The singular definite point was prescribed in a way that the entire architectural image appeared complete, exemplifying an axial symmetry.

As described by Reyner, “Although the Baroque space admitted of infinity, this concept was largely only ‘symbolized’ by intangible attributes like the obelisk that focused on the vista, the light falling on the alter at the end of a dark nave.” Although works of Michelangelo and Bramante, back in the 15th Century, did incite and evoke a response from the observer, exemplifying a definite awareness of the possibility of manipulating spatial configurations for sensitizing the observer, space was still always interpreted as merely a ‘felt, closed volume’ with the assemblage of formal whole elements. The negative space itself as an entity was not fluid to be explored with inter-flowing forms, breaking their original singular purpose.

Beginnings of the conceptions of spatial phenomena for a moving observer

In his seminal study, Renaissance and Baroque (1984), Heinrich Wolfflin suggested the expression of dynamism to be the fundamental characteristic that set Baroque apart from the previous eras. He claims Baroque architecture as “movement imported into mass” that enables the observer to “imagine columns moving forward and back and walls thrusting outward.

Roman Baroque churches were conceived not to be finished designs but rather to be a frozen stage in a process in which constraints have been established.” Thus, the expression of movement was rather infused into the forms, bringing life to the building.

Dynamic forms of Baroque

It is only during Baroque period that the way was made for the invention of every conceivable arrangement of stairwells that draws an entire building together. Such open stairwells opening up to the entire height of the building, making all floors visible at once, as well as opening up the floors above to the staircase’s entrance (Figure 1.25).“The participation of an observer experiencing the tectonics of space in the form of surrounding enclosure was enhanced.” Thus, space now exemplified the aspects of movement and perception with constant interaction with space and time.

However, this experimental drama was that of movement was restricted only on the area of arrival occupying the stairwell with its adjoining enclosing volume, not flowing onto the remaining spaces. Hence, each spatial volume was still treated like a discreet and independent blocks.

Staircase as a source of dynamic drama

It was not until the 18th century that regularity and order was not taken as an assumption, but as a concept to be proven through experiment and observation. “The role of Reason was to analyse things into their simplest component parts, following with the will to the reconstruction of the ‘true’ whole from individual component parts according to its own rules, which further developed the idea of composition. The purpose of the 18th century was to replace the cosmological goals of Renaissance and aspire towards a more rational process of design of reason than of Divine Order.”

The will to Reason and the conception of composition

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Banham, R. (1982). Age of the masters: A personal view of modern architecture. London: Architectural Press.

Wölfflin, H. (1984). Renaissance and Baroque. London: Collins.

Sutaria, R. (2000). Understanding the change in the meaning of space from its spatio- tectonic context. (Undergraduate’s thesis). CEPT University, Ahmedabad.

Eisenman, P. (January 01, 1984). The End of the Classical: The End of the Beginning, the End of the End. Perspecta, 21

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1.1.4 Architecture during the Age of Enlightenment (18th Century) Rational and analytical approach - modular components

The architecture during the age of Reason/ Enlightenment was marked by the works of architects such as John Soane, E. L. Boulle, C.N. Ledoux and J. N. L. Durand, who worked in a logical, analytical system to put together different parts of elements to form a complete whole (Figure 1.26). “Their will was rested in the belief that the same process used in mathematics, science and technology could be used in producing a truthful (i.e. meaningful) architectural project.” This process was an analytical method which broke up a phenomena into few less complex laws and functions, avoiding subjective reasoning- therefore purely rational.

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According to Durand, the act of composition was a more pre-proposed strategy for arriving at a predestined goal, not an open-ended process of transformation. “The elements of structure might be put side by side or on top of another.”

Figure 1.26 JNL Durand’s mechanically modular Neo-classicism, showing variations on themes with modular components disciplined by grids

Assembly of modular ‘boxes’

Thus, the entire domain of architecture was moving towards the achievement of architectural form from the assembly of various parts, however, little to no attention was given to “the element of space.”

This initial conception of building the built environment as a sum of individual parts arranged together resulted in a system of closed, complete and whole elements. It led to an architectural space which resembled a closed box, with more closed boxes inside, or interspersed by collonnade.

The space was merely a contained void, with intention to explore spatial complexity in terms of inter-related experience, nearly absent.

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Beginnings of realization of sense of void as an equal spatial element

After about 1730s, there was a shift in this conception. Although the sense of enclosure was retained, the characteristic of man walking in the space as an observer dominated, discovering the inter-related spaces unfolding in a defined and characterized manner - “a void following a void.”

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Eisenman, P. (January 01, 1984). The End of the Classical: The End of the Beginning, the End of the End. Perspecta, 21.

Kaufmann, E. (1968). Architecture in the age of reason: Baroque and post baroque in England, Italy, and France. New York: Dover Publications.

Ranade, S., (1997). Limits of Interpretation: Understanding Architecture Through The Notion of Paradigms. (Undergraduate’s thesis). CEPT University, Ahmedabad.

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Figure 1.27 ‘Factory, Horta de Ebbo’, 1909 (oil on canvas), Pablo Picasso

Figure 1.28 ‘Bibemus Quarry’, 1895 (oil on canvas)

by Paul Cezanne

Figure 1.29 Perspective view of Eugene-Emmanuel Violletle-Duc, showing the polygonal roof structure and statically determinate iron members, demonstrating for the first time the principles of structural rationalism and functional efficiency.

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Will to progress

1.1.5 19th Century and the Development of Industrial Age By the 19th century and the growth of science to back man’s grasp on reality, the process of anthroposization reached its epitome, “to translate the will to reason to the will to progress.” This will to progress triggered off the Industrial Revolution, bringing efficiency as an attribute of mechanization.

Will to Visualize

Art- With the technological progress, such as photography, cinematography, etc, after being replaced by cameras as a tool for documenting, artists such as Pablo Picasso aimed to highlight the possibilities of paintings as a tool for visualization and a new way of seeing. (Figure 1.27-1.28)

Perception of facets of an object- Shift from representational to interpretative art

Paul Cézanne, a French artist, formed the bridge between late nineteenth century Impressionism and the early twentieth century’s new line of artistic enquiry, Cubism. He began flattening the conventional picture space, tilting horizontal planes so that they appeared to push vertical forms and surfaces forward from the picture plane and toward the spectator (Figure 1.28). His method emphasized on the object surfaces, focussing on distinction between a painting and reality, challenging the representations of perspectives. This idea developed further in the early 20th century by the Cubists, where both conceptual and perceptual methods of representing space and its various facets are combined.

Architecture- The reflections of this will to progress led to shift in architectural form, which earlier focused on the functional configurations, now it did on the structure and form as well. The deductive rationality imbibed in man during the age of reason, led historians to perceive the classical sense of architecture in terms of its honesty to structure and construction as the ultimate goal. “It was the age of structural rationalism.”

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(Figure 1.29)

“The will to visualize a built environment as an efficient yet commodious structure owed its analogy to the utility and efficiency of machines to the new industries of the age.” This age of efficiency brought forward the idea of utilitarianism in architecture.

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Applied art meets functionality

The meaning of aesthetic sense was represented and illustrated through ‘applied art’ or ‘applied sculpture’, paintings and proportional Orders.

Functional beauty was represented here as a new kind of reflection to utilitarianism and functional efficiency.

Hence, this age shared a significant shift in perception of applied art, wherein it met the industrial development and conscious effort in functionality of space as its primary focus (which developed into the ideology of ‘form follows function’ in the late 19th and 20th Century)

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Collins, P., & Frampton, K. (2014). Changing Ideals in Modern Architecture, 1750-1950.

Montreal: McGill-Queens University Press.

Sutaria, R. (2000) Understanding the change in the meaning of space from its spatio- tectonic context. (Undergraduate’s thesis). CEPT University, Ahmedabad.

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1.1.6 Cubist Art- Man’s Investigation Into Perception Imbibing of the consciousness of Man

Modernism began as a direct influence of the advancement of science, with the ability to explore matter right upto the atomic structure, demystifying and busting several myths relating to the understanding of life. This lead to the will to re-interpret the known, looking beyond the appearances and aspects of the visible reality and further opening up to questioning and, as a result, experimenting with the existing limitations.

Cubist art shaping new conception of modern age

In 1900, Sigmund Freud published his research on the role of the unconscious in the human psyche entitled The Interpretation of Dreams, where he talks about the questioning of one’s assumptions about the world, about the relationship between real and illusory.

The Cubist spokesman, Guillaume Appolinaire accepted “profound correlations between the cubist principle of multiple perspectives and the dynamic conception of space-time and made the concept of fourth dimension a common place of modern aesthetics and vocabulary of modern art.”

Reflection and Interpretation

A typical Cubist painting “ideally illustrates, the distinction between knowledge as a copy and knowledge as an assimlation of reality”, as pointed out by Jean Piaget, the founder of psychology of intelligence. In Cubism, reality is seen to consist of a series of transformations beneath the appearance of things.

Georges Braque, founder of Cubism, remarked, “In order to know objects we have to act on them, break them down, reconstruct them. The perceptual and conceptual methods of representing volume and space on the flat surface of a painting are related to the two levels of understanding spatial relationships in everyday life.” This movement began the purpose of man’s intellect in interpreting the reality and reflecting that interpretation, instead of representing the reality itself.

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Effect of Cubism in all domains of human intellect

In the thesis of Poonam Jolly, Study of Cubism Concepts, the author demonstrates the “interpretation of cubism as a deeper level of consciousness of man to contemplate and accentuate the subject-observer relationship in Modernism, driving a common interpretation of an artistic concept in two different fields, namely architecture and painting.”

The movement of Cubism (1907-1974) belonged to the seminal decade 1900-1916, the period which “radically altered man-object relationship in the human earthly referential system, clearly visible in all fields of human creativity such as poetry, sculpture, etc.”

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Moreover, Cubism and its essential concepts cannot be said to belong completely to the Past. It is still a part of the present.

28 Brion, M. (1961). Braque. New York: H.N. Abrams.

29 Jolly, P. (1989) Study of cubist concepts. (Undergraduate’s thesis). CEPT University, Ahmedabad.

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Figure 1.30 Tea Time (1911) Philadelphia Museum of Art By Jean Metzinger.

Figure 1.31 Still Life (1920) by Charles-Édouard Jeanneret.

Le Corbusier’s composition of objects in geometrical forms, assembled in a spatial-compositional layering, demonstrating phenomenal transparency.

Figure 1.32 Giacomo Balla’s Dynamism Of a Dog On a Leash, 1912 Capturing movement in a singular frame by visualizing and abstracting

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Concept of Simultaneity and Multivalence of appearance

Viewer vs Observer/ perceiver

Concepts of Cubism Simultaneity in painting was a concept exemplified in the process where an object was taken up, simplified and dismembered to reveal each of its facets and layers. All these facets were then reassembled and rearranged, to be read simultaneously. The picture frame was, therefore, no longer composed of objects that the artist was merely seeing and representing as a viewer, but of fragmented compositions actively representing the artists’ perception of that object.

The perception was re-interpreted as seeing vs looking/ reading, viewing vs observing, seeing vs reading - the act of seeing from eyes vs seeing from the mind.

The forms in Jean Metzinger’s Tea Time, are broken into large facets or planes. (Figure 1.30) At the left a teacup and saucer are divided down their middle by a line, on one side of which they are seen in an elevation, while on the other side they are seen from above. Theoretically we know more about the teacup because we see it from two angles at once.

Metzinger’s teacup demonstrates the simultaneous revelation of more than one aspect of an object in an effort to express the total image. The crossing and merging transparent planes are a more complicated application of the same idea. Both the profiles of the face are shown in a singular view of the face. It is as if one is walking around the objects, as one is free to walk around a piece of sculpture for successive views.

Transparency

Simultaneity also delves into the perception of various spatial locations all at once, which brought the notion of Transparency. “Transparency, beyond the physical or optical aspects was furnished with allegorical qualities.”

It led to the assembly which reveals its components as one sequentially unfolds its layers, as opposed to a flat singular viewpoint exposing all components in the frame. (Figure 1.31) 30

(to be explained in later chapters)

Capturing phenomena of Movement in time

Further, Futurist artists took this idea further by exemplifying simultaneity and multivalence by capturing the object in movement- the displacement of object spatially, in time, for example, Giacomo Balla’s Dynamism Of a Dog On a Leash, 1912 (Figure 1.32). Although movement was expressed prior to this, futurist artists represented the varying facets of an object in motion in a single frame, which the painter interprets or visualizes, abstracts and captures in the painting.

Comparing to the classical artistic expression, where the perspective was limited by the direct depiction of the object bound by its version in reality, simultaneity was able to render multiple meanings and perspectives of vision as well as interpretation, hence becoming multivalent. This resulted in breaking the shackles and confines of space and time.

30 Jolly, P. (1989) Study of cubist concepts. (Undergraduate’s thesis). CEPT University, Ahmedabad.

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In the wake of Modernism, such experimentations and explorations unbound by the restraints of the real, opened doors for sculptors to explore such conceptions in three-dimension, and therefore, architects.

Art, hence, became the prototype for the early Modern era.

With the inception of theory of Relativity by Einstein, time, too, was now conceived as a fragmented reality, an overlapping of virtual and real time present as a juxtaposition, in contrast to the earlier notion of a singular, continuous and complete/ closed systems.

Time- a fragmented reality

“The will to imbibe a new perception to the meaning of space, solely existed as the production of an event and not as the revelation of somethng in permanence.” Hence, the notion of time and space now centered the discourse of modernism, as Einstein’s theory significantly modified the notion of time, and therefore its relation and association with space - a spatio-temporal tendency of physical world towards change.

Time- inseparable notion from space

Hence, as opposed to the Classical period, where the value of the artist was measured by his skill in recording the transparent reality, recording exactly what he saw, Modernism’s simultaneity and the intent to question of what reality is composed of, and the act of perception itself, became the primary importance.

Hence, it is not the mere ‘abstraction’ or ‘cubical’ aspect which stands unique of this period, but the understanding and breakdown of the content.

“What is decisive is the intention of a new approach, of a new spatial representation, and the means by which it is attained.’ The observer was hence, presented with the entire process of object’s reality and hence, the creator’s perception of it, reflected on the canvas.

Conception of Self-referentiality

“In the classical system of values, architecture was one of the specific applications of the broadest concepts of ‘art’; in the new/ modern, art became one of the components of architecture.”

Since architecture was a spatial applied art, space was the most significant element which got defined, articulated and animated.

A threefold relationship between object-creator and observer.

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Simultaneity accentuated the artist/ architect’s role, coming in the picture of perception, with the relationship between subject and creator also now becoming a dynamic one, now composed of subject-observerartist/perceiver, with the artist’s presence becoming exposed because of his subjective will in the interpretation of the painting, as well as the composition of his interpretation simultaneously.

Hence, art became growingly self-referential, and a threefold relationship between subject, object and the observer prevailed.

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Museum of Modern Art (New York, N.Y.), & Barr, A. H. (1966). Cubism and abstract art.

New York: Published for the Museum of Modern Art by Arno Press.

Giedion, S. (1941). Space, time and architecture: The growth of a new tradition. London, UK: Oxford University Press.

Museum of Modern Art (New York, N.Y.), & Barr, A. H. (1966). Cubism and abstract art.

New York: Published for the Museum of Modern Art by Arno Press.

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“The appearance change, the principle which underline the appearance reveals one and constant.

Therefore if a man would gain knowledge of nature, he must look beyond the changes that the surfaces, he must penetrate the principles which remain the same on all occasions.”

- John F. A. Taylor

Le Corbusier’s version of Cubism

Purism and Its Implications Amidee Ozenfant and C. E. Jeanneret (Le Corbusier) signed the manifesto Apresle Cubism in 1918, wherein they claimed that although Cubism was successful in erradicating certain destracting elements of realism from painting, resulting in a broken down reinterpreted perception of reality, the abstraction of reality had resulted in the degeneration into a mere playful and decorative element by this time.

This gave rise to a new movement, still within the Cubist domain, named ‘Purism’, which proposed: “The aim of pure science is the expression of natural law through the search of constraints. The aim of sensuous art is also the search of constant. The work of art must not be accidental, exceptional, impressionist...but on the contrary be generalized, static expressive of the invariant.”

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Purism as a scientific art

Le Corbusier and Ozenfant had sought to bring about such abstract values whch were devoid of associative, representational images, i.e. were composed of meaning, visually and not in the symbological analogy with something.

“The Purist theory was based on the law of mechanical ‘selection’ and the importance of geometric relationships between pure object types brought together ‘circumstance ansd relationship.’” Beyond form and colour, Purist construction focussed into the specidic study of aspects of pictorial space - the layering, projection of transparency (phenomenal) and an abstract exercise in the composition of object-types.

This theory enabled Le Corbusier to open up to new realms of exploration of forms.

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34 Banham, R. (2002). Theory and design in the first machine age. Oxford: Butterworth Architecture.

35 Colquhoun, A. (2002). Modern architecture. Oxford: Oxford University Press.

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1.1.7 Modernism - Age of Reinterpretations.

The first approach due to the busting of myths and misconceptions with the advancement of science, was to reject any ‘rule’ or ‘order’controlling the vision of arts and applied arts. The Classical order, as discussed before, composed of the basic conception of a formal Centre, a symmetrical composition with a strict axis, with volumes put one against another or on top of each other, each having its designated Centre through which the primary axis coincides with the circulation path cutting through.

Loss of Centrality

The Centre was formally existing in the Classical concept, irrespective of the presence of an observer, whereas in the case of a Modern composition, there is observed a loss of primary centrality, since none of the sub-spaces were ‘contained’. The centre now also shifted as the observer moves through the space, hence the meaning of space was generated by his position, as opposed to the earlier conception of centre revolving around the Divine Power. Each space and volume or enclosure flowed into each other, either physically or phenomenologically, with systems like movement paths and structural system criss-crossing each other, inciting the movement further into the space.

As explained by Gombrich, “The ‘concept’ or ‘will’ was elevated to a position of highest authority and certainty through perception and interpretation was identified as the origin.” Therefore, with the development of inventions, discoveries, the ‘will to perception’ brought forth the fact that the notion of reality was merely an outcome of the limitation of subjective vision. Hence, perception of the world shifted to the act of perception itself.

This Modern revolution, bearing the desire to explore the realm of perception, made possible the rejection of singular dominant Centre.

Rather, the conception of simultaneous perception of all aspects of space through displacement in time, inspired from Cubist concepts, began to commence, rendering it with multivalent layers of significance.

Direct representation of perception to the act of perception itself

With the growing inventions and discoveries, man began to challenge the existing to experiment with the limitations of the world he created around him.

Space, for the modern man, became a more fluid entity, responding and combining with time to exist in ever-changing modes with the passage of time. With the influence of revolutionary movement of art- Cubism, applied art simultaneously started to see experiments with simultaneous aspects of solid and void.

Challenging the existing limitations

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The primary aesthetic principle for Modernism was to incorporate the sensation of time and spatial relationships, due to the constant shifting of viewpoints and therefore, frame of view.

36 Gombrich, E. H. J. (2014). Art and illusion: A study in the psychology of pictorial representation. London: Phaidon.

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Hence, simultaneity or simultaneous perception, through phenomenal transparency or compositional layering, became the primary goal to express in a space, achieved through movement of observer in time. This was explored through contradiction of spatial readings through visual and spatial compositional strategies.

As remarked by Colin Rowe about Le Corbusier’s Villa at Garches, “The reality of a deep space is constantly opposed to the inference of a shallow space, and by means of the resultant tension, reading after reading is enforced.”

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Perception through Space, time and movement

Inferred from Architecture, Form, Space, and Order (Ching, 2014), architecture exists in form and space, whose due perception owes a great deal to movement. This movement in space is an organized system of various types of movements stimulated by architectural elements. As described by Mosleh Ahmadi in his study of The Experience of Movement in the Built Form and Space, “The types of movements not only include physical movement of a person in space, which is related to physical coordinates, but also other movements that are associated with mental and sensational coordinates of an explorer in the architectural promenade as well as the physical coordinates of the building itself.”

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Observer to Reader/ Explorer

Each element, now, was not merely ‘seen’ and ‘viewed’ as composed of its visible frontal appearances, but ‘observed’ or ‘read’ into the various layers and components that one unfolds, as one interprets it by exploring the spatially.

Infinite interpretations with infinite interpretors

Thus, with the conception of Cubism, architecture, too, was exposed to the conception of multivalence of each element, and the awareness that the same reality could be interpreted in as many ways as the interpreters.

With this, the assembly and composition of space making elements and systems became a crucial aspect to be considered while ‘designing’.

Hence, design, as a true sense of the word, came into existence in relation to interior architecture. The concepts of a continuous, infinite and flowing space viewed and appreciated at different viewpoints came into being.

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38 39

Rowe, C. (2009). The mathematics of the ideal villa and other essays. Cambridge, Mass: MIT Press.

Ching, F. D. K. (2015). Architecture: Form, space, & order. Hoboken, J. Wiley & Sons.

Ahmadi, M. (2019) The experience of movement in the built form and space. Cogent Arts and Humanities, Iran.

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Reinterpretation of elements As per the new Cubist conception of simultaneity and multivalence, it further argued that the negative or void also plays an equally important role in the composition and its perception. This also stands true for space in between and around the objects, which were given equal importance in creation, and hence, in the perception of it. This resulted in the element of space or void as not merely a leftover or a consequence, but as a positive constructive element of the picture surface.

Conception of void as an element

With the rise of Purism as a new conception of scientific art, Corbusier placed commonly found mass-produced objects, wherein he created a complex arrangement of hollowed out forms, revealing all possible aspects of these objects- their profiles and their planar views, set against one another or even superimposed or interlocking so that one is made conscious of ‘space’ as a positive formal element. Space was hence seen as an equal form-providing element to a composition.

This further led to a set of laws in 1920s, describing how human typically conceives and perceives objects by grouping them as a whole, recognizing patterns and simplifying complex configurations.

Similar to the Gestalt’s principles of grouping (Appendix A), Le Corbusier acknowledged the significance of context in the density of forms, moving away from the scientific aspect of resistance to a more psychological, intuitive take. “A form may seem more dense if surrounded by nothingness.” Here, both material and shape come into play: “Then there is the sensation of density: a tree or a hill is less powerful and of a feebler density than a geometrical disposition of forms. Marble is denser both to the eye and to the mind, than is wood, and so forth. Always you have gradation.” Le Corbusier and Ozenfant expressed this in their Purist paintings, wherein the subject was left simple to make their implied explorations of forms more pronounced.

Perception of whole is the sum of its perceived parts

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Colour, adding to the effect, carry the psychological power of ‘intense lyricism.’ “The meeting of pale green or of white with brown provokes a suppression of volume (weight) and amplifies the deployement of surfaces. Spaces, distances and forms, interior space and interior forms, interior route and exterior forms and exterior spaces - quantities, weights, distances, atmosphere, it is with these that we work.”

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Le Corbusier’s influence of Cubist and Purist art, his artistic sensibility to ‘assemble, synthesize and collage’ seemingly unrelated and contrasting elements, which when seen together and in entirety, allude to a newer meaning, which led to a more intriguing result of demonstrating his fusion approach.

40 41

42

Samuel, F. (2010). Le Corbusier and the architectural promenade. Basel: Birkhäuser.

Le Corbusier. (1970). Towards a new architecture. (F. Etchells, Trans.). London, UK: The Architectural Press Le Corbusier. (1970). Towards a new architecture. (F. Etchells, Trans.). London, UK: The Architectural Press

Montaged or fragmented reading

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These fragmented collage of fusion of contrasting and seemingly unrelated objects created a sense of tension, adding to the drama of his sculptural sublime spaces, progressively affecting his perception and evoking reactions from the explorer experiencing the space.

Colin Rowe has remarked, “It would seem that transparent form organization would be the instrument of design that permits collage as an attitude conducive to artifacts resulting from a technique that would render feasible a way of integrity to a number of pluralistic references.”

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The understanding of Space and Time in perception and conception has simultaneously undergone changes with Man’s shifting perception and conceptions of the known and the unknown in the surrounding universe.

Perceptions from visual frames - frozen to fragmented

In the classical age until Baroque, as established before, the spaces possessed no dynamics in terms of perception. The man’s role inside a space was reduced to a mere spectator or viewer, having frozen frame of views. In case of Modernism, these visual frames denied the whole giveability of space at once, giving fragmented views, inciting anticipation.

The essence of space itself was no longer a static isolated entity frozen in time. The movement of observer as an explorer becomes essential and crucial in shifting the viewpoints and thereby, framing multiple views of the same space, unfolding different attributes and revealing the various spatial nuances and their inter-relationships to truly grasp the sense of the spatial compositon.

With this growing use of human perception and experience as a primary goal, diagonal views were given prime importance, allowing a view of the various partial facets and layering of spaces. (Figure 1.33)

Sequential Perception

Concludingly, as against the space inside a classical building which could be grasped from essentially a singular two dimensional perspective drawing or a photograph taken from a prescribed viewing standpoint, for the Modern building to be experienced, the role of moving observer becomes significant.

The documentation of a Modernist building can be only attempted with sequentially captured views as the elements unfold and reveal its attributes and relationships, continuously flowing into each other like a singular poetry that one can comprehend only with the previous and next verse for context.

Expression of Dynamic elements - staircase

The use of elements of circulation system like ramps and staircases attempted to create a dialogue between the observer/ explorer and the built space, choreographing a person’s pauses and turns, and the overall experience through an experiential promenade best exemplified in the works of Le Corbusier. These circulation elements are turned into experiential objects in space and their strategic placement within the building volume generates new spatial reading for the explorer.

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Rowe, C., & Koetter, F. (2009). Collage city. Basel: Birkhauser

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Figure 1.33 Adolf Loos, Muller House, Vienna, 1927 Adoption of diagonal views for sensing the sequential spatial layering.

Figure 1.34 Staircase diagonally splicing the space inside the Artisan’s Dwelling by Le Corbusier A spatial ambiguity created by the orientation and placement of elements.

Figure 1.35 Plan of Palace of Assembly, Chandigarh by Le Corbusier Columns and walls reduced to dots and lines respectively.

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Thus, elements of circulation system fused with the spatial elements, giving a new meaning to the existing norms of systems. (Figure 1.34) Simultaineity, apart from being perceived with the layering of multiple elements by the architect, was also equally perceived by the observer in motion, observing the juxtaposition of aspects such as solid and the implication of void, a puncture on the plane facade implying the presence of another plane in the deep space, simultaneous presence of systems overlapping each other with their intent, to be grasped in their entirety.

Compelling effect felt instead of only seen visually

In the works of Le Corbusier, the compelling and dynamic effects of push-pull is more so expressed and accentuated with the assembly of overlapping systems, with the destination unknown, only revealed as one moves through it. (Figure 1.34)

Shift in expression - representational to self-referential

With the rejection of earlier static forms of beauty based on the direct implication of Nature and Divine orders, the aesthetic systems exemplified its will to validate by allowing objects to be honest to its own materiality and tectonics, changing the traditional concept of art from a representative to a self-referential ‘implied’ art.

Self-referentiality further led to the breaking of the classical formal box, where each element and each volume was contained, with futher subboxes of varying functionality and systems, assembled in a symmetrical fashion. “Now, the order seemed to have prevailed wherever the function of systems was effectively settled”.

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Re- perception and Re-interpretation - honesty of elements

A classical column was reduced simply to a dot in plan and a vertical line in elevation, signifying essentially its vertical load carrying functional attribute and a system of such columns merely the part of the structural system. Similarly, the wall was also reduced to merely a plane in elevation and a line in plan (Figure 1.35). A building thus, was freed from restrictions of proportionate orders.

As confirmed with Cubist paintings, “While painting can only imply the third dimension, architecture cannot suppress it.” . Architecture deals with both space and time.

With such concepts, architecture began to expand its vocabulary with addition of terms such as ‘Kinesthetics’, ‘dynamic equilibrium’, ‘relations of position’, ‘mutual relations’, with which it attempted to define and describe the perceptions of space-time relations, relative to the presence of human in the space.

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Movement and Perception in Space-Time context

Thus, the act of Movement and Perception in Space-Time context became the main components of the Modern architecture, with an interplay of the percpetions of subject, observer and the creator.

44 Sutaria, R. (2000) Understanding the change in the meaning of space from its spatio-

tectonic context. (Undergraduate’s thesis). CEPT University, Ahmedabad.

45 Jolly, P. (1989) Study of cubist concepts. (Undergraduate’s thesis). CEPT University, Ahmedabad.

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Figure 1.36 Still Life, 1919, Jeanneret or Le Corbusier- overlapping of planes, Figure 1.37 Muller House, 1929-30, Prague, Adolf Loos- Raumplan as a succession of layered spaces

Figure 1.39 Running on Balcony (1912) painting

by Giacomo Balla

Figure 1.38 Marcel Duchamp. Nude Descending a Staircase, No. 2 1912. Oil on canvas

Figure 1.40 Giacomo Balla’s Dynamism Of a Dog On a Leash, 1912 Capturing movement in a singular frame

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1.1.7.1 Cubist Concepts in Le Corbusier’s Architecture The concepts of cubism, giving way to a newer approach to seeing, reading/ perceiving and interpreting reality, in all forms and across disciplines, found its parallels in architecture as well.

“The new idea of physics amount to a different view of reality. The world is not a fixed solid array of objects, out there, for it cannot be fully separated from our perception of it. It shifts under our gaze, it interacts with us, and the knowledge that it yields has to be interpreted by us.”

Jacob Bronowski

Assembly and composition of reduced forms

During Modernism and the new architectural system, space was more than a static object, but a fluid dynamism to be explored with movement through space in time. Much like the cubist painting, modern built environment involved a new conception of composition and arrangement of elements and systems, revealing itsell gradually as one progresses to read the layers.

The influence of Cubism concepts was perhaps most clearly seen in the works and Le Corbusier, who himself acknowledged its influence in his perception and conception of his art and architecture.

A similarity in the interpretation of compositional layering is seen in the still life of Le Corbusier (Figure 1.36) and the Muller House by Adolf Loos.

(Figure 1.37)

Montage assembly as a method of fragmented composition

The components of Modern buildings, composed of tangible and intangible layers, was influenced by the Cubists, who broke large planes into smaller facets, to endow upon them abstract qualities of simultaneity, and thereby, literal and phenomenal transparency. There was observed a ‘montage’ or collage of “various planes, elements and systems, super imposed, interpenetrating and overlapping each other” , abandoning the idea of single frontal view.

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Expression of visual movement

In paintings such as Nude Descending a Staircase (Figure 1.38), Girl Running on a Balcony (Figure 1.39), and Dog on Leash (Figure 1.40), Marcel Duchamp and Giacomo Balla combined the Cubist technique of projected, interlocking planes with the superimposed time-motion sequences of cinematography. This technique enabled the artists to analyze the structural mechanics of forms, which are represented as moving in space past the viewer.

Where in a painting, it is possible to perceive the sense of third dimension by either projecting a space using a single point perspective as in traditional paintings, or by layering the planes on the picture surface in the cubist period, which get perceived as planes super-imposing, interpenetrating or overlapping and slicing each other so as to give a three-dimensional effect; in architecture the third dimension cannot be grasped by a stationery observer.

46

Museum of Modern Art (New York, N.Y.), & Barr, A. H. (1966). Cubism and abstract art.

New York: Published for the Museum of Modern Art by Arno Press.

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Figure 1.41 Still Life (1920) by CharlesÉdouard Jeanneret. As reproduced in both Art in Time and Le Corbusier Le Grand Principle of Reduction - Le Corbusier’s reduction of objects in geometrical forms

Figure 1.43 Gris, Juan: The Sunblind gouache, paper, chalk, and charcoal on canvas by Juan Gris, 1914; in Tate Modern, London.

Synthetic analytical approach

Figure 1.42 Georges Braque, Glass on a Table 1909–10, Tate Analytical Reduction approach

Spatial System

Structural System

Enclosure System

Circulation System

Figure 1.44 Sub-systems of Villa Savoye, Le Corbusier Analytical Reduction method, fragmenting a building of whole system into sub-systems.

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Based on the historic outline of Cubism, the three basic approaches are as follows: 1. Approach using ‘Reduction’ as the underlying principle 2. ‘Analytical Reduction’ - breaking down into systems and sub-systems 3. Approach which synthesizes the analytically reduced formal images into pictorial organism. (Figure 1.41-43) 47

1. The Principle of Reduction This approach essentially reduced the objects to their fundamental and essential characteristics, aiding to a process of simplification.

This thought is based on the assumption that all forms that exist in nature can be simplified to their basic geometric states. , without losing their recognizability.

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In paintings, this principle was explored by Le Corbusier, who reduced the forms of commonly found objects into geometric shapes using a cylinder, a sphere, and a pyramid, rendering the images of the objects flat. (Figure 1.41) Standardization

In architecture, A study of reduction of elaborate elements to their purer geometric forms reveal how Modern architecture incorporated this approach of reduction in columns, plinths, lintels, windows, etc., becoming more general, universal and simplified.

“This is what Le Corbusier meant by ‘standardization’, which means researching and fixing type elements that conform to and fulfil precise functions such as a column, beam, stair, etc. standardizing a system of structues. Mies’s ideal of ‘almost nothing’ reduces the building task to the status of industrial design on an enormous scale.”

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For Le Corbusier, the function of a window is to illuminate the walls, preferring a ribbon window as opposed to a vertical one, illuminating all surfaces of back walls. “The beauty of the shape of window lies in its proportions, the relation of its proportions to the overall proportions of the building, and in the detailing of the window form.” Similarly, the column is reduced to a vertical line in space and a point in plan.

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2. Analytical Reduction Approach Such a thought of reduction employs the act of analysing and breaking down in terms of structures at an elemental level, dissecting in addition to reduction. By the process of fragmentation, objects were seen as one organic matter with a unique potential of composition. These parts belonging to the inner layer are then projected along with the multiple views of the objects, giving rise to concepts of simultaneity and transparency in paintings.

47 Jolly, P. (1989) Study of cubist concepts. (Undergraduate’s thesis). CEPT University, Ahmedabad.

48 Jolly, P. (1989) Study of cubist concepts. (Undergraduate’s thesis). CEPT University, Ahmedabad.

49 Jolly, P. (1989) Study of cubist concepts. (Undergraduate’s thesis). CEPT University, Ahmedabad.

50 Le Corbusier. (1970). Towards a new architecture. (F. Etchells, Trans.). London, UK: The

Architectural Press.

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In architecture, influenced from the concept of fragmentation and simplified structure of form, the entire building was translated so as to assume to be a whole system, composed of sub-systems such as structural systems, system of enclosures, system of services, system of openings, system of spatial tectonics, circulation system, etc., each of which is further broken down into elements associated with only that particular system. For example, the enclosure system composed of elements such as walls, floors, roods, become reduced to planes. (Figure 1.44) This gives rise to explorations such as element of walls being only in a system of enclosure, freeing them from structural responsibility, which can be taken over by columns, hence enabling the ability to be transformed into any desired shape.

Reinterpretation of elements and systems

Further on, the next step is to assemble them together in such a way that there is an acknowledgment of a relationship with each other and a relationship with the whole.

The domino frame system of reinforced concrete construction (R.C.C.) is a rectangular frame, raised from the ground on six equidistant footings.

(Figure 1.45) From these, rise six R.C.C. columns of standarized measurements, which support the floor slab and stair element. Since the columns alone bear full structural load, the architect enjoys maximum freedom in organizing interior space.

The R.C.C. floor slabs without supporting the beams, overlap on the short sides and cantilever on the long sides, thus freeing the facade for visual manipulation and expression.

Figure 1.45 Le Corbusier’s domino frame of reinforced concrete

3. The Synthetic Approach “I do not seek, I find.” - Picasso As opposed to breaking apart by analysis, this approach synthesizes and then integrates. “The synthetic procedure was to penetrate by an act of intuition into the essence of the very object and thus to discover its basic characteristics, lacking which, it wouldn’t be what it is.” Hence, it was composed of simpler geometric planes, broader palette (mixed media) and more representable subject matter.

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51 Jolly, P. (1989) Study of cubist concepts. (Undergraduate’s thesis). CEPT University, Ahmedabad.

The domino frame

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The next step was to integrate them into a singular image, in the form of a collage. The resulting picture would then be composed of all its individual attributes, developed by the principle of metaphorical transparency.

The theoretical aspects of this approach of ‘conceptualization’ has remained intuitive, ambiguous it remained unexplored by the painters and art historians, hence, it is difficult to see its influence in architecture.

A study of Corbusier’s purist periods reveal “the usage of certain concepts and principles which are reflected in his design approaches: • Purification of objects into their geometric states • Reduction of building elements into systems and sub systems • assemblage • frontality of planes • gridding of space” 52

All these principles ultimately culminate into his ‘Five Points to Architecture’ - Open plan, gridded pilotis, free facade, strip windows, and roof garden.

(Figure 1.46)

Gridded Structural Pilotis

Strip/ Ribbon Windows

Roof Garden

Free Facade

Open Plan

Figure 1.46 Le Corbusier’s Five Points to Architecture Expanse in subject-observer relationship

Peter Eisenman described Modernism as “a state of mind which signalled a profound change in all the arts.”, rendering the objects as self-referential, as opposed to the representative arts of previous periods, mirroring the change in conception of Man and the object world like never before.

The traditional art and architecture, which had a static object-Man relationship, it was meant to be seen from a preferred point of view.

In the modern building, however, “space was not considered as the static space of Newtonian system but from a point in movement. The object had to be explored and experienced in its totality.”

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52 Jolly, P. (1989) Study of cubist concepts. (Undergraduate’s thesis). CEPT University, Ahmedabad.

53 Giedion, S. (1941). Space, time and architecture: The growth of a new tradition. London,

UK: Oxford University Press.

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Figure 1.47 Eadweard Muybridge’s sequential images capturing movement of a horse’s gallop.

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1.2 Motion Pictures as an Expression of Movement in Space-Time Context “Architecture exists, like cinema, in the dimension of time and movement. One conceives and reads a building in terms of sequences. To erect a building is to predict and seek effects of contrast and linkage through which one passes (...).

In the continuous shot/sequence that a building is, the architect works with cuts and edits, framings and openings (...). I like to work with a depth of field, reading space in terms of its thickness, hence the superimposition of different screens, planes legible from obligatory joints of passage which are to be found in all my buildings.”

- Jean Nouvel

Communication expression through the ages

The history of architecture not only comprises of the history of built environments designed by prominent established architects, but also the wide range of representations of architectural spaces in the arts and popular culture. Cinematic frames are a synergy of both spatial and visual aspects, assembled together to achieve the desired perception.

Prior to the inception of films as we know it, “forms of art and entertainment that had already featured moving and/or projected images include: shadowgraphy, used since prehistoric times; camera obscura- a natural phenomenon that has possibly been used as an artistic aid since prehistoric times; shadow puppetry, possibly originated around 200 BCE in Central Asia, India, Indonesia or China; magic lantern, developed in the 1650s, preceded by some incidental and/or inferior projectors stroboscopic ‘persistence of vision’ animation devices (phénakisticope since 1832, zoetrope since 1866, flip book since 1868)” 54

Illusion of movementcinematography

Cinematography is based on the illusion of movement by the recording and sequential rapid projection of many still photographic pictures on a screen.

In other words, “cinematography refers to the art and craft of capturing images, also known as motion picture photography. Also refered to as film, this is a visual art used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty or atmosphere by means of recorded or programmed moving images.”

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Phenomena of successive images for overal perception

1.2.1 Sense of perception - Capturing movement In 1878, Eadweard Muybridge successfully photographed a horse named in fast motion using a series of 24 stereoscopic cameras. The cameras were arranged along a track parallel to the horse’s, and each camera shutter was controlled by a trip wire triggered by the horse’s hooves. They were 21 inches apart to cover the 20 feet taken by the horse stride, taking pictures at one-thousandth of a second. At the end of the decade, Muybridge had adapted sequences of his photographs to a zoopraxiscope for short, primitive projected ‘movies’. (Figure 1.47) 56

54 Stephenson, R., Andrew, D., Manvell, R., Sklar, R., (2018, March 24). Motion picture.

Retrieved from https://www.britannica.com/art/motion-picture 55 Monaco, J. (2000). How to read a film: Movies, media, multimedia : language, history, theory. New York: Oxford University Press.

56 This was an experiment done to prove the position on a popularly debated question of the

time – whether all four feet of a horse were off the ground at the same time while trotting.

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Figure 1.48 Portrait of Maria Yermolova. 1905.

Oil on canvas, by Tretyakov Gallery

Figure 1.49 Portrait of Maria Yermolova. 1905. Oil on canvas, by Tretyakov Gallery Depicting the multifaceted juxtaposition of varied perspectives

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Usually chronophotography was regarded as a serious, even scientific, method to study motion and almost exclusively involved humans or animals performing a simple movement in front of the camera.

The first films to consist of more than one shot appeared toward the end of the 19th century.

Phenomena of persistence of vision

The illusion of motion pictures is based on the optical phenomena known as persistence of vision and the phi phenomenon. The first of these causes the brain to retain images cast upon the retina of the eye for a fraction of a second beyond their disappearance from the field of sight, while the latter creates apparent movement between images when they succeed one another rapidly. Together these phenomena permit the succession of still frames on a motion-picture film strip to represent continuous movement when projected at the proper speed. In other words, if images of the stages of an action are shown in fast succession, the human eye perceives them as a continuous movement, which gave rise to concepts of stop motion, motion pictures, animation, etc.

The gradual unrolling of a 12th-century Japanese hand scroll also produces the visual sensation of a helicopter flight along a river valley based on the similar method.

Eisenstein’s capturing of Montaged perception

In his reflections on the theory of montage, Eisenstein offers one of the most incisive examples of the plastic presence of movement in painting: the portrait of the theater actress Ermolova by Valentin Serov. The painting is presented as a sort of potentially cinematographic example. It consists of a montage of four different views with which the painter in turn frames and isolates four portraits within the picture- each portrait having a different point of view. (Figure 1.48, 1.49) We can look at this picture both close and distant, with the silhouette of the subject being expressive. It creates the overall impression similar to that of contemplating a monumental sculpture.

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Controlling the gaze of the observer

One of the forms of commonality that can be found in both painting and cinema, coinciding with an ‘architectural’ model, is the the path and duration of gaze, a duration that corresponds to the time the observer/ viewer’s gaze takes to pass through the different planes that make up and structure the work.

Reflecting on Eisenstein’s words, bringing them into the context of his reflection on the homogeneity between the methods of painting and cinema, the art of malleable composition lies in directing the viewer’s gaze along a specific path in the order desired by the work’s creator, which involves the motion of the eye over the surface of a canvas or screen of film.

57 Cinematographic here refers to the concentration on spontaneity of perception of the model and nature. In the development of light and color, the complex harmony of reflections, the sense of atmospheric saturation, and the fresh picturesque perception of the world gets reflected.

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1.2.2 Influence of Modernist Concepts On Cinema The revolutionary duo- director D. W. Griffith and cinematographer Billy Bitzer, worked together from 1908 to 1924 and made nearly 500 films, who are credited with the conception of significant film techniques, including the close-up, fade-out, soft focus, and backlighting. Griffith and Bitzer transformed the new medium into an expressive art form, enhancing the development of sense of perception in the domain of visual communication.

Visual communication and manipulation following the phenomena of vision

Conventions toward a general cinematic language developed over the years with editing, camera movements and other cinematic techniques contributing specific roles in the narrative of films. In Vertigo (1958), cinematographer Robert Burks used inventive lighting and tracking shots to give the experimental Vertigo a gauzy, dreamlike quality that perfectly suited its tragic tale of romantic obsession. Burks’ technical innovations also included the immortal “Vertigo Shot,” which recreates the heightsinduced dizziness of the film’s title.

G.A Smith pioneered the use of the close-up shot in his 1900 films ‘As Seen Through a Telescope’ and ‘Grandma’s Reading Glass’. In a series of films he produced at this time, he also introduced the use of subjective and objective point-of-view shots, the creation of dream-time and the use of reversing. His films were the first to establish the basics of coherent narrative and what became known as film language, or “film grammar”.

He was particularly influential in popularizing “cross-cutting”—using film editing to alternate between different events occurring at the same time—in order to build suspense. He still used many elements from the “primitive” style of movie-making that predated classical Hollywood’s continuity system, such as frontal staging, exaggerated gestures, minimal camera movement, and an absence of point of view shots.

Point of view method

William Haggar in particular innovated the first extant panning shots, often creating a sense of urgency and speed. His films were also recognised for their intelligent use of depth of staging and screen edges, while film academic Noël Burch praised Haggar’s effective use of off-screen space.

Visual manipulation

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Modernism was concerned with everyday life, perception, time and the kaleidoscopic and fractured experience of urban space. Cinema, with its techniques of close-up, panning, flashbacks and montage played a major role in shaping experimental works.

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In film, film grammar is defined as follows: A frame is a single still image. It is analogous to a letter.

A shot is a single continuous recording made by a camera. It is analogous to a word.

A scene is a series of related shots. It is analogous to a sentence. The study of transitions between scenes is described in film punctuation.

• A sequence is a series of scenes which together tell a major part of an entire story, such as that contained in a complete movie. It is analogous to a paragraph.

Jacobs, S. (2007). The wrong house: The architecture of Alfred Hitchcock. Rotterdam: 010 Publishers.

59 Jacobs, S. (2007). The wrong house: The architecture of Alfred Hitchcock. Rotterdam:

010 Publishers.

• • •

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Alfred Hitchcock’s Influence to Modern Cinema Alfred Hitchcock, one of the most influential and extensively studied English filmmakers in the history of cinema, practiced visual strategies for suspense-filled narratives based on frames as a montage or assembly of pictures, which he refered to as ‘pure cinema’, i.e. a narrative purely driven by the visual characteristics of each frame, tied together by their strategic sequencing, - not relying on secondary factors such as sound, music, dialogue, post production effects, etc.

Hitchcock carried this philosophy with heavily planned scripts, detailing out visuals down to the light quality, shadows, proportion and relation of figure-ground, camera placement, camera angles, and backgrounds, which offer more character than acting as mere backdrops. Because of this strict pre-designing of each frame leaving no scope of improvisation on set, which is observed to be the influence of a prior experience as a visual illustrator and title card designer during the era of silent films.

Audience manipulation through an orchestrated experience

Alfred Hitchcock himself noted, “Is a listener allowed to choose the notes he’ll hear? If you free the spectator to choose, you’re making theatre, not cinema.”

Hitchcock’s interest in visual narrative is well-documented and widelyknown. Even when sound took the place of inter-titles, he aimed to make films that would be intelligible in silence, that would work visually and across all verbal languages. Hitchcock’s understanding of modernity is that it is primarily experienced through vision – a vision that doesn’t leave our other senses untouched – and that cinema is the art of telling stories through moving pictures.

Role of composition - Direction as a constant labyrinthdiscovering and getting lost

Alfred Hitchcock’s response to visual manipulation was to constantly and actively insure via his direction that his audiences would be involved in ‘inconsistency and incoherence.’ Our assessments of characters, who they are, what their connections are with each other, continually changes or is made to change by the influence of the director and his/her choices of framing and overall filming. Hitchcock’s films specifically make it impossible for the viewer to stay in a position where they know for certain that their assumptions about the film are indeed correct or even that their assumptions are what they think their assumptions are. This chaos serves Hitchcock’s direction in enabling him to always be the one in control, the supreme dictator, the one who makes meaning. The ‘inconsistency and incoherence’ also becomes a tool that Hitchcock wields in order to confuse the audience and lead them down paths (in terms of making sense of the narrative) that are in essentially misleading.

As remarked by M. Rebecchi in Cinema As Architectural Art, “Hitchcock is the ‘puppet master’ who does this without the audience being aware of his manipulation so that audiences believe they are the source of the meaning and understanding of the film, when it is Alfred Hitchcock who is the producer of meaning for the audience.”

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Dimenberg, E. (2019). Moving eye: Film, television, architecture, and the modern.

UK:Oxford University Press.

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Modernist idea of explorer as the subordinate where the creator is the dictator or higher authority, as opposed to the classical order of Divine.

Their admission of their audience marks them off as self-conscious works of art.This method allows the audience to act like an active spectator, implants a self-consciousness within the film, with the audience actively exploring and attempting to grasp perceptions, while forming their own, which are ultimately, still guided by the director.

Constant play of spectator/ vs creator’s perception

Modernism was concerned with everyday life, perception, time and the kaleidoscopic and fractured experience of urban space. In the film, Rear Window, directed by Alfred Hitchcock, the opening scene begins with unfolding within the confined space of a rear window courtyard, which suggests the double possibility of looking back from an interior or looking into an area of observation – these strategies are, at once, parts of a story about viewing, icons of viewer pathology and manipulative elements within the ‘construction’ of a Hitchcock thriller. Hitchcock’s system of plotting his shots as frames within frames makes a stylistic use of specific points of view, in particular, the act of framing and the staging of action within a frame underscores the act of looking.

Voyeurism and defining the frame of vision

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Hitchcock’s thinking through images, termed as ‘pure cinema’, with highly detailed out storyboards for all aspects of mise-en-scene, exemplifies a Benjaminian perception, which translate everything, even words, into mental images. As Steven Jacobs describes in the introduction, referring to viewing relation into cinema as the beginning of cinematic modernism: “In the history of cinema Hitchcock appears as one who conceives the constitution of a film as a function of three terms – but as a function of three: the director, the film and the audience. or whose reactions must Christian Metz’s theory of Suturing reflected on the phenomena that audience psychologically place themselves inside the narrative, i.e. we experience film as if we are the camera lens –taking up various subject positions. Metz’s theory was unwittingly used in Hitchcock’s film language in order to allow for greater audience identification in the film

Audience as an active spectator/ explorer of the narrative

In trying to conceive cinema and architecture as two modes of expression and production of shapes and forms that reveal their shifting path to the viewer, Eisenstein comes relates to Le Corbusier’s idea of promenade architecturale: an architectural stroll’ in which the eye – in the technologized form of the film camera – traverses a space to construct visual paths, representations of virtual roads along which the elements that the artist wishes to place there and show to the viewer are arranged. The fact that both Eisenstein and Le Corbusier, in their interpretation of the ‘sequenced’ arrangement of the buildings of the Acropolis, made reference to the illustrations in Choisy’s Histoire de l’architecture is a clear sign of their like-mindedness in conceiving of cinema as an architectural art and architecture as potentially cinematographic art. (Figure 1.50)

Cinema and ArchitectureEisenstein and Le Corbusier

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Jacobs, S. (2007). The wrong house: The architecture of Alfred Hitchcock. Rotterdam: 010 Publishers.

Jacobs, S. (2007). The wrong house: The architecture of Alfred Hitchcock. Rotterdam: 010 Publishers.

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Figure 1.50 Propylaea of the Acropolis of Athens Arrangement of buildings in Acropolis

Concludingly, Le Corbusier too, was inevitably drawn to Eisenstein’s ideas on the principle of montage, particularly the concept storyboard as a construction process, adopting methods of perspective sketches in the conceptual process.

Eisenstein saw in architecture the model on which cinema must draw in constructing – through the unfolding of events distant from one another in time and space – a multiplicity of ‘imaginary lines of sight,’ which impose themselves on the gaze of an immobile viewer.

Eisenstein was able to build an architecture in film—not the imperfect static forms that one had to walk through or work hard to imagine their ecstatic movement, but through the “moving image itself understood as the highest technological achievement of modernism, thus achieving the (ecstatic) dissolution, in image, of modernist architecture.

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Surrogate mover for cinematic representation of architecture

Threefold relationship creator - subject - perceiver

Although Le Corbusier’s promenade architecturale is the manipulation of a body moving through actual space according to precise calculations of a visual sequence, the cinematic version, as staged by Corbusier and Chenal, faced the viewer with a surrogate body moving through space, but never presented the viewer with the scenes viewed by this body: an invisible entity merging with the image of an invisible architecture as a projection of a static viewer.

This gives support to the earlier argument, shift in audience of this era wherein creators experimented with the will to transform man as a mere viewer or observer to an active spectator, explorer or participant.

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Dimenberg, E. (2019). Moving eye: Film, television, architecture, and the modern.

UK:Oxford University Press.

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Concluding Inference

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The manifestation of these changing notions of space-time in terms of in Modernism can be concluded as • Shifting Visual Axis with the Loss of Centrality - As opposed to the univalence of Divine as the centre in the Classical age and the staticness of visual balance, the composition of built space was reinterpreted to dismiss wholly givable aspect of space conception.

• Representational to self-referential art - The notion of perception was merely the recording of reality on the basis of its superficial appearance. As opposed to the role of the architect or creator’s limited role in the interpretation of the Divine orders, and the mathematical assembly of these parts in a symmetrical harmonious manner, Modernistm gave way to independent of individual reflection of intellectual interpretation, and its relation with the man. Therefore, the shift from allowing reinterpretations of existing norms (the act of perception as the crux) • Inception of montaged perception - Learning from the Renaissance-Baroque conception of visual relationships, Modernism presented the representation of a fragmented realityconception of layered spatial relationships, explored and perceived sequentially.

• Threefold relationship - creator-subject-observer - With the act of constant ambiguity of the overalll perception, modernism established a threefold interplay of exploration.

• Viewer to observer to explorer- Concepts of Simultaneity and Multivalence constituted a Transparent order for the making as well as the reading of a Modern space or object.

• Static to shifting and floating viewpoints - Modernism, rejecting the univalence of symmetrical harmony, gave way to axial tensions, inciting a movement through the spaces, perceiving the multivalence of spaces from multiple viewpoints.

• New understanding of space and time - With the implication of exploration of spatial relationships, spaces realised experiments with momentum in spatio-temporal context.

• Rejection of whole boxed spaces - In an achieve spatial relationships, Modernism explored inter-flowing compositions with interpenetrating and layered assembly of forms, elements and systems.

• Void as an element - In order to achieve inter-fowing composition, void or negative space began to be considered as an equally significant spatial element - as an origin or source, than a mere consequence.

• Applied art meets functionality - Modernism derived implications at conceptual, psychological and phenomenological level.

• Visual Frames - With the threefold relationship inciting an equal participation of observer in space in the perception of the overall image of the architecture, observer’s perspective in space stands as the crux of the implications of spatial relations. Hence, visual frames capture the desired facets so as to choreograph the path of the observer in space.

Therefore, Modernism essentially began an interplay of perception between the observer-creator, as the explorer moves through the spaces, in the space-time context.

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“To be modern is not a fashion, it is a state. It is necessary to understand history, and he who understands history knows how to find continuity between that which was, that which is, and that which will be.�

- Le Corbusier

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Part II Movement and Perception in Spatial-Temporal Context

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Overview With the dawn of modernism in the late 19th century, art and architecture saw experiments that challenged the way we perceived them, and addressed the limitations to it.

Architecture of Modern era, as can be observed from Le Corbusier’s concept of promenade”an architectural stroll in which the eye and the entire body traverses a space to construct visual paths, along which the elements that the artist wishes to place there and show to the viewer, are arranged.” , can be read as experimentations with a series of choreographed revelations and concealments, allowing the visitor to experience the various facets of space in a kinesthetic method. This part of the thesis delves further into the aspects of spatial manipulation through the progressive view in the architectural stroll. Understanding concepts of this theatricality and its ability to reorient the occupant to their surroundings, demonstrating movement’s role in sequential progression of overall perception of space, examining the idea of multiple viewpoints in emotive architecture.

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Predominantly, this research will look to address the aspect of kinesthetics in architectural spaces, and how a gradual unravelling and encountering of elements and spaces can be exemplified by studying the implication of concepts by the artist and architect Le Corbusier, who consciously interpreted the space making elements’ role in providing a fluid flow of movement through the spaces, i.e. everything is not revealed at once at the entrance.

"Architecture exists. like cinema. in the dimension of time and movement"

-Jean Nouvel.

When we move through a built space, we perceive every visual frame and interpret it in relation to the adjacent frame, which is termed as serial or episodic vision, a phenomena based on persistent perception of montaged assembly. Various elements, assembled consciously and strategically to lead along a desired path, intuitively drive our movement forward and the involuntary pauses and turns. Even though the phenomenon of movement in a building is ephemeral, it is crucial towards influencing the overall imageability of the building. As one moves through a building, one explores the spatial relationships unravel.

This section, hence, delves further into the methods of building subject-observer-creator relationship through the methods of kinesthetic perception in a spatio-temporal context.

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Le Corbusier. (1970). Towards a new architecture. (F. Etchells, Trans.). London, UK: The Architectural Press.

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2.1 Comparitive Argument 2.1.1 Kinesthetic Perception of Traditional Indian Architecture vs Modernist Approach of Le Corbusier While moving through old step wells mosques, temples, palaces or other traditional monuments in India, there is a strong presence felt of the architecture while moving through the orchestrated experience path, right from the entrance to the other end.

A multiplicity of experiences which are felt due to the sequential movement from one point to another, is strongly expressed in both a monumental architecture and in the modernist approach of an evocative experience. These experiences are the result of informed design decisions seeking highly orchestrated experience of space. Where one seeks to show its monumentality through its scale and proportions, the modernist architecture of Le Corbusier tends to bridge the gap between an observer and his relation with the spaces, by adding dynamism and reducing the sense of monumentality.

This chapter further compares the values of these two methods of space tectonics and its implication in two seemingly similar in movement and perception values, yet different in expression and intent in these eras of architecture.

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Traditional Indian Architecture Visual Axis (Axial pull)

While the physical axis may occasionally shift vertically or horizontally, giving rise to secondary axes and multiplicity of experiences, either the journey (visual axis) until the destination point is giveable right from the beginning of the journey, or is present as a clear sight for a visual reference for the observer moving through the spaces. The physical and visual axis are distinct.

Figure 2.2 Physical axis

Figure 2.1 Adalaj stepwell

Defined visual axis, though physical axis may shift vertically

Physical Axis

The ground plane modulations lying on the axis acting as physical barriers, manipulate the visual axis through shifting movement path, and acting as thresholds so as to reorient the observer moving in space, providing an orchestrated movement experience.

The prolonged circumambulatory pathway contain clearly defined giveable destination points, physical axis, and visual axis, where the constant pauses, turns and shifts transforms into a ritual in itself.

Figure 2.3 Vithalaswami Temple

Figure 2.4 Section through Adalaj Stepwell

Figure 2.5 Physical axis Prolonged a) circumambulatory and b) linear physical axis with distinct visual axis for the destination point.

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Modernist Approach of Le Corbusier The loss of centrality and a primary axis in Le Corbusier’s work provides freedom with the spatial layering of the composition of spatial forms, which are placed deliberately keeping in mind axial pulls. Hence, the constantly shifting visual axes become the physical axes, generating a constant sense of ambiguity over the next point, and therefore, the destination point, as the explorer moves further.

The non-linear composition of spaces through the shifting axes of movement helps sequentially encounter the spatiality and therefore, the continuation of the visual and physical axes.

Figure 2.6 Shifting visual axis raising ambiguity towards destination point

As the architect choreographs the movement, providing visual clues, the change in direction and diversion causes the observer to reorient himself, changing the axis. Thus, there is a constant shift in the perceived axis.

There is no primary or a secondary movement axis marked by the volume. It is only the free flowing curvilinear enclosing planes, as well as the column grid, which act as the reference for movement path. Since the spaces consist of strategic placement and assembly of enclosing system and structural system, the entire remaining floor space acts as the circulation space, where the movement is choreographed by the visual forces of compression and release of curvilinear forms.

Figure 2.7 Constantly shifting physical axis and visual axis reorienting the observer

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Traditional Indian Architecture Type of Perception

In traditional Indian architecture, inlaid semiotic messages in the form of motifs and symbols are prevalent, operating the perception based on familiairity and association involving socio-cultural conditioning. This extra layer on the experiential narrative creates an associative bond, making the experience holistic. Hence, the symbolic overtones lend to the overall perception as sensorial and associative, however, this perception is contextual and only effective for the observer of Indian native.

Figure 2.8 Sensorial and Associative Perception

Static vs Shifting Viewpoints and Frame of Views

With the highly orchestrated pathways, using manipulations of movement path, the traditional Indian architecture of monuments and temples involve strategic alignment of visual frames. capturing and boasting various views of the architecture. However, these wholly giveable frames to be viewed from a designated static viewpoints, which capture the beauty of the architecture, making one pause and look at them in awe.

Figure 2.9 Framed whole vision of a minaret of Taj Mahal, Agra

Figure 2.10 Framed view of Jahaz Mahal, Mandu

Framed views capturing architecture from static viewpoints

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Le Corbusier uses experiential perception, which differs vastly as this perception deals with the mental and emotional response of the perceiver, which may differ from one person to another. This perception is instantaneous and reactionary to the spatial nuances, hence leading to varied responses.

Sensorial perception is also applied wherein the basic physiological responses to the spatial forces are universal to all. This is applied through techniques of visual manipulations through Gestalts’ principles.

Figure 2.11 Sensorial and Experiential perception caused by techniques of axial pull, visual hierarchy, etc.

The frame of views in Modernist architecture is a way to provide movement clues, giving an insight on the spatial layering and provide visual depth. These framed views provide fragmented views, to be perceived from shifing viewpoints to grasp in entirety, thus inciting movement.

Figure 2.12 Visual layering in the High court building, Chandigarh

Figure 2.13 High court building, Chandigarh

Framed views providing fragmented views of spatial layering, to be perceived through shifting viewpoints.

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Traditional Indian Architecture Capturing the spaces

With the static prescribed viewpoints at strategic placements for specific visual frames highlighting the qualities of architecture, whole architectural views can be captured with two dimensional images.

Observer’s role in spatial perception

With the visual axis clearly defining destination points as a reference, the shifting physical axis gives the observer a subordinate role in the perception of the architecture, the movement path being orchestrated with static viewpoints and thresholds decided by the architect.

Systems and interrelationships

Each of the groups or entities exist as individual ‘wholes’, in the manner of notion, form and function, connected together by visual juxtaposition and adjacency as well as the organizational axis and the implied path of movement. These volumes are arranged with geometry and symmetry at its core.

The visual transparency is established by the manner of each element being a part of a bigger system, both whole independently, a religiousphilosophical translation of world within worlds. The structural, circulation, enclosing and spatial systems, all coexist independently without overlapping to create any interrelationship between them.

Figure 2.14 a) Adalaj stepwell, individual ‘whole’ components

Figure 2.15 b) Kailash Temple composed of individual ‘wholes’.

a) Composition and stacking of individual ‘wholes’.

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Since the Modernist architecture, with its shifting visual and physical axes, cannot be perceived from a static viewpoint, the entire spatial configuration can only be grasped with continuous perception as the observer moves through the spaces. The spaces can hence, be documented as a series of sequential montage of fragmented views.

Since the visual axis in the works of Le Corbusier is ambiguious, Corbusier worked in a system of montaged assembly, wherein he brought together distinct images of spatial configuration, that when read sequentially, cause the reader to make associations between them. The constant play of perception with free flowing movement paths, alongwith experiential and sensorial types of perception, allow for an active role of observer in exploring the spaces.

With the concept of open plan, Le Corbusier explored the freedom of placing the sub-systems, i.e. the enclosing system, structural system, circulation system and spatial system, treating them as fragmented systems, flowing into one another, developing an inter-relationship between them.

The composition is allowed a freedom of assembly of the fragmented elements and systems, with options of subtractive, additive, superimposing and overlapping configurations.

Figure 2.16  The four compositions of Le Corbusier, allowing subtraction, addition, overlapping and interlocking

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Traditional Indian Architecture Spatial Composition and spatial layering

The sub-divisions of basic load-bearing elaborate elements provide an extra layer of transparency. Though phenomenal transparency is exemplified horizontally, vertically, it remains limited to being dependent on the movement through it.

Visual interest

Although traditional architecture boasts elaborate elements, with awestriking vistas and visual frames which can be admired for a long time, the organization of spaces is rather symmetrical with static datums which are almost always visually apparent, leading the movement of the observer in a particular direction. This visual frames to be viewed from static viewpoints, and the clear visual axis defeats the visual interest for allowing the observer to explore the spaces in a random pathway to discover the spatial nuances.

Choices of movement

Although the movement path is often predominantly linear or circumambulatory, regular thresholds and their ability to reorient the observer in space provide clues for the informed choices for movement.

This specifically designed movement pattern allows for an orchestrated experience with strategic alignment of visual frames.

These allow the observer to perceive and comprehend the references, shifting their pace of walk at a designated manner based on the creator’s perception. This makes the entire process of walking and perceiving one-sided.

Gustav Freytag linked the basic stages of a rigid dramatic sequence in classical architecture, known as Freytag’s five-part dramatic arc, which is used by architects as well as film makers to structure a narrative: • • • • • • •

Introduction or exposition Inciting incident Rising action Complication Climax Reversal Denouement1 Figure 2.17 Shifting physical axis reorienting the observer

Figure 2.18 Shifting physical axis reorienting the observer

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Freytag, G., & MacEwan, E. J. (2013). Freytag’s Technique of the drama: An exposition of dramatic composition and art. Amsterdam: Nabu Public Domain Reprints.

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Le Corbusier, influenced by the concepts of Cubism and Purism of simultaneity, implicated nuances of spatial layering through interflowing systems and sub-systems, causing instances of phenomenal transparencies which generate visual interest. The spatial layering, both vertically and horizontally, reoirents the observer and causes an active participation of constant perception of spaces.

The complex visual and spatial layering of elements and forms, constantly challenges the perception of the observer, causing multiple shifting viewpoints to overlook the spatial nuances, perceived only as fragmented images.

The shifting physical and visual axes, with constant play of perceiving the spatial relationships and ambiguity of approaching elements, with constant concealmeants and subsequent revealments, the observer is made to actively participate in the exploration through perception of spaces by walking through it.

Since the spaces consist of strategic placement and assembly of enclosing system and structural system, the entire remaining floor space acts as the circulation space.

Although there is a sequential series of stages of Le Corbusier’s architectural promenade, which he manipulated and abstracted from the classical sequence, the movement demands for a sensorial based decision of movement path, with constant disorientation, concealments and consequent revelations.

Figure 2.19  Constant disorientation and reorientation, path not declared from the headstart

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Traditional Indian Architecture Thresholds

The ground plane modulations lying on the axis acting as physical barriers, manipulate the clear visual axis through shifting movement path, and acting as thresholds so as to reorient the observer moving in space.

These thresholds are physical and prominently present, acting as a higher power to orchestrate the movement of the explorer in space, providing the same experience for every individual. Their role only lies in re-orienting the observer’s perspective to the prescribed static visual frames capturing the desired views of the built.

Figure 2.20 Physical axis

Figure 2.21 Thresholds

Proportions

Kinesthetics provide for constantly shifting points of visual references and varied compositions.

The basic proportioning system of the compositions down to the details are derived from the Divine orders of geometrical composition with symmetry governing the spatial relationships.

The relative proportion’s effect with respect to human is monumental, with the human as a subordinate entity in space and its perception.

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Although the movement path is more free-flowing, thresholds and their ability to disorient and reorient the observer in space provide clues for the informed choices for movement further in space. These allow the observer to pause only to perceive, and not merely view, the space and comprehend the references, wherein each individual has the freedom to shift their pace of walk at their own command based on the perception. This makes the entire process of walking personal and intuitively experiential, with the spatial layering unfolding gradually as one sequentially reads the spatial relationships.

These thresholds can be physical, but also indirectly perceived sensationally or experientially.

Figure 2.22 Physical barrier along the path acting as a threshold, reorienting the observer’s path

Figure 2.23 Indirect threshold of visual layering creating a moment of pause and interpretation

Le Corbusier’s Modular proportioning marks a departure from the dependence on geometric plan of classical architecture to three-dimensionally designed spaces with visual coordination.

The proportioning system is designed keeping the scale of human in mind. The spatial composition as well is derived from the personally derived proportioning system of Modular, abstracted from the proportions of human body, and the golden section, abstracted from the interpretation of nature.

The derivations from Nature are abstracted in the form of the golden section, which also play a role in providing a human-oriented harmonious proportioning system.

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2.1.2 Inference Orchestrated vs Choreographed Spaces

As orchestrated compositions are one-sided, highly controlled by the orchestrator, it allows no expression of the player himself. Similarly, an orchestrated space is a rigid entity with static and prescribed nuances, where the observer plays a subordinate role, merely playing along as per the order and dictation of the orchestrator’s (architect) creation.

A choreography is a two-way reflection of the expression of the choreographer as well as the performer. Therefore, a choreographed space involves an active participation of the observer‘s perception in space, guided by the choreographer’s perception through his arrangement and organization of the spatial character.

As observed from the comparision, although traditional Indian architecture offered a multiplicity of visual experiences through the concept of kinesthetics, the movement, however was orchestrated - with strict physical axis, strategic placement of visual frames to be viewed from static prescribed viewpoints, prominent physical thresholds, symmetrical spatial composition and strong visual reference of destination points. The reader of space has a subordinate role in the space, his movements dictated or orchestrated by the architect.

Method of perception in traditional Indian architecture was a series of specific framed views capturing the whole essence of spatial character in one frame, however, Modernism allowed a montaged perception through the overlapping of these spaces and hence, the framed views, capturing only fragmented facets of focal points to incite further exploration.

The movement in Le Corbusier’s spatial field is choreographed, wherein the fluidity of spatial composition allows for an intuitive movement through the spaces, based on constant perceptions of the visual frames. These frames are conceived and perceived as one unfolds the various spatial layers framed as fragmented entities, which can be grasped in its entirety through sequential encountering of these montaged frames.

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Creator-subject-observer relationship

As discussed in the previous section, the role of Man in a space with strategically placed static visual frames, to be merely viewed from prescribed instances, makes the man to have a more subordinate role, acting as a mere viewer of the spatial nuances. The visibly distinct visual axis and destination point from his physical axis reminds the observer of his subordinate role while moving through the prolonged and indirect physical path.

The creator’s creativity is both a freedom and a limitation. Where the organization is governed by the laws of symmetry, geometry and prescribed orders, the creativity of composition, too, is bound by the spatial frames at fixed instances, to be viewed only from particular viewpoints.

The role of the architect or creator stands higher than the role of observer in space as the movement path is highly orchestrated with fixed frame of views capturing flat scenes of the architecture, with no scope of personal exploration or interpretation of the visual references for the observer in space.

Hence, the relationship between the creator, subject and the observer is discreet and doesn’t allow them to interact in the act of perception, reducing the role of observer to a mere viewer and the creator to a constructor of functional spaces and prescribed instances.

In the case of Le Corbusier’s architectural promenade, he allows a more dynamic participation of the observer in space, with visual clues hinting at the spatial layering of spaces adopted from the concepts of phenomenal transparency. The deliberate composition of spatial entities providing fragmented views rather than revealing the entire form makes for a constant participation of the reader through continuous perception of the visual frames. Architects challenged this aspect further to allow a varied set of experiences by providing a sensorial labyrinth of circulation paths, providing various shifting viewpoints, unlike the rigid and static approach in traditional system with limited compositional values.

The role of creator is enhanced with the Modernist concepts of reinterpretation of spatial elements and systems, providing the freedom for the expression of forms and their assembly in space, with dynamic inter-flowing relationships between them. The spatial layering explored through concepts of phenomenal transparency and simultaneity works as a chance for the creator to play with elements and systems, freed from the earlier perceptions of prescribed notions.

Hence, the relationship between the creator, subject and the observer is dynamic and interactive. The observer becomes an explorer in space, unfolding the spatial perceptions as he encounters the tectonics, and the creator becomes a designer, who re-interprets the notions of spatial entities and composes them to create intellectually more profound and dramatic spaces.

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Figure 2.24 Direct implications of speed in the form

Figure 2.25 Rapheal’s st. Michael, 1502, Futurist painters such as Balla used ideas of axial tension to celebrate speed and movement.

Figure 2.26 Marcel Duchamp’s Nude Descending a Staircase (1912) also attempted to capture the entire sequence of action through “stop-action” imagery.

Figure 2.27 Giacomo Balla, Futurpesci (1924). Prior to motion pictures, artists tried to show movement through diagonal (off-balance) use of line and positioning of images in the composition.

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2.2 Expression of Movement in space-time context 2.2.1 Visual Movement With the structurally and compositionally dramatic explorations of Modernism, there was an addition of re-interpretation of the way the spaces talked to an observer. In contrast to the Classical static and formal spaces, Modernism explored compelling spaces inducing movement through the spaces so as to perceive the architecture. Often, views, visual depth, distant light, and qualities of phenomenal and literal transparencies hinting at the spatial layering, all aid to the driving the reader on.

2.2.1.1 Types of Visual Movement Literal and visual-compositional movement Movement can be largely described as literal or compositional.

Literal movement refers to the physical aspect of functional movement of designed objects, such as cars, airplanes, even some architectural works such as that of Santiago Calatrava.

Cars, when first invented met their movement function, however, the form did not suggest movement. Even after the mass production of automobiles began, the design had little to do with the fact of movement. With the development of engineering concepts of aerodynamics in the 1930s, automobiles began suggesting movement and speed in their form.

(Figure 2.24)

“Compositional movement began moreso with the romantic fascination with expression of pace of movement as a theme in the early 20th century.”

With the advent of avant-garde concepts such as Cubism, the challenge for artists and those working with static media, was how to explore a sense of implied movement on a fixed image. Artists began exploring virtual movement, or projected movement, wherein particular patterns deceive the eyes, creating a sense of illusion of movement. Futurist artists, such as Giacomo Balla, began to express movement through visual manipulations, such as diagonal use of line and composition of images. New approaches of movement were suggested with the multiple frame images of motion picture film and stop motion photography. Artist Marcel Duchamp used these concepts to exaggerate speed and movement, with the use of stopaction imagery. (Figure 2.25, 2.26) 65

This arrangement of elements in a static frame, guiding the viewer’s eye through the composition to create a sense of movement, is what is termed as visual-compositional movement, which can be horizontal, vertical, rotational or free. Architects as well, have since challenged their art to create spaces which provide a stage for compositional movement within a stationary structure. (Figure 2.27) 65

Leary, V. (2014). Movement in Architecture (Undergraduate’s thesis). Waterford University of Technology, Ireland.

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Bodily Movement Through Space/ Kinesthetic

Spatial movement - circulation

Vertical

Horizontal

Compositional movement

Visual movement

Mental movement

Literal

Perceptual

Compositional

Vertical

dynamic

static

Associative passage of time

Horizontal

Sensorial

tendency arousal

Rotational

Free

Figure 2.28  Types of movement experienced by a body

Figure 2.29  an installation at the Museum of Modern Art, Carcas, suggesting perceptual movement

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2.2.2 Spatio-Compositional movement

“Architectural elements are not just the visual elements of architecture.

Rather, they are configurations which interact with memory thought, imagination, eye, and body.�

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2.2.2.1 Types of spatio-compositional movement a. Perceived/ Perceptual movement Apart from physical forces that cause motion through the spaces, there are intangible forces in the built form that are perceived psychologically and induce a sense of movement in the observer’s mind. These forces include inertia, dynamism, imagined forces, and visual forces, also described by Ching in his concept of visual inertia, which explains the stability of forms.

- wherein a low degree of visual stability in form induces a sense of movement due to the expected gravitational force. For example, the reverse pyramidal form of the Museum of Modern Art in Caracas. (Figure 2.29) 67

Movement factors

Perceptual movement may be with associated with several factors, such as difference in intensity or polarity, variability in size or shape, rhythmic geometry, intensified perspective, and properties of spatial enclosedness.

These differences perceptually induce a sense of tension between the forms, make one object to be in motion compared to another object, shifting movement of the eye of the observer as well.

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Dynamic and Static perceived movement

Perceived compositional movement may be regarded as static: wherein, movement of the eye that jumps between the components of the visual frame, attracted by similarities such as related shape or color. Compositions inducing static movement are characterized by repetition of closed, isolated shapes with high contrasts of color and/or value. (Figure 2.30) Visual perceived movement may also be classified as dynamic, characterized by movement of the eye that flows smoothly from one area of the composition to another, guided by continuations of line or form, and by gradations of color or form. (will be explained under the next section) Dynamic movement is characterized by shapes that closely relate to adjacent shapes. (Figure 2.31) Similar to visual-compositional, perceived spatio-compositional movements may also be vertical, horizontal, rotational or free. They can be perceived in the example of Khaju Bridge (Figure 2.32, 2.33) where horizontal movement across porches, vertical movement along the columns, rotational movement around ornaments, and free movement of the eye from form to form and through spaces are induced. Free movement of the eye is the predominant in the case of observing Tabiat Bridge due to the multiplying pattern of its structural elements (Figure 2.33, 2.34)

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Pallasmaa, J. (2007). The architecture of image: Existential space in cinema. Helsinki: Rakennustieto Publishing.

Ching, F. D. K. (2015). Architecture: Form, space, & order. Hoboken N.J.: J. Wiley & Sons Arnheim, R. (2011). Art and visual perception: A psychology of the creative eye. Berkeley: University of California Press.

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Figure 2.30 (name unknown) Static perceived movement

Figure 2.32 Khaju bridge, Iran

Figure 2.34 Tabiat bridge, Iran

Figure 2.31 (name unknown) Dynamic perceived movement

Figure 2.33 Khaju bridge, Iran

Figure 2.35 Tabiat bridge, Iran - top view

Visual movement. Ocular movement and projected movement (a), rotational movement (Shahneshin of Khaju’s ornaments) (b). Free movement of the eye (Tabait bridge) (c).

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b. Associative movement Pallasmaa, describing the aspect of mental association, states that “resemblance, contiguity, as well as cause and effect are principles of mental association” What is inferred is that resemblance and contiguity are the two attributes of association through which the mental movement related to architecture can be derived. If the observer is already expecting the provokation evoked by a form, the spatial relations is perceived as associative to another mental image.

In other words, the impact of the forces of forms become reminiscent of a particular occurring object or a creature in motion. When reading the configuration of Tabiat Bridge from above, it may resembles a flying eagle with spread wings (Figure 2.31): “rhythmic subtractions in the form represent feathers of its wings and a projected form (dais) at the middle of the bridge represents its head.” On the other hand, an explorer at a particular place might discover a connection between the space and a specific personal memory, stimulating the explorer to have a personal mental time travel, transforming the space to a place.

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Furthermore, Ching argues that: “While the act of traversing up a stairway may convey privacy, aloofness, or detachment, the process of going down can imply moving toward secure, protected, or stable ground.” These notions of security and privacy can be regarded as psychological motivations, having associative effect of the visual frame. Where perceptual and associative movements are caused and stimulated by the form as a direct response, circulatory and sensational movements are induced by being present in space, constantly perceiving the spatial relationships.

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Tendency, arousal and passage of time

c. Sensorial movement The sense of movement belongs to one of the nine senses of the human body (proprioception). Sensational or sensorial movement is what is motivated and induced by the response of the senses. “Sensory thoughts are outputs of the presence of an explorer in the architectural space, conceived in a collaborative process through our sensory organs and that would generate imagination” . In other words, it is the response of the explorer’s body to the spatial tectonics.

In the study of Mosleh Ahmadi, The Experience of movement in the built form and space, ‘arousal”, ‘time passage’, and ‘tendency’ are considered as the components of sensational movement. For example, when an explorer is positioned in a built space with a low degree of enclosedness and with an intensified perspective toward a direction, he would sensually have a tendency to move toward that particular direction - even before starting the body movement.

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A profound architectural experience is the way it is encountered – the way it is approached and confronted, related to one’s body.

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Pallasmaa, J. (2007). The architecture of image: Existential space in cinema. Helsinki: Rakennustieto Publishing.

Ahmadi, M. (2019) The experience of movement in the built form and space. Cogent Arts and Humanities, Iran.

Ching, F. D. K. (2015). Architecture: Form, space, & order. Hoboken N.J.: J. Wiley & Sons Pallasmaa, J. (2007). The architecture of image: Existential space in cinema. Helsinki: Rakennustieto Publishing.

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Gothic church’s evocative spatial experession causing sensorial movement

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Plummer’s metaphor of Gothic churches describing sensorial interpretations as ‘stone forests’ - “virtual and actual trails weave through and around thousands of slender marble spires, which foliate into screens and filigrees, catching and absorbing our vision, slowing us down but giving us choices on how we might scramble over the rooftops.” As described, being in such spaces would give us a sense of ascension or tendency to reach the ‘heavens’. Therefore, this sense could be infused by adding a quality of heightened verticality, or even by looking at elements which attract our attention to the sky. This phenomena is implicated to orchestrate the experience of an observer in religious places.

Architecture can create such conditions wherein an explorer could feel trapped motion in his own body, a sense of sudden excitement at an elevated ramp or promenade, or a sense of anticipation at a space with partial views of the pathway or the spatial layering.

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“Movement is the design element that operates in the fourth dimension - time.”74

- C. Jirousek

Movement factors in architecture

The two apparent parameters of movement are the passage of time and the object in space. By creating particular conditions, the manipulations with passage of time and momentum of the movement cause innovative techniques of choreographing movement, which is what creates profound architecture that requires an intellectual reading of these intents and strategies.

The aforementioned types of movement correspond to the architectural factors and elements which cause motion, each of them stimulated by a certain factor visual and compositional factor - and its instaneous impact as well as perceptive reading. Architectural elements are not just the visual elements of architecture. “Rather, they are configurations which interact with memory, thought, imagination, eye, and body. They are sometimes the manifestations of movement per se. In some references, continuity, sequence and flow as well as transparency are considered as the factors promoting movement.”

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Sequence, hierarchy, and various divisions of sections of privacy are of key factors in the the movement narrative in a temple or a mosque. Ching further introduces “approach, axis, circulation space, path, the flow of space, elevated planes, hierarchy, rhythm, light, enclosure, opening, asymmetrical curved surfaces or multiple perspectives, as well as linear and radial geometry” as the architectural elements and factors which contain movement or would stimulate it, whose impact is further explained in the next chapter of perception.

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Ahmadi, M. (2019) The experience of movement in the built form and space. Cogent Arts and Humanities, Iran.

Jirousek, C., & Cornell University. (1990). Art, design and visual thinking. Ithaca, New York: Dept. of Textiles and Apparel. Cornell University.

Pallasmaa, J. (2007). The architecture of image: Existential space in cinema. Helsinki: Rakennustieto Publishing.

Ching, F. D. K. (2015). Architecture: Form, space, & order. Hoboken N.J.: J. Wiley & Sons

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path

SPACE 1

SPACE 1

SPACE 2

interaction

Straight Path

SPACE 2

No Path layers of explorative experience path

path SPACE 2

SPACE 1

SPACE 2

SPACE 1 transition

Circumambulatory Path

Transitional Path

-addition of visual elements while on a straight path, resulting in a transformative experience path

SPACE 3 SPACE 2

SPACE 1

SPACE 2

SPACE 1

SPACE 4 addition of drama with shifting views transition

Path Through Inter-spaces

Changing Vistas Along The Path

shifting views resulting in a montaged percepton of space 2

Figure 2.36 Types of circulation paths

SPACE 1

path

path SPACE 2

Changing Vistas Along The Path - descending down towards darkness

SPACE 2

SPACE 1

Changing Vistas Along The Path - ascending up towards light

Figure 2.37 Changing vistas and the impact of movement on sensorial perception

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2.2.3 Spatial Movement - Circulation Circulation is a process that initiates instantly by being present in an architectural place, and “whether we are conscious or innocent of this process, our bodies and our movement are in constant dialogue with our buildings” Body responds as a result of the visual forces, a component of circulation as a product of the movement of an explorer in relation to the built space. This is often termed as a kinesthetic movement. (as opposed to kinetic movement wherein the architectural element itself is in motion.)

In relation to this interactive relationship, Plummer argues that: “The kinetic elements of buildings- doors, windows, shutters, and gates, that we are able to directly control and adjust with our fingers and hands”, which can give us the power to instantly alter the space around us in desirable ways by shifting the qualities of space.

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This movement can essentially be horizontal and vertical traverse.

Movement involves transformation in the context of space and time, and hence, its quality and impact can be altered with the alteration of perceived effect and the implication of time.

2.2.3.1 Types of Circulation Paths

“Like the spider with its web, so every subject weaves relationship between itself and particular properties of objects; the many strands are then woven together and finally form the basis of the subject’s very existence.”

— Jakob von Uexkull Circulation paths differ in nature depending on the way the visual and physical axis interacts with the spatial flow. Paths can be linear, circumambulatory, transitional, through inter-spaces- having changing vistas along the circulation, or without path with conjoined/overlapping spaces. (Figure 2.36) Spatial relationships, like inside and outside, near and far away, above and below are physical qualities that explain orientation, building a mutually adaptive relativity with the human body.

The visual perception at the human eye-level while transversing through a space provides the only accurate reality of spatial tectonics. Objects placed above or below eye-level may be perceived differently, causing a different bodily and sensorial response. Spatial relationships unfold sequentially forming a process of constant concealment and revelation, bringing in the element of exploration, the conception of the Modernist idea of active observer participation. This is enhanced by shifting perspectives and visual axes, shifting pace of movement with space and time strategies.

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Ching, F. D. K. (2015). Architecture: Form, space, & order. Hoboken N.J.: J. Wiley & Sons

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Types of Perception affecting the overall reading of space

Compositional perception

Visual perception

Spatial perception

visual-compositional

sensorial

spatio-compositional

experiential

associational

Figure 2.38 Types of perception

associational

Looking up at something in - awe -admiration -respect -ambition

Looking down at something in - contemplation -reflection -retrospection -downfall

Figure 2.39 An effect of sensorial and experiential perception

Figure 2.40 Subtractive form in Casa Rotunda at Stabio

Note The principles of Gestalts are reinterpreted and rearranged.

Gestalts in itself is a whole fixed framework that had to be rearranged based on the previously mentioned theories, however, the basics are based on similar aspects of psychology. On reading Gestalts first, which was only a 2d study, led me to this customised framework of three dimensional effect of visuals on psychology and perception, under the lens of movement and perception.

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2.3 Perception in Space-Time Context 2.3.1 Types of perception

Architecturally, spaces can be read with visual, compositional - visual and spatial, and spatial perception. (Figure 2.38) 2.3.1.1 Visual perception As discussed in the previous section, Modernism brought about the celebration of the act of perception inside a built space. Visual Perception takes place primarily at three levels - Sensorial, Experiential and Associational.

Sensorial Perception

Sensorial perception primarily deals with the “physiological comforts accrued from physical resolution, essentially in response to environmental control.”78 This bodily response is universal to all humans.

Experiential Perception

Experiential perception differs vastly as this perception deals with the mental and emotional response of the perceiver, which may differ from one person to another. This perception is instantaneous and reactionary to the spatial nuances.

Associational Perception

The associational perception is a localized perception, “requiring preconditioning and familiarity with the context or the acquired information base.”79 The complete perception occurs with the wholesome balance of the three types of perceptions.

An observer seeks the pushes and pulls in visual patterns, perceptually containing motion. Elements and forms that are close to each other exemplify an interaction repulsion. On the contrary, if they are at a distance from each other, they show an attractive force towards each other, acting as nodes in space.

Referring to the Gestalts’ principles of subtractive forms, Ching brings the Casa Rotunda at Stabio as an example (Figure 2.40), explaining “We search for regularity and continuity in the forms we see within our field of vision. If any of the primary solids is partially hidden from our view, we tend to complete its form and visualize it as if it were whole because the mind fills in what the eyes do not see.”

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Pandya, Y. (2005). Concept of space: In traditional Indian architecture. India: Mapin Publishing Pvt Ltd. Pandya, Y. (2005). Concept of space: In traditional Indian architecture. India: Mapin Publishing Pvt Ltd. Ching, F. D. K. (2015). Architecture: Form, space, & order. Hoboken, J. Wiley & Sons.

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Experiencing space is a subtle act of the human body and mind.

We use our eyes to visually examine a space, making thousands of subconscious computations every second. Wayfinding, orientation, direction, etc. all come from such visual clues.

Psychological effects of lines The direction of the line is the strongest aspects of directionality because it leads the gaze of the eye, invoking focus towards a direction. Applies to the assembly of elements and the combination of same in a pattern.

• Vertical lines are awake, alert, defy gravity, rigid, firm, stable, strong (a) • Horizontal lines are restful, yield to gravity, create quiet, repose, passivity, or serenity (b) • Diagonal lines appear undecided, unstable, busy, active, dynamic, restless, dramatic, sporty, lengthening, and reduce horizontal or vertical shapes. (c)

Diagonal lines pointing upwards tend to lift up or make space appear lighter, happier, more youthful; whereas lines pointing down have the opposite effect causing the space to appear older, heavier, somber, or droopy.

• A horizontal line combined with a vertical line creates stillness, staticness, equilibrium. For example, the framework of a building, column and beam grid in the domino frame, tread and riser in the staircase. (d) Physical Effects • Divisions into long narrow vertical spaces - heightens, lengthens and slims the space perception, drawing the gaze upwards. (c) • Divisions into horizontal sections - shortens and widens, keeping the eye level steady forwards. (c)

a) vertical arrangement of lines on a surface

b) horizontal arrangement of lines on a surface

c) diagonal arrangement of lines on a surface, pointing upwards and downwards

DIRECTIONAL PRINCIPLES There are eight directional principles of design, which can be implicated to manipulate the perception of a space: A. REPETITION Use of the same thing arranged recurringly.

There can be identified two basic types of repetition • regular - identical elements including spacing and steady, predictable strong direction. Regular vertical spacing of horizontal lines perceives as a strong vertical direction and reduce the widening effect of the horizontal line.

• irregular or varied spacing weakens direction, though retaining the physical effect of widening and heightened verticality.

d) horizontality combined with verticality in the domino frame creating equilibrium.

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Visual Effects: • Eye moves from one use of an element to the next which emphasizes the direction of movement.

• Repeat in the direction you want to emphasize.

Psychological effects: • Regular repetition is soothing and reassuring, irregular repetition helps things relate subtlety. (e) • Larger repeating shapes enlarge a surface while smaller repeating shapes make the space seem tinier than it is. example, the exposed brick work makes the perception of the space more compact as compared to a space with blank walls. (f) e) regular repetition, generating effects of widening or linearity.

f) irregular repetition with weakened effect of direction.

B. PARALLELISM Use of lines lying on the same plane equidistant at all points and never meeting or having the potential of meeting. (g) • Direction is always perpendicular to the direction of the parallel repeats.

• Necessarily involves repetition, and hence, the similar visual and psychological effects in a spatial dimension.

Visual effects: • emphasising a direction of pathway, visual axis Psychological effects: • reassuring axial pull • a repetition of parallel elements in a sequence such as columns generate the effect of a plane.

g) Parallelism of columns generating a sense of plane

C. SEQUENCE Following of differing things one after another in a particular order, regular succession. The sequence can be of elements, forms, lines, textures, developing a pattern of regularity. For example, brick bond sequence. (h) • Each item must have its own meaning and thus repetition is not necessarily needed.

• Without its own meaning there is no sequence unless there is repetition.

Psychological Effects: Builds to a climax and releases

h) Sequence in a brick bond

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D. ALTERNATION A specific combination of repetition and sequence, repeated sequence of two and only two things that change back and forth in the same order; (i) Example: • Alternating axis, thickness, continuity, patterns, and length • Alternating space within a sequence of forms and elements • Alternating texture e.g. thick and opaque with thin and sheer Visual effects: • can help build visual hierarchy

i) alternation of space within a sequence of elements, developing a visual pull

Psychological effects: • generates an expectation of the next continuing sequence • can help direct the tendency towards a particular direction since the characteristic is relative to the contextual adjacent elements.

E. GRADATION Sequence of adjacent units, with process of change through a consecutive series of distinguishable increases or decreases. (j) The progression must continue consistently, in more than two steps to be more than a comparison.

Progression may build to a climax and stop, begin again or reverse to the beginning.

Visual effects: • Stronger if used in a single long series rather than in short repeated sets.

• The longer the gradation sequence the greater the climax.

• Enhances illusion of visual depth.

• Greater changes between each step accent differences, slight changes lessen apparent differences

j) gradation of light quality strengthening visual pull.

Psychological effects: • Strengthen effect of element used since changes invite comparison of contrast.

• Builds intensity of feeling, suggesting assurance towards a direction F. TRANSITION A smooth, flowing passage from one condition and position to another with no break point, step or distinct place to pinpoint the change. Gradation is distinct, transition is gradual and subtle. (k) Visual effects: • A linear principle, emphasizes the direction • The eyes seek a breakpoint that doesn’t exist causing the

k) transition of one space to another through change in volume

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view to pause and read the entire area.

• Creates a smooth, sinuous flow Psychological effects: • The reader observes a shift of one space from another • A pause or slowing down of pace of movement can be observed.

G. RADIATION The feeling of movement steadily bursting outward in all directions from a visible or suggested central point. (l)

l) radiation effect from a dome

Visual effects: • Must be used sparingly because it controls attention powerfully.

• Lines that fan out in several directions make the area near the point seem smaller • A suggested central point heightens interest creating a focal point, questioning where the lines would converge.

H. RHYTHM The sense of organized movement or an arrangement of internally organized motion. Rhythm does not require repetition but gains strength from it. (m) Visual effects: • Emphasizes the direction in which the movement flows.

• The more lively the unity the more attention it commands.

m) rhythmic effect of staircase

Psychological effects: • Satisfying and harmonious if predictable.

• Shorter or smoother rhythm is calming, the longer the development to climax the more exciting • irregular shapes generate dynamic rhythm, for example, free forms I. EFFECT OF COLOR TONE OR SHADE

expanding the space stretches vertically

Figure 2.41 Diagrams of directional principles

highlighting the wall

closing the space

shortening the space

decreasing the space elongating the space bringing the ceiling down

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Figure 2.42 French Cubism & Italian Futurism – Picasso’s The Clarinet Player, 1911 – literal transparency in Cubism, a figure in deep space Figure 2.43 Braque’s The Portuguese, 1911 – phenomenal transparency in Cubism, a shallow flattened extended space Transparency: Literal and Phenomenal

Figure 2.44 Axonometric of Le Corbusier’s Still Life, 1920; layering of frontal planes Figure 2.45 Le Corbusier’s Still Life, 1920 Figure 2.46 Le Corbusier’s Still Life, 1920 Layering & Stratification of Frontal Planes: Layering in Le Corbusier’s Work

Figure 2.47 La Sarraz’s literal transparency

Figure 2.48 Fernand Leger’s phenomenal transparency

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b. Compositional perception 1) Visual-Compositional perception Perceptual and Conceptual visual Transparency

Conceptual artist Sol Le Witt in the 1960s reinterpretted the quality of transparency as being either perceptual or conceptual/ phenomenal, bearing to the role of interpretation in Cubist and Conceptual arts of early 1900s.

Transparency in Painting - Literal and Phenomenal

Rowe and Slutzky, in their essay on Transparency: Literal & Phenomenal , discuss the difference between the two types of transparency of the Cubist paintings of the early 1910s as illustrative of these two orders or phenomena of transparency (concepts alluding to space-time relativity).

They compare and illustrate the difference between literal and phenomenal transparency in Picasso’s The Clarinet Player, 1911 (being literal, a figure in deep space) and Braque’s The Portuguese, 1911 (being phenomenal, a shallow flattened extended space). (Figure 2.42, 2.43) 81

Le Corbusier’s Still Lifes (Figure 2.44-2.46) speak of both literal and phenomenal transparency; of both overlapping transparent figures (wine glass and bottle) and overlapping – yet flattening – planes (objects) in space. The painting depicts spatial ambiguities; a property of transparency, due to an illusion of deep yet shallow space, causing a fluctuation of back and forth movement of objects and planes advancing and receding simultaneously.

Describing these paintings, Rowe defines literal transparency as the physical translucence inherent in a material or structure, a quality inherent to substance or matter, such as in mesh screens, translucent walls, etc.

There is no ambiguity as to the form or that which lies behind the plane of the transparent surface.

Conversely, conceptual transparency exists when a designer deliberately abstracts space, not through the use of overlaying transparent planes, but through the reorganization of multiple spacial grids that would normally define a plane. Therefore, it is a quality inherent in the compositional organization.

In the first (Figure 2.47), artist La Sarraz paints with literal transparency in his pigments in order to layer the receding layers of planes, leaving nothing to the imagination since the transparency of the planes allows the observer to see through each layer.

Conversely, Fernand Leger’s painting in (Figure 2.48) suggests an arrangement of the various planes spatially, as each of the three sections of the painting invade and repel the neighboring spaces. In this way, the observer is invited to conceive the composition of the painting in order to make sense of the ambiguity of arrangement, allowing for a myriad of interpretations.

81 Rowe, C., Slutzky, R., & Hoesli, B.(1997). Transparency. Boston, Mass: Birkhäuser Verlag.

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Figure 2.49 (left): Section (top) and Plan (bottom) of Loo’s Moller House (Vienna, 1927-8); diagonal arrow denotes the Journey of the Gaze passing though the successive planes/frames. (right): Axonometric of Loo’s Muller House (Prague, 1929-30), illustrating the multiple planes/ frames within the interior; a theatre within the house.

The Diagonal View – The Journey of the Gaze

Figure 2.51 (left): Axonometric of Le Corbusier’s Villa Stein at Garches 1927/28; layering of frontal planes, (right): Le Corbusier’s Villa Stein at Garches 1927/28.

Figure 2.50 Compositional phenomenal transparency hinting at the spatial layering

Layering & Stratification of Frontal Planes: Layering in Le Corbusier’s Work

“My architecture is not conceived in plans, but in spaces (cubes). I do not design floor plans, facades, sections.

I design spaces. For me, there is no ground floor, first floor etc…. For me, there are only contiguous, continual spaces…Storeys merge and spaces relate to each other.” - Adolf Loos Figure 2.52 Adolf Loos’ Raumplan

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2) Spatio-Compositional perception In 2014 research from Edvard and May-Britt Moser, discovered a series of geometric grid-like cells in the human brain, function much like a GPS system, allowing us to spatially map and navigate space in an objective way. By using acceleration, movement and speed, our brain records how we move through space. This means that for each spatial arrangement, there is an objective recording and reading occurring within our brains. We are able to dimensionally map rough floor plans and sectional relationships within our brain, using spatial information written by our internal GPS. Literal Spatial Transparency

As in visual perception, literal form of spatial transparency refers to the literally transparent surfaces, The regularity of the grid that connects each of the building’s faces further informs the viewer of the spatial layers, leaving very little to the imagination.

Phenomenal Spatial Transparency

Rowe and Slutzky, quotes Gyorgy Kepes for defining transparency as “a result of transparent figures interpenetrating each other without optical destruction.” Transparency means a simultaneous perception of different spatial locations. “Space not only recedes but fluctuates in a continuous activity. This overlapping and interpenetrating of figures conjures an ambiguity or contradiction of spatial dimensions.” The successive spatial layers best viewed at an oblique angle from one viewpoint, and best interpreted and perceived by a movement through it. (Figure 2.49) This phenomenon allows for two objects to co-exist simultaneously in the same space and time, as such transparency is a space-time condition of betweeness, a simultaneous perception of space.

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Looking vs Reading Seeing Vs Looking/ perceiving

Here one can observe the distinction between the phenomena of reading and looking, Reading opposes itself to looking, as a different kind of visual attention, including the reading by the mind. Where literal transparency is a transparency of looking, as the transparent conditions arise due to an overlapping of clear material, whereas Conceptual/ Phenomenal transparency demands reading, thus engaging the mind of the observer, in order to interpret and understand successive layered spaces, converting a viewer to an observer. (Figure 2.50, 2.51)

Eye vs Mind

Hence, to reiterate the conditions of transparency, literal transparency engages the eye of the viewer through the overlapping layers, whereas phenomenal transparency is an implied transparency of of organization, engaging the mind of the perceiver to interpret the spatial composition.

Two modes of layering

Therefore, in architecture, transparency is not only a condition of material or substance, permitting the ‘passing through’ of light, air, and sight, but also a condition of organization and composition. Hence, there exists two modes of transparency and layering, the Layering of Planes/Surfaces and the Layering of Spaces.

82 Rowe, C., Slutzky, R., & Hoesli, B.(1997). Transparency. Boston, Mass: Birkhäuser Verlag.

83 Rowe, C., Slutzky, R., & Hoesli, B.(1997). Transparency. Boston, Mass: Birkhäuser Verlag.

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Figure 2.53 Figure 2.54 (left): Le Corbusier’s La Roche House; interpenetrating spaces, (right): Le Corbusier’s Cook House, 1926/27; interpenetrating, interlocking, & blending of interior & exterior, between the roof & interior spaces.

Figure 2.55 Bahaus as a case of literal transparency

Figure 2.56 Villa stein at Garches as a case of phenomenal transparency with simultaneity of opaque and glass surface, concealing and hiding information at the same time

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“Loo’s Raumplan…turned the experience of the house into a spatiotemporal labyrinth, making it difficult to form a mental image of the whole” 84

Adolf Loos, an influential theorist of modern architecture, states that his architecture is not conceived in plan, but rather in terms of assembled three-dimensional cubes, hence achieving a merging of storeys and spaces into a continuous space, divided by planes or frames arranged in a layered order. (Figure 2.52) Loo’s notion of the Raum (or Space) - plan is a case of vertical phenomenal transparency, that is, a transparency produced by the articulation of sequential and continuous spaces, one flowing into another, divided by planes or frames. The rooms evolving around the central steps, allows visual connection among the variety of spaces with different vertical proportions. Piercing walls in between the spaces, frame the views in a diagonal direction, giving the interior an almost theatrical quality, often described as ‘voyeuristic’.

Both the plan and section of the Muller House of Adolf Loos show a diagonal arrow, denoting the perspectival view in and out. The arrows in both the plan and section refer to the same visual path, both denoting the same sequence of framed views.(Figure 2.49) The Raumplan demonstrates a framing of frames, a seeing or penetrating through the successive visual frames.

Sigfried Giedion describes in his book, Building in France, building in iron, building in ferroconcrete, “By their design, all buildings today are as open as possible. They blur their arbitrary boundaries. Seek connection and interpenetration” .

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Giedion relates the notion of intepenetration to both Le Corbusier’s paintings and buildings, claiming, “Just as transparent objects interpenetrate in the painting, so Corbusier with every means also lightens the traditional gravity of the house. Air flows through Le Corbusier’s houses; there is only one indivisible space where the shell falls away between interior and exterior . The spatial interpretation exists in the Cook’s House, where the exterior roof terrace space and the adjacent interior spaces blend by means of an interlocking gesture.” (Figure 2.54) 86

Rowe and Slutzky describe the Bauhaus as a case of literal transparency, whereas Le Corbusier’s villa of Stein as an implication of phenomenal transparency.(Figure 2.56)

84 85

86

Colquhoun, A. (2002). Modern architecture. Oxford: Oxford University Press.

Mertins, D. (1998). Transparencies yet to come: Sigfried Giedion and the prehistory of architectural modernity. Ann Arbor: UMI. Mertins, D. (1998). Transparencies yet to come: Sigfried Giedion and the prehistory of architectural modernity. Ann Arbor: UMI.

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Figure 2.57 Layering & Stratification of Frontal Planes: Layering in Le Corbusier’s Villa Stein at Garches

Figure 2.58 (left) Eisenman axonometric analysis diagram of Terragnis Casa del Fascio- layering of frontal planes, (right) Eisenmans House II- a layered reading or interpretation-actual vs implied

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“The vertical layer-like stratification of Le Corbusier’s villa of Stein produces a layering and creates a succession or sequence of laterally extended spaces travelling one behind the other.” (Figure 2.57) The five layers of space, vertically divide the building’s volume, whereas the four layers cut through the volume horizontally, claiming attention; and this gridding of space will then result in continuous fluctuations of interpretation.”The fluctuation or oscillating planes or layers produces an ambiguity of spatial depth in its simultaneity of vision or perception of multiple or overlapping planes and readings.

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“Spatial continuity between rooms was created not by omitting walls but by piercing them with wide openings so that views were always frame. Often the connection between rooms was only visual, as through a proscenium. At their interface, these spaces had a theatrical quality” 88 - Alan Colquhoun

In Peter Eisenman’s geometrical analysis of the Casa del Fascio by Giuseppe Terragni, exemplifies how the frontal plane of the southwest façade acts as a series of successive layered planes. (Figure 2.58) The layering effect produces an ambuguity between the actual geometry and an implied geometry; between real void or the negative and implied volume which is positive or solid.

Eisenman then describes a “dialectic or an opposition between an actual relationship and an implied relationship in the environment using the column and the wall, and the wall and the volume” . Here, the real and the implied inter-relationships of transparent modes act in opposition to each other, producing ambiguous superimposed readings of planes and spaces.

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As can be observed in the villa at Garches’, Le Corbusier uses irregular facade and broken grid, providing enough detail, by adding and subtracting, for the observer to complete the interpretation of the spatial depth through the opaque walls, hence, not relying on literal transparency. Rowe asserts that “Le Corbusier purposefully included design features that act as points of reference that imply spaces not immediately discernible.”

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The facades are broken down into a basic, skeletal organization, yet a closer look reveals that “objects function as a series of relief layers for the further articulation of the space.” Hence, different understandings get revealed through the interrelationships between figures within a composition.

As a result, conceptual transparency can blurr the boundary between the figure and its ground – which exemplifies the way we phenomenologically experience visual entities as a sum totality, which refers to the Gestalt psychology, suggesting that our sensory perception already processes the information it receives before transferring it to the mind, which is the phenomena explored by the Modernist architects.

87 Rowe, C., Slutzky, R., & Hoesli, B.(1997). Transparency. Boston, Mass: Birkhäuser Verlag.

88 Colquhoun, A. (2002). Modern architecture. Oxford: Oxford University Press.

89 Eisenman, P. (January 01, 1984). The End of the Classical: The End of the Beginning, the

End of the End. Perspecta, 21, 155-173.

90 Rowe, C. (2009). The mathematics of the ideal villa and other essays. Cambridge, Mass:

MIT Press.

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2.3.2 Montaged Perception The Historical and Theoretical Evolution of Montaged Assembly Montage as a concept initially, was not explored in the realm of architecture, but a concept in cinematic representation using motion pictures, as a technique to stitch together short scenes in a sequential order so as to create a meaningful narrative. The term montage originated from the French language - the verb, ‘monter’, meaning ‘to assemble’. “Even though it may appear as if these elements are arbitrary, they are not; having been strategically selected, curated and represented to have that specific effect on the audience”

Montage - to assemble

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As discussed in the previous section, Sergei Eisenstein was a film director and a theorist who started off by creating links between architecture and film so as to capture motion in space, simultaneously generating frames of spaces. Inspired by his work, modernist architects, predominantly Bernard Tschurni, Fala Atelier and Rem Koolhaas, Le Corbusier, began to interpret space in a sequential order adding to the discourse on a cinematic experience through architecture.

Architects often used this method to stitch together aspects of a choreograophed narrative flow, allowing the observer to encounter specific spatial tectonics in a sequential order, underpinned by successive stages that the architect desires to manipulate the experience through the spaces by. (These stages implicated by Le Corbusier will be discussed in the part 3 of the thesis)

Capturing motion in space

A French philosopher and sociologist named Henri Lefebvre was another theorist that contributed some critical concepts to the discussion of montage in architecture at urban scale, talking about the city as being a series of narratives, commenting that a city contains spatial qualities which overlap, thereby creating a spatial montage. “These spaces that lie within the urban fabric contain layers of value ad meaning and therefore the occupants of the city would conceive this as a visual and spatial montage.”

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“Montage is a visual that could be read as imaginative, abstract or even open-ended.” This allowed for a choreographed movement through Modernist architecture, with an active participation from the observer through his constant perception. Le Corbusier further allowed a constant back and forth of perception by disorienting and reorienting the observer, creating a labyrinth of space.

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91 Eisenstein, S. M. (1986). The psychology of composition. London: Methuen.

92 Lefebvre, H., & Goonewardena, K. (2008). Space, difference, everyday life. New York: Routledge.

93 Eisenstein, S. M. (1986). The psychology of composition. London: Methuen.

Space as a constant labyrinth

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Four Perspectives of Montage

Montage has the ability to shift the users’ passive relationship with the surrounding built space to an active participation of continuous act of perception.

Alienation- Establishing a critical distance for engaging observercreativity, meaning that the familiar contents are presented in an unfamiliar way to get a new effect such that the observer does not encounter the expected relationships, and is made to perceive the connections profoundly.

Alienation is used as a tool to disrupt, alert and awaken the audience from a passive receptive role.

Non-Organicity- Sustaining a continuous and open conversation between people and the built environment, based on how it relates to the part and whole.

As opposed to organicity, which is a seamless composition where all parts are to be read as a whole and continuous product and vice-versa, nonorganicity suggests that the product is expected to be read as a composition of fragments, wherein the interpretation which ties them together is subjective or shifts constantly.

Isolation: Creation of Fragments- The creation of pieces or fragments that contain the attributes of alienation and non-organicity.

Isolation is about the focus on ‘detail’ to achieve the critical distance between user and the surroundings. For example, materials could be intensified or focused upon through a contrast or contradicting relationship - the effect of the concept of simultaneity.

Gap: assembly of fragments- Gaps provide deeper understanding to the arrangement of the fragments that would hold the non-organic quality.

Jonathan Hill identified three types of montage of gaps 1. “A spatial gap- the latent space between fragments, 2. Sensual gap- where the sensual contradiction occurs, or a sense is completely eliminated, where people either create a new hybrid interpretation in the case of a contradiction or fill in their interpretations in the case of absence.

3. Semantic gap- where usual expectations were not met and needs to be created.”

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94 Hill, J. (2019). The architecture of ruins: Designs on the past, present and future. Milton: Routledge.

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c. Spatial Perception “...Humans impose through them (buildings) their own order on nature and in doing so, introduce that tug of balance between the way things are and the way we want them…”

- A History of Architecture, Spiro Kostoff

Space structuring consists of two aspects - the physical as well as the non-physical, i.e. where there is an absence of material or mass. There is a relationship between them, where the amount of opaque enclosure would signify the weight of solidity and the transparency would accentuate the lightness of the void.

To have a comprehensive perception, a certain order to the void is introduced, meaning that even void has an underlying role in the overall perception, which accentuates the relationship of various solid elements, creating a cohesive correlation of mass and void.

Hence, a spatial perception contains the reading through visual as well as compositional perception, and the relativity to human is what determines its quality.

The objects are not perceived as isolated elements but in relation with the voids in between. Just how silence constitutes an integral part in musical composition, so also the void that forms an important part of the perception of built environment.

a) Asymmetrical compositions allow dynamism and exploration, reducing monumentality.

All experience implies the acts of recollecting, remembering and comparing. In memorable experience of architecture, space matter and time fuse into one single dimension, penetrating the consciousness.

MONUMENTALITY monumentality refers to the effect of imposing in size, bulk or solidity.

• Symmetry - Symmetrical spaces and the perfect reflection of one space along an axis creates a submissive role for the user, as they allow for less variation and dynamism, pertaining a rigid hierarchy.

• Complexity - Higher the complexity of the forms and its intricacies, the more difficult it is to grasp it in its entirety.

The simpler the forms and geometries, the easier it becomes to either perceive it on its entirety or make an interpretation of the expectation of the facets, reducing its monumentality.

• Scale - Understanding architectural scale implies the unconscious measuring of an object or a building with one’s body, and projecting one’s bodily scheme on the space in question. We feel pleasure and protection when the body

b) simpler forms reduce monumentality

c) Scale, relative and absolute

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discovers its resonance in space. Scale with respect to human also plays a role in deciphering the monumentality of a space. The spatial effects of scale differ as to whether it is the absolute scale of an object or space or relative to that of another. Entering narrow passageways before being led into an expansive void is a compelling spatial effect. c) compelling effect of a drastic volumetric shift

d) small - perceived closely

The perception of space, although mostly visual, is largely based on our relationship with scale. Our sense of scale is complemented by bodily sense, primarily through haptic feedback. According to the theories Alois Regel (1858–1905) and his Aesthetic Model, there are three main scales that we experience space; near, middle and far range. small/perceived closely: at this scale we are able to best understand complex geometry, where nothing is left to the imagination. When we can take in the entire object, grasp it, rotate it, etc., we are able to build a mental map of the object and understand it much easily and quicker than if we experience only individual pieces at a time. medium/middle: here we experience a portion of an object a time.Texture and clarity are important if the intent is for the user to understand the spaces or architecture as a whole. Curvilinear forms further allow the sequential movement in a direction, to perceive it in its entirety. Strong contrast and visual hierarchy helps to perceive the spatial layers sequentially.

e) medium proportion

f) large - perceived from far

large / or perceived from far: when experiencing architectural objects from a large distance, the ability for tactile understanding and relating it to ourselves fades out. Elements and forms of grand scale increase the monumentality effect. We lack the optical dexterity to interpret complex forms of absolute scale.

This phenomena can be observed in ancient monuments which desired the human to have a submissive presence in space.

PROPORTIONS One of the intuitive powers of humans is the perception of subtle mathematical proportions based on perceptions, the tendency to see patterns in the surrounding world.

Matila Ghyka’s arguments in his seminal book The Geometry of Art and Life, go beyond a simple understanding of the mysteries of nature, demonstrating that “the Golden Section ratio 1:1.618 is the key ratio in organic, gnomonic, homothetic, growth... “ Throughout Architecture history the Golden Section and its related Fibonacci Series have continuously reappeared in the most visually pleasing and intense works of architecture, from the ancient Egyptian Canon of Proportions to the Greek architecture.

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But the Greeks were concerned with perception, not just geometrical mathematical precision. “The paradox of a work such as the Parthenon is that the adjustments to counter distorted perceptions in the luminous Greek light yield a building made almost wholly of curves.” The entasis of the columns as well as the inclinations from the vertical, the curve of the stylobate echoed in the entablature, the accentuated effect of the tapering lines of the wall enclosing the cella, are all deliberately curved adjustments.

Such proportionate relations change the way an object is perceived, whether it is the bearing one or the one being borne.

Being mindful of proportionate relations as the center of architectural creation, through the organizing principle for spaces, surfaces, volumes and lines, adds a sublimity to the space making the observer more sensitive towards the surroundings.

g) bearing and being borne

POROSITY Porosity is the measure of voids within a solid. It exists purely in three dimensions and is spatially significant because it creates spaces that are varied and interconnected. It blurs the hard boundaries between space and architectural elements. Porous objects are varied in their scale and composition, characteristics that put the user in the forefront of the space or object.

ORIENTATION Basic orientation modes occur in man himself. The front, the back and the sides help a man orient himself to the environment.

Front is also associated with anticipation of the next. Orientation also occurs in relationships between objects and references within builtform.

h) punctures in the facade adding to the porosity

Such comparative relations can be considered as secondary modes, where initial relation is between object A, and the observer, subsequent relation between the object B, and the observer and the relationship thereof forged between object A and object B. The observer has to his disposal more than one reference to orient himself.

The image an observer sees in front of himself is taken as positive and forward, associated with anticipation where there is ambiguity; while the back as negative or backward.

Two types of orientation modes can be distingished in a builtform, relative to the observer, which the observer has to his disposal as a reference point: • Orientation modes of the observer with the overall builtform, providing contextual reference. For example, water bodies, entry point, etc.

• Orientation modes within the builtform

i) sense of orientation based on relationships between inside and outside, and the iner-relationships between elements

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1.

The relationship formed between inside and outside. The contintuity of images formed consequently shifts the orientation of the observer within the building.

2.

The orientation of various nodes in the built space, acting as a visual references. Such references occur consistently in different visual frames.

j) Reference plane

Essential in the process of connection is the presence of reference planes. The reference planes can be in the form of walls, colonnades, staircase, etc. that act as the common element in the different views, prominent in its character to be used as a visual reference.

Alongwith reference planes, there occur reference nodes and internodes.

SEQUENCES

“..The path is a fundamental existential symbol which concretized the dimension of time. Sometimes the path leads to a meaningful goal, where moment is arrested and time becomes permanent..”

To make a cohesive understanding of various visual frames that an observer records inside a space, the images should be related, therefore the movement should follow a certain sequence.

The sequence also signifies an inherent order in the builtform whereby the architectural elements direct the movement within the built form. k) sequence of movement help unfold and discover spatial elements sequentially.

Abstraction - the cognitive process The sequential phenomenon is complete and meaningful if the images make a coherent and complete idea, which includes the event of tying up the images in proper sequence. Building up of whole from the parts is based on a system of references, which is a cognitive process, where even the parts may not hold a true picture of the actuality but rather possess an ‘abstract’ impression of reality.

A cue is what we focus on and context is what influences the interpretation of the cue. A builtform, therefore should have such cues to familiarize with the observer and generate a coherent narrative, dividing into sequential stages.

Figure 2.59 Spatiality and its perception

Movement being a function of time - the fourth dimension, invariably becomes important in spatio-experiential phenomena.

The external stimuli affect the observer in parts but in an order of sequence. Perceptually it would imply the repetition of similar forms because the objects are perceived as manifestations of each other having a commonality of context.

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2.3.2 Role of Sequential Unfolding in the Perception of Choreographed Movement Serial Vision or Episodic vision As Yatin Pandya describes in his book Concepts of Space in Traditional Indian Architecture, “the simultaneous process of concealments and revelation of information brings about an element of mystry, inviting exploration.”

As established by the role of perception in deciphering the qualities of spaces, a series of views from a multiple positions is layered upon perceptions along a horizontal, diagonal, or vertical axis of movement.

The introduction of physical and subconscious buffers, manipulating the pace of motion, layering of spaces and elements allow for a simultaneous conception and perception of each of these realms, overlapping and fusing into each other.

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In this method of interlocking of layers, the penetration of each layer results in the simultaneous unfolding of an additional facet, creating a space-time continuum of spaces perceived at multiple point of views.

This architecture, thus, is to be sequentially experienced and discovered, as opposed to the classical architecture which was wholly giveable from singular point of view.

One such principle of perceiving sequential unfolding is Serial Vision, based on the effect of persistent images, elaborated and discussed in the book The Concise Townscape (Figure 2.75). by the one who coined the term, Gordon Cullen. “Serial Vision revolves around working on a set of revelations and at the same time keeping the interest and contrast to upkeep the stimulation and create a vibrant environment.” The attention to the orientation and scales can curate a sense of curiosity in the viewer often guiding the person in a certain direction, in which the observer does not have a choice to turn back but to pass through it, to interpret the whole space.

Serial Vision

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Persistent images

Persistent images are essentially responsible for forging a unified idea of the built environment. These are the few selected images which remain in the memory through selective permeability of the stimuli.

Characteristics of persistent images: Vivid and distinct - This can be attributed to the factor of contrast contrast of light, form, texture or a sudden change in existing situation.

Gestallen forms and patterns - The transformation of external stimuli works on the basis of abstraction of the information into simpler, comprehensive forms.

Spatio-Planar enclosure - Given any frame of view, the mind identifies planes to complete the frame of vision - the planes are essentially composed of horizontal floors, vertical walls, colonnade, etc. From these once can identify common planes between one frame of view and another and subsequently abstract and structure a holistic view of the builtform.Since 95

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Pandya, Y. (2005). Concept of space: In traditional Indian architecture. India: Mapin Publishing Pvt Ltd. Cullen, G. (1978). The concise townscape. London: Architectural Press.

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Space as area defined by network of places

spatial perception involves movement through the built environment, “buildings not only should be designed for vista senses but also for sense of mechanical motion in the human body”.

Spatial perception involves the simultaneity of vision with movement, whereby the totality is not the aggregate of all the images of the building but of a few selected which form the sequential stages or phases desired as an experiential narrative, and based on these selected few does the mind evolve a comprehensive undemanding of the builtform.

Reading of images as sequential stages

Thus there are two fold activity that simultaneously proceeds along with movement in a building -one, the abstraction of the images in the frame of vision and second, the correlation of the abstracted images. The space within itself has an interwoven web of spaces, spaces which vision seeks to comprehend.

Notion of Inside and Outside

There is a certain identification with the space within, the proximity of the things that can be touched, is inside. The outside is distant and remote, harsh and indifferent. Whatever clear cut boundary between inside and outside is, it exists an entity that manifests variably, either as a physical tangible boundary or as an implied boundary. In the case of fully enclosed space, the openings are the buffer between the inside and the outside.

Notion of openings - directionality and framing

Since the difference between not only the built environment and the natural environment, but the inside and outside is stark and definite, hence the openings attain much importance. The nature of the openings - the varying degree of openness and nature of the openness enhances the relation between the within and the without. The nature of the openings also adds to the quality of space inside, through the quality of light and thereby also giving certain directionality to the space inside.

The planes of Corbusier’s facade act as an essential element even from the inside, accentuating the outside by framing the views using the actually functional breis-sollis. The plane is constituted by mass and void interwoven together, simultaneously defining the plane yet also puncturing it, adding a dynamic rhythm to the inside space. Such patterns enrich the spatial qualities.

Orientation

The image an observer sees in front of himself is taken as positive and forward, associated with anticipation where there is ambiguity; while the back as negative or backward.

Two types of orientation modes can be distingished in a builtform, relative to the observer, which the observer has to his disposal as a reference point: • Orientation modes of the observer with the overall builtform, providing contextual reference. For example, water bodies, entry point, etc.

• Orientation modes within the builtform 1. The relationship formed between inside and outside. The contintuity of images formed consequently shifts the orientation of the observer within the building.

2. The orientation of various nodes in the built space, acting as a visual references.

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For further reference, refer to - Arnheim, R. (2009). The dynamics of architectural form: Based on the 1975 Mary Duke Biddle lectures at the Cooper Union. Berkeley, Calif: University of California Press.

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Figure 2.60 The superimposition of the three systems (points, lines, surfaces) creates the park as it generates a series of calculated tensions which reinforce the dynamism of the place. Each of the three systems displays its own logic and independence

Figure 2.61 photographs, schemes and collages, combining axonometric projections, drawings, and cut out photographs.

Figure 2.62 photographs, schemes and collages, combining axonometric projections, drawings, and cut out photographs.

Manhattan Transcripts

OBJECT

MOVEMENT

EVENTS

Figure 2.63 Distribution of object, movement and events

“The temporality of the Transcripts inevitably suggests the analogy of film.Beyond a common 20th century sensibility, both share a frame-by-frame technique. In both, spaces are not only composed, but also developed from shot to shot so that the final meaning of each shot depends on its context” 1

1

Tschumi, B. (1981). The Manhattan transcripts. London: Academy Editions.

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2.3.2.1 Mapping of the architectural stroll - Manhattan Transcripts The Transcripts of Bernard Tschumi are a means of putting the experience of sequential montaged perception on paper. which he called ‘transcription’.

The work on Manhattan Transcripts was a notation exploration, with the intention to arrive at new tools and methods of representation. Going beyond the regular methods of representation and communication used by architects, i.e. plans, sections, elevations, etc, Tschumi used photographs, schemes and collages, combining axonometric projections, drawings, and cut out photographs, communicating not just the elements, but the relation of the elements with the visitor. (Figure 2.60-2.63) The relationship between two sequential frames is essential as no analysis of any one frame can accurately reveal how the space was handled altogether. The Transcripts are thus not self-contained images, but establish a memory of the preceding frame, of the course of events. Their final meaning is cumulative, it does not depend merely on a single frame, but on a succession of frames or spaces.

Tschumi develops the formula of object-movement-event.

In Manhattan Transcripts, since each frame is isolated from the next, “architecture can begin to act as a series of surprises, a form of architectural jump cut, where space is carefully broken apart and then reassembled at the limits.” Thus, space can follow space in unexpected ways, in a series of dramatic revelations that can announce a new spatial tectonics.

It is an attempt to shift from the traditional method of plans and sections, which leads to limited explorations in architecture designs, to inculcate the effect of movement in space-time context in a three dimensional space.

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The world of objects, composed of buildings abstracted from maps, plans, photographs; the world of movements, abstracted from choreography, sport or other movement diagrams; the world of events, which is abstracted from news photographs (Figure 2.63) Parc De La Villette

Parc De La Villette is a practical project designed on the basis of sequential montage, a place of culture where natural and artificial are placed together inducing a state of constant revelation and discovery. His design consists of red points or follies which are organised in a point-grid system, where the movement runs along lines, representing events, the lines movement and surfaces as space seen in the Figure 2.60 Since the architect has adopted the tripartite system of event, movement and space, giving him the opportunity to address or design each layer in detail.

For instance, the movement is designed with various attributes associated to it, such a rhythm, intersection with entities as well as control over the pace, alongwith simultaneity of the frames. The series of repetitive points provide a dimensional and organizational quality to the park, working as points of reference. Even though each point is unique, they work as a way to retain a sense of place while moving through the large park.

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Tschumi, B. (1981). The Manhattan transcripts. London: Academy Editions.

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Figure 2.64 Figure 2.65 Figure 2.66 Figure 2.67 Figure 2.68 Sequential frames depicting a narrative with compositional and mise-en-scene decisions

Figure 2.69 Sequences from Alfred Hitchcock’s Family Plot from Spoto, Donald.

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2.3.2.2 Capturing Serial Vision - Storyboard Method

Cinematic approach of designing and depicting spatial-temporal characteristics

As a elementary design tool in film making, the storyboard is a series of choreographed images, usually drawn by hand, depicting the essential components of mise-en-scene in a visual frame. A filmmaker employs the storyboard to synchronize the film’s visual rhythms with the intended narrative order of the script.

A similar approach may be applied in the field of architecture. This method enables a designer to compose by adopting the concepts of space and time through movement as per the first person perspective of the explorer in the designed space. (Figure 2.64-2.68) Architecture can be observed to be an outcome of more than mere formbuilding exercises, language, symbolic and metaphorical approaches or the construction of a built form. Spaces, ultimately, are the experience of the created spatial field governed by the perception of observer inside as he unfolds and encounter various spatial volumes and their inter-relationships, as well as the observer’s relation with the built spaces, which ultimately is the key in providing the emotive quality in architecture.

Since Modernist movement established an active threefold relationship between the creator’s interpretation of a space, the spatial tectonics itself, and the observer adopting the architectural stroll, the storyboard method of perceiving the serial vision deems to be an apt method to understand, represent and break down the qualities of episodic vision that one grasps which ultimately governs the observer’s movement in space.

The same method may be applied to undergo a design process as per the intent of the narrative sequence, with the architect simultaneously adopting the role of an observer in space, creating a fluid composition with the drama of shifting viewpoints and visual layers, than a static composition of isolated systems and volumes.

Just as a filmmaker demonstrates the visual dynamic and rhythm through the use of sequential storyboards, architects such as Le Corbusier, Rem Koolhaas envisioned and sketched the desired views for an observer in space, and thereafter developed plans that contained the conveyed the sensation of an ascent through it.

Apparent limitation of two dimensional storyboard

‘The limitations of the flat plane of storyboards and restricted size and stasis, can in turn be an advantage to trigger a more explorative vision which allows the three-dimensional outcome to always be more than it is.” The most critical use of storyboard is providing a structure for the narrative of the storyboard, enabling a visualization of the imagined, spaces inhabited by people, and its interrelationships.

Hence, this apparent limitation can be an advantage, much like radio’s ability to evoke visual images or the power of silent films to suggest sound.

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Fear, B. (2000). Architecture and film. New York: Wiley.

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Figure 2.70 Representation of a scene

Figure 2.72 Sketch of movement path for a film of Alfred Hitchcock, detailed process of storyboarding

Figure 2.71 “Villa Mayer” from Le Corbusier.

Figure 2.73 “Shadows On the Floor of the Sperone Gallery” from Jan Dibbets. Minneapolis

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Storyboards and visual frames

Storyboard is a unique fragment of a place, time and memory. Storyboards compress time and space, but into a sequence of series represented as a unified whole. (Figure 2.70) As an observer moves through a space and watches a film’s sequential narrative, each visual frame supersedes the previous one. In contrast, each frame of the storyboard is stationary and fixed. While the spectator is mobile, the image is fixed; in contrast, in the effect of a film, the onlooker remains still, the film itself is required to move. The storyboard process, however, does not preclude alternative ways of perception - vertical, diagonal readings or skipping and revisiting views. Thereby, it allows the observer to reconfigure and participate in its final composition, to interpret and reinterpret mentally, reassess and realign the sequence of frames, to comprehend the relevance of each in building an interpretation of various phases.

Orchestrated vs choreographed

When choosing to rearrange the linear narrative or to recompose the intended sequence, the viewer defies the director’s guidance to arrive at an unexpectable organization.

As compared to Classical architecture or traditional Indian architecture, wherein the experience is strictly orchestrated, leaving no room for personal interpretation along a journey, Modernism allows for a constant interplay of what the spaces want to convey and what we perceive through the journey.

Perspective is determined by point of view of the observer. A series of images of the Villa Mayer by Le Corbusier suggest a narrative sequence through the interior of that project. (Figure 2.71) David Hockney’s experiments in the early 1980s with the Polaroid camera explored the relationships between images rather than the subjects portrayed in independent photographs. There are various relationships created by juxtaposing each photo, and the permutations of these relationships seem so numerous, that one continues gazing at it, and seeing it in many multiple viewpoints.

Relationships between two frames

Film can show a large number of frames in a short period while the storyboard includes drawings of key shots to represent similar scenes, leaving the imagination to connect them. (Figure 2.72) In Jan Dibbets’s Shadows On the Floor of the Sperone Gallery (1971) (Figure 2.73), the shapes of sun shadows were marked on the walls of an exhibition space at regular intervals. The resulting graphics captured otherwise imperceptible movements, translating them into time and location. The necessity that somebody be there, alert, and press the button at the precise moment is replaced by acts of choice to represent precise moments in time, open for the interpretation of the stages and their inter-relationships.

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Figure 2.74 Wanner Project for Geneva 1928/29 from Le Corbusier

Figure 2.75 “Serial Vision” from Cullen, Gordon. The Corcise Townscape. London: Architectural Press. p.18.

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Montage of sequences capturing rhythm of motion

Eisenstein describes the earliest filmmakers as “striving to be descriptive by placing shots one after another like building blocks.” However, a different sense of rhythm is achieved through realising a montage: an image followed by others not obviously related to it creates through conflict dynamism, the sense of motion. The degree of incongruity determines intensity of the sensation and creates the resulting tension.

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“Space is perceived differently if looked at straight on, or through a window, backwards through a doorway or upwards to the ceiling. Perceptions are also affected by life experiences. All of these taken together constitute the reading of a single space”101

-Sergei Eisenstein

Visualizing a space inhabited by human

The narrative structure of the storyboard further enables to visualize the imagined spaces inhabited by people. In architectural drawings, the evocative power of the human figure has often played an important role conveying ideas. For example Le Corbusier’s figures in the perspectives for the jardin suspendu of the Wanner project in Geneva (Figure 2.74) are an adaptation of the lmmeuble Villas proposal. A man works out with a punching bag as a woman looks down from the upper floor having just dusted the carpet. There is plenty of space, air and greenery and it is clear that this apartment is suitable for modern healthy living, suggesting the liberating effects of the new lifestyle. People in Le Corbusier’s drawings are important because they illustrate the effect of architecture man’s everyday life, and the effect of man on the architecture’s perception.

First person perspective - implying a protagonist

The succession of images implies a protagonist and simulates human experience, whether or not people are actually included in the images. The reading of these sequential frames, even when devoid of human, is read as a personal journey of space in a first person perspective.

100 Eisenstein, S., Glenny, M., & Taylor, R. (2010). Sergei Eisenstein selected works: Volume II. London: I.B. Tauris.

101 Eisenstein, S., Glenny, M., & Taylor, R. (2010). Sergei Eisenstein selected works: Volume II. London: I.B. Tauris.

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2.4 Progress of Time The two obvious criteria of movement are the relation of objects in space and the passage of time.

Sergie Einstein added the vector of ‘time’ as the fourth dimension to the three-dimensional space in his theories of architecture of the Modern age.

He explains, “due to our being stuck in three-dimensional space, we cannot visualize a fourth-dimensional coordinate system, or what an object in the fourth-dimension would look like, we can only sense its presence.”

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Construction of all the three-dimensional states of the four-dimensional figure is a method of manifesting time in architecture employed by Cubist artists, as an artistic attempt to visualize and interpret the fourth dimension.

As established in previous section, one way of manifesting time and, thus, movement in architecture is by showcasing different facets in the form, as opposed to the symmetrical singular facets of form in the classical architecture. However, this does not mean that the classical buildings do not express time. Defining ‘Patina of Wear’, Pallasmaa explains how “old buildings would demonstrate the sense of time by the signs of antiquity in their styles, materials, techniques, etc.” He further calls them “Museums of Time”

Cubism manifestation of time

Though physically static, the physicality of spaces and its attributes are dynamic. At a given time, different spaces render themselves differently with their physical attributes, changing drastically through the course of time.

As discussed by Yatan Pandya discusses in his book, Concepts of Space in Traditional Indian Architecture, “as a built form is made to interact with nature, the interface is always dynamic. The direction, intensity of light and shadow patterns shift throughout the day and from one season to another, constantly redefining the builtform, thereby making it dynamic and alive in nature.”104 Hence, in the dynamics of space and time, apart from physical spatial dynamics, time also interacts actively to contribute a familiarity with the architecture and the spatial field.

Spatio-temporal dynamism

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2.4.1 Pace of momentum Each visual frame for an observer moving through a space, demands a sensorial or subconscious reaction, with either an invitation to pause- where the eye scans and interprets the components and compositional relations; speed up the pace- where the monotnoty of spatial elements, strong hierarchical pull or a sense of axial tension, etc. can incite a faster movement in a particular direction. These factors help to manipulate the explorer’s momentum in space, so as to lead him across a desired path. (Figure 2.76)

102 Eisenstein, S., Glenny, M., & Taylor, R. (2010). Sergei Eisenstein selected works: Volume II. London: I.B. Tauris.

103 Pallasmaa, J. (2007). The architecture of image: Existential space in cinema. Helsinki:

Rakennustieto Publishing.

104 Pandya, Y. (2005). Concept of space: In traditional Indian architecture. India: Mapin

Publishing Pvt Ltd.

Conflict of impulse to move on or linger

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These methods can be employed by architects to allow an interplay of perception, between the creator’s desired sequences of and the explorer’s reading of the unfolding vistas.

These visual frames, or the sequential structure of this montaged images, with the persistence of vision, urges the eye forward. This conflicting impulse to move on and linger are balanced through a narrative rhythm, oftem strategically applied by architects like Le Corbusier in his architectural promenade, to choreograph the person’s pace of movement.

These interpretations are in continuation to Gestalt’s theory of grouping, which triggers a subconscious response to interpret the components of the frame of vision, grouping them as an image. The eye and mind read the inter-relationships and simplify the complexity in images, inciting the impulse to move on or linger.

Threshold

Framed vistas

visual depthSpatial complexity and layering

Pause and linger Sense of enclosure

Visual hierarchical pull

Varying axis

Interrupting element

Dominant element or a visual frame

Proximity of elements

Proportioning relations

Low visual depth -

low spatial layering and fixed destination

Low proximity of elements

Resistance of forms - compression and release

Low visual depth

Speeded Pace Axial Tension

Monotony of visual frame

Proximity unsymmetrical composition

Visual depth

Axiality

shift in sense of enclosure - tunnel effect

Figure 2.76 Manipulation of pace of movement, manipulation with space-temporality

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Figure 2.77 The washbasin’s position acting as a threshold Figure 2.78 Conflict by the axial pull of the linear and nearer ramp Figure 2.79 The pull of ramp continuing a momentum

24 solar hours

The sun rises

This sets the rhythm of work

The sun rises again

This is the measure of our urban enterprises

Figure 2.80 Sign of the 24-hour day from Le Corbusier, Quand les cathedrales etaient blanches (1937).

Figure 2.82 law of meander, capturing vistas of not the landscape, but the designed site

Figure 2.81 Palazzo del Cinema scheme of 1990.

In a ‘cubic pantheon,’ passing time was measured and observed in a precise strip of sunlight which slowly formed different reflections as it passed across the glossy black flfloor.

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Some transitional architectural spaces are consciously defined by this conflicting impulses. Theatre lobbies exemplifies this desire to remain with the assembled crowds, simultaneously providing the urge to continue forward to the auditorium, slowing the pace of a person’s observer to the destination.

Le Corbusier’s Villa Savoye expressed this conflict in physical as well as sensorial form, wherein the washbasin offers a halt in the foyer, while the nearby ramp accentuates the forward and upward momentum.

(Figure 2.77-2.79)

2.4.2 Time and progress “The sign of the 24-hour day was designed as a measuring instrument mapping out the rhythms of nature, whilst at the same time delineating the scale of things in space. The sign is closely related to another of Le Corbusier’s favorite laws, that of the meander, which is very like the 24hour day sign rotated by 90 degrees.” (Figure 2.80) 105

There inference from these methods is that there is a rather instinctual method of promenade. In the City of Tomorrow, Le Corbusier compares the straight path taken towards a fixed destination made by man because he has a goal. with that of the “donkey who zig zags along, thinking a little, avoiding holes, negotiating with the slope, finding patches of shade.” , hinting at his ‘law of meander’. (Figure 2.82) This is followed by an underpinning on the right angle, for which Le Corbusier represented two different realms of being - the horizontal and the vertical. The idea that both forms of progress are necessary, the straight line of the man and the meander of the donkey, fits well into Corbusier’s the philosophy of progress.

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In a domestic setting, the promenade is something that is to be crossed frequently. Each experience of the promenade - under different lighting conditions, at different times of the year, in different frames of mind, with which the conception of path as a constant labyrinth comes into play, with its response to the progress of time.

The promenade acts as an emblem of life and its possibilites, comprehending Le Corbusier’s view of evolution and progress of time, wherein he draws upon a range of techniques to accentuate the experience of space and time in his work. These included perspective, axes and frames as well as the use of specific forms that induce the spatial flow or cause resistance, thus orchestrating the movement along the way.

Loos’ Raumplan turned the experience of a house into a spatio-temporal labyrinth, making it difficult to form a mental image of the whole from one point of view. There is constant chronological play of momentum in the work of Le Corbusier that he plays with and interrupts at every possible opportunity. The study ahead attempts to analyse and break down its concepts further.

105 106

Samuel, F. (2010). Le Corbusier and the architectural promenade. Basel: Birkhäuser.

Corbusier, L. (2013). City of Tomorrow and Its Planning. Dover Publications.

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Concluding Inference

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This section delves into the theory and methods of building subject-observercreator relationship The role, types and strategies of movement and perception, as well as the spatio-temporality, and its methods of manipulations, suggests a framework of analysing a built space in its visual, spatial and compositional aspect, underpinned by strategies of movement and perception in space-time context.

• Spatio-temporality- The dynamic relationship of observer with the subjectthe space, changed the way we move and perceive spatial tectonics, adding a character of temporality in spaces.

• choreographed vs orchestrated movement - Where orchestrated spaces allow less to no input of the observer in space in the process of perception and exploration, choreographed spaces question the mind of the observer, involving him in the exploration process as he discovers the spaces sequentially.

• Le Corbusier’s architectural promenade, combines the aspects of varied types of movement strategies, adopting varied strategies to choreograph a constantly shifting perception of observer in space, accentuating a spatiotemporal quality of spaces where the mind is constantly involved to sequentially unfold the spatial nuances.

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The city of Chandigarh is planned to human scale. It puts us in touch with the infinite cosmos and nature. It provides us with places and buildings for all human activities by which the citizens can live a full and harmonious life. Here the radiance of nature and heart are within our reach.

-Le Corbusier

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Part III Understanding the Application of Concepts through Case Studies - Implication of Concepts by Le Corsbusier through Mill Owner’s Association, Ahmedabad and Chandigarh High Court - Implication of Strategies in Palace of Assembly, Chandigarh, India

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Overview Modernist architecture commenced with the influence of avant-garde concepts of art movements such as Cubism, and its implication in architecture is translated and experienced as one roams about in it and reads the spatial relationships. The observer’s path through the built space is a central element of Le Corbusier’s architectural and city planning designs, its narrative described through the concept of architectural promenade.

Le Corbusier’s architectural resolutions achieve spatial dynamics through creative juxtapositions of the visual and movement axis, concepts of simultaneity and spatial transparency. His experiments in the city of Chandigarh, a new city with no limitations of reference context, allowed Corbusier the freedom to apply and explore his concepts on a clean slate. The Palace of Assembly building in Chandigarh is one of the most evolved explorations of the phenomenon of architectural promenade, inculcating his sculptural sense in a space of functional authority.

The simultaneous process of concealment and revelation of information brings about an element of mystery, inviting exploration of the observer. This sense of discovering space is choreographed by the continuously shifting visual and physical axis, leading to a constant sense of ambiguity. The introduction of physical and intangible thresholds manipulating the momentum of motion of the observer, and the layering of spaces allow for each of these realms to function by themselves and yet creatively fuse into each another. Penetration of each layer is rewarded by the further unfolding of an additional facet, offering yet another point of view or providing an additional detail. Such architecture, therefore, has to be discovered and perceived from multiple viewpoints and not watched from singular static point of view.

Corbusier’s Architectural Promenade was the temporal experience within a building.

Corbusier’s dialectical relationship between ‘platonic form’ and ‘empirical accident’ further talks about this conception. He worked as a creator who transforms “technology into art, material production into an ideology and mere construction into a spatio-temporal and tectonic exercise.”

107

The study uses diagrams to decipher the composition of systems and sub-systems of the building. The visual implications of Modernist concepts are studied by a frame by frame method to decipher the implications of the montaged assembly, the compositional and spatial strategies, which become the driving force making the observer take decisions like moving forward, take a pause, slow down, turn or increase the pace of motion, meandering and reading through the carefully choreographed built space.

107

Sutaria, R. (2000) Understanding the change in the meaning of space from its spatio-tectonic context.

(Undergraduate’s thesis). CEPT University.

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3.1 In conversation with S.D. Sharma and Sangeet Sharma... (personal communication, March 10, 2020)

Ar. Shivdatt Sharma is the principal architect of SD Sharma & Associates.Torn through the partition days, with essentially no resources, Ar. Sharma enrolled himself in the team of Architects for the Capitol project of Chandigarh. By his shear hard work, he rose to assist Le Corbusier and Pierre Jeanneret in the projects, specially the Museum and Art gallery in Chandigarh. P. Jeanneret, while introducing him for his higher studies in Milan (Italy) described the man as “Architect of rare qualities who understands deeply the meaning of built environment”.

The first Chief Architect of Chandigarh Mr. M.N. Sharma, in his appreciation letter stated that “I find him the most versatile person working in the Chandigarh project. It was due to his extra ordinary ability as an architect that Mr. S.D. Sharma was chosen to assist Le Corbusier and P. Jeanneret.”

S.D. Sharma, influenced by Le Corbusier, adopted the philosophy of Modernism , to develop an dialects of a hybrid thinking. The pure and rational philosophies of building for the purpose these are meant for no superficialities, pure and honest in expression, glorifying local materials like brick and cement for their versatily, to derive architectural expressions for very noble-aesthetic reasons.

His son, Sangeet Sharma, is also an architect and partner in the firm S.D. Sharma & Associates. his architecture is termed as ‘cubist modernism’ and is highly influenced by Chandigarh’s modern and sustainable architecture. He has authored five cult books on architecture; his latest Castles in the Air took the profession by storm for architecture students across universities. He has been awarded two literary awards in authorship including ‘National Book Honour Award’-2017.

1. What is your perception of Le Corbusier’s implications of Modernist concepts?

How do you think Le Corbusier’s architecture was influenced by his artistic and sculpturistic side?

S.D. Sharma: Le Corbusier was a visionary. He was an intellectual genius, apart from also being a philosopher of ideas and an experimental artist.Even his openings were not just for ventilation..but visual vistas to capture the images of landscape, the double heights take care of excessive heat and also gives him room to play with what we can see in the space..which he composes like he does in his Cubist paintings.

Sangeet Sharma: Le Corbusier’s functional logics were always underpinned by how a building and the city can enrich the lives of the people..not just providing functional aspects of equal lifestile and resources, but the added value of simplified structure and compositional value..Le Corbusier’s architectural promenade acts as a quintessential of the culmination of concepts of Cubism and Modernism, of evolution and progress.

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2. What is the architectural promenade to you? How do you think Le Corbusier consciously attempted to choreograph an observer’s movement in his architecture through the careful assembly of spatial elements?

S.D. Sharma: Le Corbusier enjoyed ushering the onlooker. You can see all the entrances and pathways but yet nothing is conspicuous. No element is usual.

Le Corbusier’s promenade was more nuanced than it is perceived. His systematic approach is evident from his proportioning values, and the system of stages that one goes through while one experiences his buildings. The way Le Corbusier created a constant back and forth of reading of space by disorienting and reorienting the person, he creats a labyrinth of space.

3. How do you think Le Corbusier’s version of a modern city, Chandigarh, contributed in providing a more human-centric design in focus?

S.D. Sharma: Corbusier was a mathematical artist. That means he experimented artistically which had a rational and mathematical anchoring. You can observe by layering his sections with the Modular, how the proportions are derived keeping in mind human forms and proportions.

Sangeet Sharma: The buildings in the Capitol complex in Chandigarh are the monuments which Le Corbusier wanted to create. However, his expression is totally unique..there is no effect of monumentality or overwhelming spaces, since the heights and forms are all designed keeping in mind human proportions, his conscious effort is to lessen the monumentality by controlling the effect of overpowering monumentality...

Sangeet Sharma: The experience of walking inside the Palace of Assembly building, for example, is like being inside a clay sculpture, carved out in its organicity and we experience these spatial qualities while moving through the spaces.

4. How do you think architecture should be approached now? Can architecture be designed inside-out?

Sangeet Sharma: Le Corbusier’s work was a working art..we are ultimately living inside a building and taking in the effect of the forms and elements. It is crucial to understand the nuances of interiors and I believe interior designers and architects must work together in a collaborative effort to bring an ordinary functional space come to life. It is crucial to understand the effects of light quality, acoustics, and its effect on the psychology..as we ultimtely design for the people..so it is not a thing to be looked at, like art..but to be explored and lived in..

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Figure 3.1 Architectural promenade in Villa Savoye

Figure 3.2 Architectural promenade in Mill Owner’s Association, Ahmedabad

Figure 3.3 Architectural promenade in Palace of Assembly, Chandigarh

Note This interpretation of experience path sequences might not hold true for all buildings of Le Corbusier and are subject to reinterpretation. This study is based on the three buildings under consideration - Mill Owner’s Association, Palace of Assembly and Chandigarh High Court building, so as to reduce the experience path into a common denominator and understand its implication in these three buildings.

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3.1.1 Key Inferences

Interpreting sequential stages of experience path in Le Corbusier’s architectural promenade A key point while discussing with S.D. Sharma and Sangeet Sharma, was the expression of architectural promenade in Le Corbusier’s architecture- the formula that can be derived to make sense of the sequential stages, which are further broken down into fragmented glimpses of the spatial relationships, perceived when montaged together.

A version of the interpretation of the applied stages by Le Corbusier is worked out here, based on the recurring themes of phases as experienced in the spatial narrative from the three Corbusier buildings studied, Mill Owner’s Association, High Court building, and Palace of Assembly.

The study of Samuel Flora in The Architectural Promenade (2010) attempts to explore the possibility that, like many other aspects of Corbusier’s architecture, the promenade followed a formula, adjusted slightly each time to fit the demands of the site and programme. He argues that it followed a pattern, a particular series of stages and reinforced through the use of detail.

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The family of structural types used by Le Corbusier was limited, allowing a simultaneous free-flowing and explorative expression of other systems, each of which playing a significant role in the impact on the unfolding of the promenade.

Montaged perception is a visual that could be read as sensorial, abstract or even open-ended.

This allowed for a choreographed movement through Modernist architecture, with an active participation from the observer through his constant perception. Le Corbusier further allowed a constant back and forth of perception by disorienting and reorienting the observer, creating a labyrinth of space.

The promenade includes visual, mental, circulatory, as well as sensational movements, and these type of movement includes association and experiential as well as sensorial perceptions, creating a timeless experience of sublimity.

Through the promenade, the architect sensitizes the observer’s awareness towards not just the spatial elements, but the relation of the elements with the visitor - a constant communication between the observer, subject and the architect, explored with constantly shifting viewpoints and series of concealments and subsequent revealations.

With a constant narrative of drama, he drew upon a range of techniques in his promenade to accentuate the experience of space and time. These included a series of perspectives, axes and frames as well as the use of deliberately designed and assembled forms, which imbibe an interrelationship, causing resistance, a sense of push and pull, compression and release, altering the passage of movement as per the choreographed stages of the narrative drama.

Our perception of it develops from a series of complex overlapping perspectives.

108

Samuel, F. (2010). Le Corbusier and the architectural promenade. Basel: Birkhäuser.

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Sequential Experience Path

Disorientation

Critical Threshold

Prolonged Threshold Introduction

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Questioning

Reorientation

Culmination

Recalling

Figure 3.4 Sequential experience path

• • • • • • • •

Stage 1 - Introductory suction by depth of punctures on facade Stage 2 - Prolonged Threshold - Gradual ascent to perceive spatial volumes Stage 3 - Critical Threshold- Strong passive overlooking at a range of spatial information Stage 4 - Disorientation and sensitizing towards exploration Stage 5 - Questioning of path and anticipation of climax Stage 6 - Reorientation through slow sequential spatial unfolding Stage 7 - Culmination and ecstatic union and attainment of an overall view Stage 8 - Recalling the experience, going back through the spaces in reverse

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3.2 Criteria of Selection of Case Study The purpose of this section is to first decipher the implication of Cubist and Modernist concepts by Le Corbusier through precedent cases, so as to derive the framework of compositional and visual strategies. The study further delves into the implication of strategies applied through a case study.

Purpose of study

In order to understand the role of spatial perception in forming the overall imageability of a built space, Corbusier works with his concept of architectural promenade.

The study mainly delves into the visual and motor aspects that help in developing a dynamic subject-observer relationship.

The study breaks down the spatial understanding under the previously discussed lens of Movement and Perception in Space-Time context, dealing with the aspects governing the human point of view as one navigates through the space.

Thereby the analysis essentially breaks down the elements of the builtform as perceived as a series of images that one unfolds sequentially. Thus the image characteristics and referentiality form an crucial part of the study.

As established in the first section, Modernism brought about a shift in the act of perception, accentuating the relationship between Man and his surroundings, which reflected in art through concepts of Cubism, and in turn in architecture. The advent of dynamic concepts like Simultaneity, Phenomenal transparency, etc. underpin the experiments with visual perception with respect to motion of observer in space, helping spur and develop the idea of kinesthetic perception.

Why modernism

Le Corbusier’s subjective interpretation influenced from the abstractions of Cubism, Purism and Sergie Eisenstein’s method of montage, which got synthesized into a multivalent order. The primary notion added by the revolutionary modern architecture underpinning Cubist concepts, was the idea that ‘space’ is a positive architectural quality, and that it possessed as much, if not more, visual, compositional and spatial interest than the structure by which it was confined.

Why Le Corbusier

Le Corbusier’s influence as an artist and his understanding and connecting with the concepts of Cubism and its transfiguration into purism, can be observed mirroring in his versions of space-making, with concerns over organizational principles and spatial layering, while being grounded with the reality of functionality.

His forms were a blend of sensual and abstract, material and spiritual, enthusiastic and ironical.

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Hence, Cubism’s implication in architecture was about the vision of an observer and the role of his ‘floating eye’ in the space.

Although the architectural promenade is a subject that numerous authors have touched upon in overviews of Le Corbusier’s work there are, at present, very limited books present specifically this subject in the lens of composition, apart from Jose Baltanas Walking Through Le Corbusier which talks about it in theoretical format. Colin Rowe’s writings on Corbusier’s use of space and route, particularly his description of the promenade of La Tourette, underpin my work. The interpretation of Corbusier’s architectural promenade as a cinematic approach to space design under the influence of modernism, building the observer’s point of view into priority and building the narrative around it.

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With a constant narrative of drama, he drew upon a range of techniques in his promenade to accentuate the experience of space and time. These included a series of perspectives, axes and frames as well as the use of deliberately designed and assembled forms, which imbibe an interrelationship, causing resistance, a sense of push and pull, compression and release, altering the passage of movement as per the choreographed stages of the narrative drama.

In this sense, the architectural promenade includes visual, mental, circulatory, as well as sensational movements, alongwith the demand for association and experiential as well as sensorial perceptions.

Why chandigarh

Le Corbusier’s experiments in the city of Chandigarh, a new city with no limitations of reference context, allowed Corbusier the freedom to apply and explore his concepts on a clean slate. The city’s demand for a Modern building which provides the people a comfort of hope after the partition, allowed Corbusier to maintain a human-centric design quality in not only the Capitol Complex, but in the elemental rules of the entire city plan.

Why Palace of Assembly

The Palace of Assembly building in Chandigarh is one of the most evolved explorations of the phenomenon of architectural promenade of a significant scale, inculcating his sculptural sense in a space of functional authority.

The study is chosen as a primary case study due to the less analysis done on this building, due to the lack of accessibility due to strict security in this government building.

Being functional only three times a year, this building of high significance demands a dramatic and prominent passage to the assembly hall, which is accentuated with the prolonged, circumambulatory movement around the hall to finally reach the core.

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Rowe, C. (2009). The mathematics of the ideal villa and other essays. Cambridge, Mass: MIT Press..

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Enclosure system

Spatial system

Structural system

Circulatory system

Figure 3.5 Systems in the Mill Owner’s Association

Figure 3.6 Domino Frame, facade and walls released of the limiting role of providing structural support.

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3.3. Visual, Spatial and Compositional framework of Strategies

Implications of the Concepts Of Cubist And Modernism By Le Corbusier, In: High Court Building, Chandigarh And Mill Owners’ Association, Ahmedabad.

Reinterpretation of compositional values

3.3.1 Overview of articulation of concepts As discussed, for Le Corbusier, designing a building, which also entailed bringing into play a system of forms and masses related to an observer occupying specific positions in space, was a ‘composition’, which means the artistic resolution of unforeseen juxtapositions, not the application of a prescribed rigid rules - rather a reference of guiding sequences of drama.

Corbusier, both as an artist and as an architect, primarily worked with creating new meanings by applying unconventional methods of compositional techniques of typical and conventional elements, reinterpreting the notions of elements and systems. Gestalts psychology of grouping influenced his work that suggests how context and its relation to the elements contributes meaning to a part. As remarked by Robert Venturi (2019), “It was Corbusier who juxtaposed object trouves and common place elements, such as the Thonet chair, the officer’s chair, castiron radiators, and other industrial objects, and the sophisticated forms of his architecture with any sense of irony.”

Such organizational techniques, in both his art and architecture, allowed the observer to encounter ordinary objects of common life in an unusual way, in a way of juxtaposed contradictions with spatial experience of tension and sublimity.

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Domino frame

In a Domino frame, the ground floor, first floor and the roof garden slab are linked by a simple dog-legged stair and suported on slim, gridded columns.

The facade and walls got released of their former previous structural role enabling them to be positioned at the will of the architect. (Figure 3.6) Its development support the formation of Cobusier’s ‘five points of architecture’ - pilotis, horizontal ribbon windows, open plan, roof garden, and free facade.

The creation of the Domino structure allowed Corbusier to use it as grammatical frame, operating as a disciplining frame of reference, existing in juxtaposition to a system of non-loadbearing curvilinear enclosure walls which defined the specific volume of the building as well as the contained spaces within the building.

Le Corbusier’s tectonic grammar of composition included a spatial field comprising of a neutral grid, different for each of the buildings, and elements shaped out of his personal system of forms and their impact, inserted and juxtaposed with a calculated intention to make an impact on the observer and make him sensitized to it, than merely existing.

110

Venturi, R., Scully, V. (2019). Complexity and contradiction in architecture. New York: Museum of Modern Art.

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Figure 3.7 A sense of volume within volume, shifting the gaze to fragmented spatial nuances

Figure 3.8 Heavy frame catching a moment of pause

Figure 3.9 Minimal frame inciting a spatial flow

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Cubism concepts of compositional freedom

Le Corbusier’s artistic influence of Cubism enabled him to compose an experience of contrasting elements provocatively placed in opposition of effects, against each other as equally valid realities rather than subjecting them to an obvious unity, causing a heightened perception of spaces.

Open plan and systems

The five points of architecture provides Corbusier the freedom of an open plan, with systems and sub-systems and their inter-relationships open for reinterpretation. The splitting of entire spatial volume into volumes further splits into varied forms and contrasting configurations, interconnected by overlapping systems of circulation such as accentuated ramps, staircases and walkways. They not only connect physical levels of volumes, but their oblique orientation, visual attributes, position, connections and context all shaped the vocabulary of these systems.

The free plan and free facade was highly desirable for an architect who wanted maximum freedom for the choreography of a carefully assembled space.

Fragmented perceptions

The elements of stairs, cantilevers, mass and void establish a constant shift in axial tensions in the direction opposite to that implied by the balanced structural grid, which highlights the need of experiencing the entire space in a method of serial vision, composed of continuous perception through frame of views of fragmented spatial nuances. (Figure 3.7)

Expression of frames

These frames which often exemplify the Modulor’s proportions, might be solid and opaque, porous or implied and sensioral.

Corbusier’s successive planes work like a series of frames - planes with depth, framing the encountering of various elements and volumes, framing overlooking volumes, framing views, spatial connections, functional forms, framing to invite the outdoor environment within, - ultimately, framing his sculptural work of art that is his architectural promenade, accentuating and celebrating his own perception of modern space.

Expression of frames as a threshold

In the opinion of Rowe, “the ability to charge depth with surface, to condense spatial concavities into plane, to drag to its most eloquent pitch the dichotomy between the round and the flat, is the absolutely distinguishing mark of Le Corbusier’s later style.”

Le Corbusier’s frames could be heavily emphasized, causing a sharp threshold, or minimally detailed, causing a mere sensation. Heavy frames create a threshold for an observer in motion, a form of pause point to incite admiration and observance. (Figure 3.7) A minimal frame incites a spatial flow, uniting the frame and what is being framed, allowing for a moment of perceiving the instances. (Figure 3.8) 111

The details of chamfers on the internal planes of frames further accentuates this effect of invite. The expression of holes and projections is what Le Corbusier called a back and forth movement, working as an agent of dynamism.

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Rowe, C. (2009). The mathematics of the ideal villa and other essays. Cambridge, Mass: MIT Press.

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Figure 3.10 Sensorial and physical threshold caused by the interruption of view of the tapestry and the dramatic framing by sharp light.

Figure 3.13 A powerful frame caused by the sudden revealation of complex forms and their juxtaposition.

Resistance

Section at right angles to direction of movement

0.085

Sphere

0.0135

Hemisphere - concave

0.109

Hemisphere - convex (open behind)

0.033

Ovoid body - the greater mass in front

0.002

Figure 3.11 Diagram from Towards a New Architecture (1923) showing the air resistance of particular forms.

Figure 3.12 Diagram from Towards a New Architecture (1923) showing the air resistance of particular forms.

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Sensorial and Physical threshold

Murals in the later works of Corbusier works as a way to dissolve walls, a pause point as an alternative promenade of imagination, enrichening the pre-existing blank solid wall. This creates a focal point for repose, offering a change in momentum.

Such stronger thresholds add a dramatic value to an otherwise monochromatic concrete sculpted spaces, allowing a point to pause and interpret the journey.

Usually, such thresholds take the form of a square which is often accentuated sub-consciously through a change in flooring finish, or an overhead network of beams, or with a frame of natural light. (Figure 3.10)

Simultaneity for heightened sensitivity

Reflecting and interpreting the concept of Simultaneity of Cubism, he was explorative towards organizational assemblies of various elements, placing a rectangular form against curved, open against closed, centric against linear or open, plane against volume, mass against void and transparencies, grid against object, object against setting, and so on.

The rhythms generated by the use of simultaneous qualities of one hall in against another of the same scale, but in a dim light; contrasting use of large bays against tiny doors; an area of sensitizing or vestibule wherein one passively witnesses the shifts in height or sense of enclosure - all plays a role in losing a sense of common scale, heightening the sensitivity of the explorer in space.

Resistance compression and release

In Towards a New Architecture, Le Corbusier provides a diagram demonstrating cross sections through a variety of forms, accompanied with statistics about the amount of air resistance each one induces to realise the best shapes inducing speed. Although the science may be antiquated, basic inference stands that the concave surface allows a greater resistance, the greater inertia, followed by a flat surface. He thus recognized these archetypal pull and push of specific forms and their inter-relationships.

“The ‘cone which gives best penetration’ is the ovoid body with ‘greater mass in front’, a discovery confirmed by ‘natural creations such as fishes, birds, etc.” (Figure 3.11) 112

Le Corbusier consciously used this study of forms in carving out least resistance through his buildings wherever necessary to induce the spatial flow. He uses Parthenon’s porch close-up detail demonstrating the connection between cone and column. (Figure 3.12) This stands a particular relevance to a crucial part of Le Corbusier’s toolkit, the pilotis or columns. For Rowe, the circular section “tended to push partitions away from the column. It offered a minimum of obstruction to the horizontal movement of space and tended to cause space to gyrate around it.”

113

112

113

Le Corbusier. (1970). Towards a new architecture. (F. Etchells, Trans.). London, UK: The Architectural Press.

Rowe, C. (2009). The mathematics of the ideal villa and other essays. Cambridge, Mass: MIT Press.

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Figure 3.14  Since the spaces consist of strategic placement and assembly of enclosing system and structural system, the entire remaining floor space acts as the circulation space.

Figure 3.15  Since the spaces consist of strategic placement and assembly of enclosing system and structural system, the entire remaining floor space acts as the circulation space.

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Varying Axis creating Axial tension

The physical path of movement shifts to guide the observer’s movement around the nodes of the space.

As the architect choreographs the movement, the change in direction and diversion causes the observer to reorient himself, changing the axis. Thus, there is a constant shift in the perceived axis.

There is no primary or a secondary movement axis present in the volume.

It is only the free flowing curvilinear enclosing planes, and the straight column grid, which act as a visual reference for movement path.

Since the spaces consist of strategic placement and assembly of enclosing system and structural system, the entire remaining floor space acts as the circulation space. (Figure 3.14, 3.15) In his work, Corbusier’s audience is the spectator and ultimately, the human eye, completely disembodied, floating around the building at a varied heights and angles. The eye, for Corbusier, is restless and challenging.

Movement and Pace- Strategic placement of elements for a narrative flow

A key element of Corbusier’s use of spatial layers in the arrangement of spatial elements, is the imperceivable end of the visual and physical axis, and hence, the whole length of the axis is revealed in episodic sequence of space.

These sequences are further explored with the nuances of time, with the deregularization by thresholds or pause elements, corridors, etc. for constantly changing the pace of motion in space. These elements are crucial in changing the rhythm of motion, creating individual nodes of interest, making the observer pause, take in and appreciate the sculpted attributes of certain focal elements.

These interruptions also help in defining the spatial boundaries, as well as reinforcing the transition from one point in space to another.

The elements of ramp and staircase stands as not only as a part of the circulation system, but as a key element binding the various volumes and systems together, shaping the spatial field.

Vision is the basic and primary sense of perception.

These aspects are primarily qualitative, and hence, require to be observed and interpreted through perceptual and experiential qualities, besides the unidimensional view of the plans and sections.

Since the visual dynamics in a Corbusier’s building is primarily focussed on the observer’s motion through the space in time, this sensory perception is best to be studied with the point of view of the observer and how he encounter’s the various elements and spatial composition.

The inferred conclusions through these perceived visual frames help in guiding the behavior of an observer moving through the space. This perception occurs in an interactive visual process, with the breaking down of compositional and visual layers of the visual frame in consideration.

For example, a blank wall with an inclined orientation, curvature, or its relationship with the spatial nuances behind it, guides the movement forward, or may even restrict or slow down the pace of the motion.

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Figure 3.16 The composition of geometrical simplified forms on the Palace of Assembly roof.

Figure 3.17 The evolution of composition of the High court, chandigarh, dimensions corresponding to the Modular and the Golden Section.

Figure 3.19 The genesis of the plan of Palace of Assembly based on Modular.

Figure 3.18 The proportions of Open Hand based on the Modular.

Figure 3.20 The Modular scale and progressions underline the planning of Piazza of the Complex

Inspired by the rationality and harmony in the functioning of systems of the human body, Le Corbusier’s Chandigarh was underpinned by the organizing principles that nature had created for the human body.

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3.3.2 Proportions and anthropometry Le Corbusier perceived nature as ordered and organised within itself.

For him, the mathematics of the Golden Section seemed to hold a single answer to two separate questions under study- one was the search for a modular measurement for all components of a building and the second was a mathematical grounding that linked the proportions of the human body to the organising principles of nature.

Le Corbusier wanted the human psyche to easily relate to the man-made and machine-made surroundings conspicuously at the physical level as well as latently at the primitive aesthetic and psychological level. With the Modulor, he ensured that buildings were designed to suit the scale of the human body and function as an extension of the limbs. The proportioning system was meant to affect the human mind at a much deeper level, where the inhabitant would intrinsically sense the beauty arising from the use of the Golden Section.

The repeated appearance of Le Corbusier’s Modulor Man in the plazas and on the walls, tapestries and doors of Chandigarh is a small percentage of the symbolic value of the Modulor. (Appendix B) For the city of Chandigarh, he connected and positioned his architectural pieces - the Secretariat, the High Court, the Assembly and the unbuilt Governor’s Palace at specific positions corresponding to the geometry of the Golden Section. (Figure 3.16-3.20) While the relevance of this grandiose arrangement does not reveal itself at once to the human eye, Le Corbusier justified it saying that the site is thereby united with the imperceptible.

In his mind, the city had a head, a heart, lungs and a circulatory system that were as essential to the city as they were to the human body.

This analogy to the cell justifies his need to standardise the dimensions of the sector and reproduce it multiple times to fill the city’s layout plan.

There was nothing arbitrary about the way in which the sequence unfolds.

“Greatest care was taken over the smallest detail, visible as well as hidden.”

-Le Corbusier

Beginning with a simple rectangle, the Palace of Assembly building is divided further into six proportional parts. He then derived a double square projected on the central axis and used the vertical axis dividing the lines between the square, to establish the position of the wall within the rectangle. The system of proportioning further establish the assembly of the pilotis, brise soleil on the facade, the location of dividing walls, room heights in sections as well as the dimensions of the open plans for the interiors.

This is futher highlighted in Sangeet Sharma’s book, Corb’s Capitol (2014), where he narrates an incident where the Indian engineer on site was at a loss for why he could not use a beam 2’ in depth in the High Court, forcing the architect in charge to explain that only a depth of 1’-7 1 /2 ” or 2’-1 1 /2” would suit the dimensions of the Modulor.

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Exterior separate from the interior

Splicing of the exterior, horizontally and vertically, gaps highlighting the separation of exterior from interior.

Figure 3.21 Splitting of the exterior

High Court, Chandigarh

Punctures simultaneously establishing and denying the planeness of the wall plane

Mill Owner’s Association, Ahmedabad

Figure 3.22 The seeminngly distinct and independent systems forming visual connections, interlocking and flowing into each other.

Figure 3.23 The outer box, simultaneously established and denied with the puncturing of the plane. (left) Mill Owner’s Association. (right) High Court building.

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3.3.3 Expression of multiplicity in spatial volume The expression of multiplicity due to the simultaneous juxtaposition of opposing and contrasting elements into a flowing assembly, allows for a visual-compositional transparency, resulting in a continuum of fluctuating layers of spatial connections of varied interpretation. a. Splitting of the Exterior Box • The entire volume of the buildings can be read as a cuboid or a box, wherein the planeness of the wall planes is simultaneously established and denied with the puncturing, forming deep slits. (Figure 3.21) • The splitting of the exterior deems as a crucial visual strategy so as to perceive the exterior as a separate shell from the interior core, yet unifying it visually by adding punctures of visual connection. (Figure 3.21) • From the outside, these slits or punctures allow the insertion of a visual depth as opposed to blank opaque facades. (Figure 3.21) • The coexistence of of a system of breis-solis or fins, alongwith the system of wall planes into the depth of space brings about the perception of simultaneous existence of multiple systems. (Figure 3.21) • Frontality is accentuated with one facade expressed as the primary facade, where one can interpret the layering of the various elements and volumes together inside the core of the building. (Figure 3.21) • The element of staircase on the exterior main facade of Mill Owner’s Association and the three high vertical walls acting as props for the roof in High Court Building, add to the layering of the facades, breaking its regularity and adding to the frontality. b. Collision of Systems and Forms in the Interior • Though visually expressed independently and distinctly, the various systems like circulation system, the structural system, and various forms of the enclosing system interlocks and overlaps when viewed from the shifting point of views of the explorer in space, allowing the visual connections to perceive the multiplicity. (Figure 3.22) • While the structural system composed of high pilotis follow a gridded order, the enclosing walls and elements stand independent of the structural elements. Varied volumes of diverse forms are juxtaposed simultaneously against the orderly functional units of column-grid.

• The presence of elements of circulation like ramp and staircases are a highlighted and accentuated as a spatio-tectonic and spatio-temporal element, guiding the pace of movement overlooking overlapping volumes and elements.

• The free standing and fragmented mezanines seem to be afloat in space, supported by the pilotis with a clear gap.

• The system of exterior facades also play a role in enriching spatial character of the interior, by adding framed views because of the continuous punctures, allowing outside to the inside - a form of simultaneous transparency.

• As one looks from the rear exterior facade in the Mill Owners Association building, and the frontal exterior facade in the High Court Building, one can interpret the splicing of the various elements and volumes together inside the core of the building. (Figure 3.23)

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• First level of multiplicity is perceived as one reads the plan composing of column-grid structure placed in orderly manner, juxtaposing with the enclosing elements flowing keeping in mind the sequential experience of the observer in motion in the space.

• The functional-structural elements stand distinct as a rigid and imposing characters in the space, compared to the free flowing nature of the enclosing system, in the relation of size, form, placement and composition. (Figure 3.22) • The qualities of varied volumes, flowing from the essence of high verticality and then flowing into smaller volumes, suctioning the movement in, also exemplify the multiplicity of volumes within volumes.

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3.3.3 a. Interpretation of Multiplicity and Transparency in the horizontal continuum On peeling the spatial layers in the horizontal continuum, the various elements and volumes juxtaposed with each other and with the movement path also establishes visual layers of phenomenal transparency, similar to the Purist paintings of the architect. This assembly of elements is strategically composed together to offer a visually sublime frame of view, guiding the eye to peel of the various layers.

Considering one of the visual frames of Mill Owner’s Association, one can peel off the layers in the horizontal continuum, wherein each element has a particular role as a layer in enriching the visual frame:

The curved wall plane as a backdrop offers The presence of the strong column at the little sublimity with an open foreground. opposite end of the elevator, rising from floor to ceiling, provides another anchorage point to the visual frame, holding the frame of vision from both ends.

The presence of the curved drum element of the toilet block is controlled visually with the proportioning of its height with respect to the other vertical elements.

In contrast to the scarlet coloured backdrop of the curved wall, tis element establishes itself as an individual element floating in the spatial field.

The elevator block is strategically placed so as to act as a curtain to not have an direct view of the toilet block for an observer approaching the space from the ramp.

The visual expression rising from floor to the ceiling, also defines it as an anchor point.

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Considering one of the visual frames of The High Court Building, one can peel off the layers in the horizontal continuum, wherein each element has a particular role in enriching the visual frame:

The curves of the parasol roof, allow for the gaze to flow inwards. The vertical blocks on either side of the piers, anchor the linearity and horizontality of the space.

The punctures on the two blocks on either side of the piers further break the monotony of a blank opaque facade, adding a layer of visual depth, slowing the gaze.

The punctured wall plane behind the piers and the coexistence of of a system of a long ramp splicing it, alongwith the system of wall planes into the depth of space brings about the perception of simultaneous existence of multiple systems.

The high piers holding the parasol roof on the porch/portico form the first layer of spatial splicing and layering for the viewer, with its linearity guiding the gaze inwards, showing glipse of layers within. The punctures in the piers also add a further visual interest allowing gaze to wander and explore.

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Figure 3.24 Volume within volume in Mill Owner’s Association

Figure 3.25 Mill Owner’s Association- Constantly shifting perception of overall height

Figure 3.26 High Court building, Vertical and horizontal stratification of layers and volumes

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3.3.3 b. Interpretation of Multiplicity and Transparency in the vertical continuum Volume within volume

In the case of Mill Owner’s Association, • Right from the landing of the entrance ramp, one is made to pause at the sudden double height wall, so as to make the observer aware of the double height verticality and the complexity of the entire composition.

As one looks at the right, one can gaze at the horizontal continuum ahead. Moving one’s gaze to the top left, one senses the vertical member slitting in the volume, ambiguously arranged wherein it shifts its position on both the volumes. Moving the gaze to the right, one senses the penetrating of horizontal members slitting the volume one above the other. The observer is made to experience the nuances of movement and enclosure at once, to pause and interpret the spatiality.

(Figure 3.24)

• These asymmetrical horizontal and vertical penetration and slitting of volumes creates an ambiguous interrelationships between the spaces.

This also adds to a visual depth in the vertical continuum of the space with constantly shifting perception of height of the built space.

• (Figure 3.22) • The steps leading up to the terrace and the light penetrating through the mezzanine floor also adds to the effect of volume within volume, indirectly through a sensorial perception. (Figure 3.25) • Vertical and horizontal stratification of layers and volumes

In the case of The High Court Building (Figure 3.26), • The ramp slicing the wall plane of the second layer on the frontal facade, acts as a prolonged threshold wherein the observer grasps the overall height and volumes interlocking and interpenetrating the cuboidal building • The slicing by the ramps allows for a visual break-up of the qpaque planes, showing the layering in the vertical continuum in the inner parts of the building.

• The punctures on the wall plane also highlight the specific views, framing the facets of vertical stratification of volumes.

• The circulation across the building allows for a sequential perception of the subsequently decreasing enclosedness from the front to the rear facade.

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3.3.4 Architectural Stroll 1

The double height wall acting as a visual layer and critical threshold as one reaches the landing after a prolonged journey on the ramp.

3

The movement inside guided by the wall planes going linearly ahead, forming a visual axis.

5

The elevator block acts as another visual layer as well as a reorientation element with its strategic placement and orientation.

2

The physical and visual axis shifts, guided by the enclosure formed by the wall olane on the right and overhead bridge.

4

The elevator block gets revealed with the triangular seat beyond, acting as focal points and devoid of a clear axis, guiding the movement to it

6

The toilet block is revealed whose form and relationship with surrounding elements allows a visual flow continuing around it.

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7

The gridded row of columns guiding the flow of movement further

9

Enclosure made up of interlocking spatial volumes, disclosing further vertical spatial layers.

Shifting perception of overall height of the building.

11

The disclosure of the toilet block anchored by the verticality of the pilotis, forming a stable visual frame

8

Mezzanine floor as a volume-within-volume, standing independently and seemingly afloat with the support from the pillotis from the sides

10

The curved enclosing wall as a backdrop to the elevator block and vertical plane

12

The composition of enclosure and the space tectonics through free standing yet interrelated elements

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Note Due to lack of information available regarding the building, the diagrams and 3D models of the building are created by the author from memory and are subject to change. They can be taken as a reference, however, details may vary from actuality.

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3.2 Implication of strategies in Palace of Assembly,

Capitol Complex, Chandigarh 3.2.1 Framework for Analysis Overall Spatial Composition • Systems • Expression of systems • Inter-relationships of systems

Movement in the context of space-time • Expression of movement paths and navigation strategies • Choices of movement • Compression and release

Perception in the context of space-time • Sequential experience path • Sequential visual frames analysis

1. Spatial composition - planes and other elements

2. Visual Composition - perceiving phenomenal transparency

3. Emphasis and hierarchy (gradation of color and proportion, proximity wrt human)

4. Surface details • Qualitative comparision of Spatio-Temporality

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First floor

Mezzanine floor

Enclosure System Spatial System Structural System Circulatory System

Figure 3.27 Composition of the Systems

First floor

Mezzanine floor

Figure 3.28 Separation of private rigid programmatic requirement from the internal area of promenade

First floor

Mezzanine floor

Figure 3.29 Arrangement of the careful orientation of entries and exit points of the Assembly hall, to guide a choreographed movement, leading to encountering of new spatial nuances.

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3.2.2 Overall Spatial Composition • Systems The entire building can be read as a combination of systems - enclosure system, spatial system, structural system and circulatory system. (Figure 3.27) All of these are fragmented and interspersed through the entire area of space, to be encountered sequentially as the observer moves through the space. The fragmented and dispersed functional and circulatory systems allow for a prolonged journey till the destination - the assembly hall.

Though visually expressed independently and distinctly, the various systems like circulation system, the structural system, and various forms of the enclosing system interlocks and overlaps when viewed from the shifting point of views of the explorer in space, allowing the visual connections to perceive the multiplicity.

• Expression of systems Arrangement and location - The private functional spaces - the offices, are arranged linearly on the periphery of the space, to allow for a free exploration in the spaces in the inner space.

(Figure 3.28)

Form - The enclosure systems, though geometric in plan, are placed and connected as free flowing forms, flowing into each other. They are conjoined with spatial and circulatory systems, and anchored by gridded structural system of the pilotis. At places near the hall, the placement of pilotis is adjusted to allow a flow of movement.

Orientation - The openings for the hall and the office passages is articulated to as to allow a choreographed motion through the space to encounter and discover new spatial nuances.

The openings itself are placed such that they are ‘encountered’ and ‘discovered’ and not searched. (Figure 3.29) • Inter-relationships of systems Circulatory system - Composed of ramps, bridges and staircases, it is fragmented and interspersed at various locations in the building.

The ramp used as a strategy of prolonged threshold right at the beginning of the journey, so as to allow the observer to absorb the spatiality of the spaces, with the way it is juxtaposed and is connected with the spatial, enclosure and structural systems.

The staircase’s functional role is manipulated by distributing it throughout the space.

Therefore, in order to explore the various spaces, one has to move through the systems to navigate the way.

Spatial system - The spatial system is broken down into mezannines, acting as volumes within volumes, creating a constant visual reference for observer to incite movement and explore the spatial interrelationships, which one perceives only as one sequentially moves through them. The free standing and fragmented mezanines seem to be afloat in space, supported by the pilotis with a clear gap.

Enclosure system - The enclosure systems act as focal points for the observer - nodes around which the observer circumambulates. The sheer size and shape of the enclosure system causes a series of concealment and revelation of vistas for the explorer in space.

Structural system - The structural system, composed of gridded pilotis, hold the interflowing forms, acting as a guiding reference for movement through the spaces.

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Enclosure system

Figure 3.30  Enclosure System acting as nodes of focal points around which the movement circumambulates.

Spatial system

Figure 3.31  Spatial System breaking down full volume into layered sub-volumes, superimposing, overlapping and interlocking with each other - composed of floor space, mezzanines, bridges, and linear corridors.

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Structural system

Figure 3.32 Structural gridded system forming a reference of sense of place to hint at the orientation of the observer and provide instinctual movement.

Circulatory system

Figure 3.33 Circulatory system composed of long ramps providing accentuated and prolonged experience of spatial context by slowing down the pace of movement.

Staircases strategically dispersed on various points to be ‘discovered’ and ‘encountered’.

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layers of explorative experience

path

path SPACE 2

SPACE 1

SPACE 2

SPACE 1

addition of drama with shifting views

Circumambulatory Path

transition

Changing Vistas Along The Path

-shifting views resulting in a ‘montaged’ percepton of the space 2

path SPACE 1

SPACE 2

SPACE 1

SPACE 2

transition

No Path

Transitional Path

- addition of visual elements while on a straight path, resulting in a transformative experience

SPACE 3

path

SPACE 1

interaction

SPACE 2

SPACE 2

SPACE 1 SPACE 4

Straight Path

Path Through Inter-spaces

Figure 3.34 Types of Movements and navigation strategies on the architectural promenade

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3.2.3 Movement in the context of space and time Being functional only three times a year, this building of high significance demands a dramatic and prominent passage to the assembly hall, which is accentuated with the prolonged, circumambulatory movement around the hall to finally reach the core.

Expression of movement paths and navigation strategies Since the entire building consist of strategic placement and assembly of enclosing system, acting as focal points guiding the observer’s movement as a silent narration, the entire remaining floor space acts as the circulation space. To direct navigation, staircases are placed at strategic points, which are not perceptible from afar, but only discovered and found.

These varied types of movement patterns allow an enhanced spatio-temporal experience.

Choices of movement The building allows for a variety of movement paths, adding to the sculptural quality of the space. At certain areas, one can find a linear path, with clear axis; at other, a circumambulatory path around the focal points, such as the assembly hall itself. (Figure 3.34) Compression and release The simultaneity of contrasting forms, juxtaposed together adopt the technique of visual tension based on resistance offered by various forms, as discussed in the previous chapter.

These forms allow a sense of compression and release, inciting a sensorial navigation through the spaces. (Figure 3.35, 3.36)

Figure 3.35 Axial tension by two pathways, visually directed by the strategic placement of focal points highlighted by the tone of surfaces.

Figure 3.36 Compression and release of forms placed with the concept of simultaneity, the release further directing the gaze to a focal point highlighted with the choice of tone of color

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Bodily Perception Through Space Kinesthetic

Spatial perception

Visual perception

Compositional perception

sensorial

visual-compositional

experiential

spatio-compositional

associational

Figure 3.37  All the different types of perceptional strategies have been used

Looking up at something in - awe -admiration -respect -ambition

SPACE 1

path

path SPACE 2

Changing Vistas Along The Path - descending down towards darkness

SPACE 2

SPACE 1

Changing Vistas Along The Path - ascending up towards light

Figure 3.38  Influence of controlled encountering of nuances on perception

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3.2.4 Perception in the context of space and time The analysis primarily consists of analysing the images grasped when the observer moves through the builtform as per the frame of vision with shifting point of views. These shifting visuals allow for a sequential unfolding of the entire space, with a constant series of concealments and consequent revelations and discoveries.

Reflecting and interpreting the concept of Simultaneity of Cubism, Le Corbusier was explorative towards organizational assemblies of various elements, placing a rectangular form against curved, open against closed, centric against linear or open, plane against volume, mass against void and transparencies, grid against object, object against setting, and so on. (Figure 3.39)

Figure 3.39  Simultaneity of enclosed-open, dark-light, tones of surface

The rhythms generated by the use of simultaneous qualities of one space against another of the same scale, but in a dim light; contrasting use of large bays against tiny doors; an area of sensitizing or vestibule wherein one passively witnesses the shifts in height or sense of enclosure - all plays a role in losing a sense of common scale, heightening the sensitivity of the explorer in space.

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Sequential Experience Path

Disorientation

Critical Threshold

Prolonged Threshold Introduction

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Questioning

Reorientation

Culmination

Recalling

Figure 3.40 Sequential experience path

• • • • • • • •

Stage 1 - Introductory suction by depth of punctures on facade Stage 2 - Prolonged Threshold - Gradual ascent to perceive spatial volumes Stage 3 - Critical Threshold- Strong passive overlooking at a range of spatial information Stage 4 - Disorientation and sensitizing towards exploration Stage 5 - Questioning of path and anticipation of climax Stage 6 - Reorientation through slow sequential spatial unfolding Stage 7 - Culmination and ecstatic union and attainment of an overall view Stage 8 - Recalling the experience, going back through the spaces in reverse 183

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Spatial Composition

1

2

3

4

5

Visual Composition

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Emphasis

Surface details - directionality principles

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Spatial Composition

6

7

8

9

10

Visual Composition

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Emphasis

Surface details - directionality principles

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Spatial Composition

11

12

13

14

Visual Composition

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Emphasis

Surface details - directionality principles

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Spatial Composition

15

16

17

18

Visual Composition

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Emphasis

Surface details - directionality principles

Inference• Spatial manipulations have been implimented with size, form, placement and orientation of the elements, so as to guide the movement.

• Visual manipulations have been implimented using varying visual depth, tones of surface to guide visual hierarchy, and surface details of lines to speed up (long linear lines) or slow down (hatched surfaces) the spatial flow.

• Compositional manipulations have been implimented with the varying proximity of elements, and their relative inter-relationships.

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Threshold

Framed vistas

visual depthSpatial complexity and layering

Pause and linger Sense of enclosure

Visual hierarchical pull

Varying axis

Interrupting element

Dominant element or a visual frame

Proximity of elements

Proportioning relations

Low visual depth -

low spatial layering and fixed destination

Low proximity of elements

Resistance of forms - compression and release

Low visual depth

Speeded Pace Axial Tension

Monotony of visual frame

Proximity asymmetrical composition

Visual depth

Axiality

shift in sense of enclosure - tunnel effect

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3.2.4 Relative comparison of manipulation with pace of movement The visual frames are based on the sequential order of stages of the experience path in a Le Corbusier’s architectural promenade, as interpreted by studying the three buildings. Here, these frames are compared relatively to each other, so as to derive its qualitative impact, based on the strategies of visual layering and composition, visual depth, visual hierarchy and surface details.

Strategies of pause and linger - matrix comparing the degree of pause VISUAL DEPTH

ENCLOSEDNESS INTERRUPTION

FRAMED VISTAS

LOW PROXIMITY

THRESHOLD

Frame 1 Frame 2 Frame 3 Frame 4 Frame 5 Frame 6 Frame 7 Frame 8 Frame 9 Frame 10 Frame 11 Frame 12 Frame 13 Frame 14 Frame 15 Frame 16 Frame 17 Frame 18

3.3.5 Qualitative Inference Through this matrix, it can be observed how each visual frame can provide a sense of pause, slowing down the pace of movement, at varied degrees.

Frame 10 provides the maximum hault with the combination of a variety of visual compositional strategies.

Similar matrix can be formed for studying the degree of speeded pace by the careful assembly of space-making elements and their inter-relationships.

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Concluding Inference What A spatio-temporal experience in the architectural promenade

Why To build the subject-observer-creator relationship

How • Careful assembly of elements based on spatial, compositional and visual manipulations, through movement and perception in a spatio-temporal context, • Spatial manipulations have been implimented with size, form, placement and orientation of the elements, so as to guide the movement.

• Visual manipulations have been implimented using varying visual depth, tones of surface to guide visual hierarchy, and surface details of lines to accentuate spatial flow.

• Compositional manipulations have been implimented with the varying proximity of elements, and their relative inter-relationships.

• Expression of volume within volume for perceiving vertical continuum • Phenomenal Transparency for perceiving spatial layering • Circulation treatment - space as a positive element

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Comparitive Reflection The three buildings, namely - High Court building, Chandigarh, Mill Owner’s Association Building, Ahmedabad, and Palace of Assembly building, Chandigarh - all approach the concepts of Phenomenal Transparency and Simultaneity in governing the overall perception of space in their respective way.

The Mill Owner’s Association does not clearly segregate the functional elements. Composed of free-standing elements, they are dispersed to allow a free-flowing movement through spaces, creating deliberate physical thresholds to choreograph the pace of movement.

Hence, following methods of phenomenal transparency, the enclosure system applies method of serial vision to guide movement forward, hinting at the forthcoming volumes and elements, thus acting as the main source of movement governing system.

The High Court building is associated with heavy flow of movement through the spaces at a regular basis. With the heavy flow of people moving in the building, the entire space acts as a functional space integrated with the flow of prolonged thresholds to allow for pauses for sensitized movement. The circulation system composed of staircases and most essentially the ramps allow for a long pause breaking away from the monotony of corridor, hinting at the volumes and elements beyond, thus acting as the main source of movement governing system.

The Palace of Assembly building deals with the idea of circulation by first segregating the private offices with regular movement through it from the passage of lesser utilized passage to the Assembly Hall. The passage to the assembly hall is hence, prolonged and made to follow a long circumambulatory passage around the enclosure systems to allow for spaces and elements to be encountered. This helps in creating visual ambiguity induced by concealments and revelations from phenomenal transparency by the composition of the spatial, enclosure as well as the circulation system.

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Conclusion

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To conclude the previous inferences, the Twentieth Century saw the advent of avant-garde concepts of Cubism of layering and multivalence. Various architects of the Modern period interpreted and used these concepts differently, nevertheless, they all used them to achieve three major goals as its central use: • The observer as an active participant in the perception of architecture • Fragmentation and expression of multivalence or multifacetedness • Role of movement and perception in space-time context to get the overal imageability of the architecture The interplay between opacity and phenomenal transparency invokes the ambiguity that incites movement through the space, identifying visual clues and anticipating the forthcoming spaces. These clues engage not only the mind, but all bodily senses to interpret the spaces relative to the position, orientation, scale and proportions of the observer in space, leading to a kinesthetic perception of space. It is the assertion of this new vision of perception of images that stemmed from the Cubist concepts, that led to architects of the Modern period to explore the concepts of layering for an evocative spatial experience.

Architecture has the ability to mold and challenge the perception of the spaces and the various facets of elements for the observer. It can be achieved by choreographing the movement in the different spaces in a building. Elaborate spatial organization and appropriate articulation of the spatial frames are the key to a rich kinesthetic experience in a building.

By addressing each spatial frame individually, it is observed how each space gets its own unique prominence through these visual frames and the articulation of their components.

Thereby, the movement through a circulatory passage no longer becomes an inert factor for reaching the programmatic spaces. It is the multiplicity and the juxtaposition of different spatial elements that shapes the layering of the spatial frames, and in turn helps in influencing the number of pauses and the time spent while moving through them.

Assumptions While conducting the research on the historical progression and transformation of the subjectobserver relationship, most observations made a series of basic inferences, which was then built upon to make larger and more substantial claims. An assumption adopted is that past generations represent how they think about space through flat images, and that visual art represented the spatial values of each cultural period. One can argue that by reading exclusively the images, comprehending a culture’s understanding of spatiality may not be apt. An example of where this was not true was in ancient Greece, wherein the architecture was much more spatially refined and complex than their art from the same period.

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Architecture - Outside to Inside vs Inside to Out There are numerous spatial effects that have been used compellingly throughout the history of architecture. The vessels we are designing have the potential to fulfilling more than functional and programmatic requirements, which can easily be replaced and satisfied by builders with no design qualifications, or evenso, digital platforms, for providing modular and functional solutions to space planning. Powerful spaces have a primacy that goes far beyond that of mere provocative forms. Architecture is one of the only professions that create space and we should embrace the opportunity to better understand the spatial qualities we are designing.

By doing so, architects have the chance to reposition the value of our role in the process of conceptualizing, designing and building an architectural object.

Interior spaces can be made holistically to suit our human nature and connect with the world outside; capturing views, daylight, solar heat gain in the winter and natural ventilation for cooling. The practice of designing inside-out enables to rethink the notion of space and its functional parts, to sensitize us towards our surroundings, and involve our eyes, mind and body together to cause a sensational reaction from the person to achieve a timeless piece of art.

Architects like Le Corbusier actively used perspective sketches and axonometrics to visualize the human perspective, frame of views and experience in his buildings, which can be interpreted as a method of designing inside-out. The major design decisions of light quality and light source, pause points, circulation paths, etc. are all taken keeping the observer in mind. The overall proportioning and space distributions, down to the detailed proportioning, was interpreted from the Modular, therefore, ultimately relative to human proportions. Le Corbusier’s work, hence, was a quintessential of the concept Art meets Function.

Learning from the choreographed movement paths through carefully assembled components, and articulately designed visual frames of Le Corbusier’s works, it can be observed that designing architecture inside-out, i.e. taking the design decisions primarily based on the details of perspectives and experience of an observer in motion in the space - first, and thereby, moving outward to the larger details, provides a timeless architectural space.

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Scope For Further Research The study devles into the observer-subject and creator relationship and the act of perception with movment through the progress of time.

One of the intuitive powers of humans is the perception of subtle mathematical proportions based on perceptions, the tendency to see patterns in the surrounding world.

Going further into the aspects of visual frames and its perception in relation to human proportions, a similar structure could be carried on further to study the extent of mathematical proportioning system, relative to human, in affecting the gaze of eye as a means of navigating through the spaces.

The study can further be explored in relations to other eminent Modernist architects, and their interpretation following the concepts of Cubism and Purism, that spurred the conception of phenomenal transparency. A comparitive analysis of the varied implicatons of horizontal and vertical transparencies can help in understanding the possibilities of inter-relationships between spaces and systems.

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List of figures Part 1 | Understanding the Historic Evolution of Subject-Observer Relationship Figure 1.1

Retreived from: http://www.plato.stanford.edu/entries/bruno

Figure 1.2

Retrieved from: www.allposters.com/-sp/ Fight-Scenes-Kethi-Tomb-Beni-Hasan-Necropolis-Egypt-Posters_i12015603

Figure 1.3

Retreived from: Gelernter, M. (2005). Sources of architectural form: A critical history of Western design theory. Manchester: Manchester University Press.

Figure 1.4

Retreived from Gelernter, M. (2005). Sources of architectural form: A critical history of Western design theory. Manchester: Manchester University Press.

Figure 1.5

Retrieved from: Bruno, G., & Samsonow, E. (1999). Giordano Bruno. Frankfurt am Main: Deutscher Taschenbuch Verlag.

Figure 1.6

Retrieved from: beyondarchitecturalillustration.blogspot.com/

Figure 1.7

Retrieved from: www.britannica.com/topic/stupa

Figure 1.8

Retrieved from: https://butdoesitfloat.com/I-want-to-be-where-you-are

Figure 1.9

Retrieved from: europeanarchitecture.tumblr.com

Figure 1.10

Retrieved from: www.citytoursbarcelona.com/gothic-art-barcelona

Figure 1.11

Retrieved from: www.citytoursbarcelona.com/gothic-art-barcelona

Figure 1.12

Retrieved from: www.architecturaldigest.com/gallery/best-gothic-cathedrals

Figure 1.13

Retrieved from: www.architecturaldigest.com/gallery/best-gothic-cathedrals

Figure 1.14

Retrieved from: www.architecturaldigest.com/gallery/best-gothic-cathedrals

Figure 1.15

Retrieved from: europeanarchitecture.tumblr.com

Figure 1.16

Retrieved from: cdn.britannica.com

Figure 1.17

Retrieved from: cdn.britannica.com

Figure 1.18

Retrieved from: commons.wikimedia.org/wiki/

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Figure 1.19

Retrieved from: basilicasantandrea.wordpress.com/2014/09/22/original-plans/

Figure 1.20

Retrieved from: leonardodavinci.stanford.edu/submissions/clabaugh/history/ architecture

Figure 1.21

Retrieved from: leonardodavinci.stanford.edu/submissions/clabaugh/history/ architecture

Figure 1.22

Retrieved from: cambridgeblog.org/2009/11/michelangelo-podcast-series-7/

Figure 1.23

Retrieved from: cambridgeblog.org/2009/11/michelangelo-podcast-series-7/

Figure 1.24

Retrieved from: https://rentomod.files.wordpress.com/2013/04/ neumann_vierzehnheiligen

Figure 1.25

Retrieved from: https://rentomod.files.wordpress.com/2013/04/ neumann_vierzehnheiligen

Figure 1.26

Retrieved from: https://amazon.in/ Baroque-Staircase-Augustusburg-Germany-Monheim/dp/

Figure 1.27

Retrieved from: www.architectural-review.com

Figure 1.28

Retrieved from: artyfactory.com/art_appreciation/art_movements/cubism.html

Figure 1.29

Retrieved from: artyfactory.com/art_appreciation/art_movements/cubism.html

Figure 1.30

Retrieved from: mfareview.wordpress.com

Figure 1.31

Retrieved from: http://www.visual-arts-cork.com/history-of-art/analyticalcubism.html

Figure 1.32

Retrieved from: https://en.wikipedia.org/wiki/ Dynamism_of_a_Dog_on_a_Leash

Figure 1.33

Retrieved from: https://www.metmuseum.org/art/ libraries-and-research-centers/index-of-cubist-art-collectors/le-corbusier

Figure 1.34

Retrieved from: created by the author

Figure 1.35

Retrieved from: https://www.flickr.com/photos/quadralectics/17320092745

Figure 1.36

Retrieved from: https://www.metmuseum.org/art/ libraries-and-research-centers/index-of-cubist-art-collectors/le-corbusier

Figure 1.37

Retrieved from: https://www.metmuseum.org/art/ libraries-and-research-centers/index-of-cubist-art-collectors/le-corbusier

Figure 1.38

Retrieved from: https://philamuseum.org/collections/permanent/51449.html

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Figure 1.39

Retrieved from: https://www.wikiart.org/en/giacomo-balla/ girl-running-on-a-balcony-1912

Figure 1.40

Retrieved from: https://en.wikipedia.org/wiki/Dynamism_of_a_Dog_on_a_Leash

Figure 1.41

Retrieved from: https://www.britannica.com/art/Cubism

Figure 1.42

Retrieved from: https://www.britannica.com/art/Cubism

Figure 1.43

Retrieved from: https://www.britannica.com/art/Cubism

Figure 1.44

Retrieved from: https://www.inexhibit.com/case-studies/ le-corbusier-villa-savoye-part-2-architecture/

Figure 1.45

created by author

Figure 1.46

created by author

Figure 1.47

Retrieved from: www.tretyakovgallerymagazine.com/articles/3-2015-48/ most-moving-painter-human-face

Figure 1.48

Retrieved from: www.tretyakovgallerymagazine.com/articles/3-2015-48/ most-moving-painter-human-face

Figure 1.49

Retrieved from: www.tretyakovgallerymagazine.com/articles/3-2015-48/ most-moving-painter-human-face

Figure 1.50

Retrieved from: http://thebreakdownofthepromenade.com/img-acr3/

Part 2 | Movement and Perception in the context of space and time Figure 2.1

Pandya, Y. (2005). Concept of space: In traditional Indian architecture.

India: Mapin Publishing Pvt Ltd.

Figure 2.2

by the author

Figure 2.3

Pandya, Y. (2005). Concept of space: In traditional Indian architecture.

India: Mapin Publishing Pvt Ltd.

Figure 2.4

Pandya, Y. (2005). Concept of space: In traditional Indian architecture.

India: Mapin Publishing Pvt Ltd.

Figure 2.5

by the author

Figure 2.6

by the author

Figure 2.7

by the author

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Figure 2.8

Pandya, Y. (2005). Concept of space: In traditional Indian architecture.

India: Mapin Publishing Pvt Ltd.

Figure 2.9

Pandya, Y. (2005). Concept of space: In traditional Indian architecture.

India: Mapin Publishing Pvt Ltd.

Figure 2.10

Pandya, Y. (2005). Concept of space: In traditional Indian architecture.

India: Mapin Publishing Pvt Ltd.

Figure 2.11

Retrieved from: savoye-le-corbusier

Figure 2.12

by the author

Figure 2.13

by the author

Figure 2.14

Pandya, Y. (2005). Concept of space: In traditional Indian architecture.

India: Mapin Publishing Pvt Ltd.

Figure 2.15

Pandya, Y. (2005). Concept of space: In traditional Indian architecture.

India: Mapin Publishing Pvt Ltd.

Figure 2.16

by the author

Figure 2.17

by the author

Figure 2.18

Pandya, Y. (2005). Concept of space: In traditional Indian architecture.

India: Mapin Publishing Pvt Ltd.

Figure 2.19

by the author

Figure 2.20

by the author

Figure 2.21

by the author

Figure 2.22

by the author

Figure 2.23

by the author

Figure 2.24

Retrieved from: http://char.txa.cornell.edu/language/ELEMENT/MOVE/ oldcar.

Figure 2.25

Retrieved from: http://char.txa.cornell.edu/language/ELEMENT/MOVE/ oldcar

Figure 2.26

Retrieved from: https://www.estorickcollection.com/exhibitions/ giacomo-balla-designing-the-future

Figure 2.27

Retrieved from: http://char.txa.cornell.edu/language/ELEMENT/MOVE/ oldcar.

https://www.archdaily.com/84524/ad-classics-villa-

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Figure 2.28

by the author

Figure 2.29

Retrieved from: https://en.wikipedia.org/wiki/ Museum_of_Modern_Art_in_Caracas

Figure 2.30

Retrieved from: http://char.txa.cornell.edu/language/ELEMENT/MOVE/oldcar

Figure 2.31

Retrieved from: http://char.txa.cornell.edu/language/ELEMENT/MOVE/oldcar

Figure 2.32

Retrieved from: www.iran-daily.com

Figure 2.33

Retrieved from: www.s-travels. com/e-blog/40-walk-across-khaju-bridge#rppGallery[gall]/4/

Figure 2.34

Retrieved from: www.piniran.com/attraction/tabiat-bridge

Figure 2.35

Retrieved from: www.ifpnews.com/ nature-bridge-in-tehran-the-awarded-structure-of-2015-photos

Figure 2.36

by the author

Figure 2.37

by the author

Figure 2.38

by the author

Figure 2.39

by the author

Figure 2.40

Retrieved from: https://commons.wikimedia.org/wiki/File:Stabio_14m.jpg

Figure 2.41

by the author

Figure 2.42

Retrieved from: https://www.wikiart.org/en/georges-braque/portuguese-1911

Figure 2.43

Retrieved from: https://www.wikiart.org/en/georges-braque/ clarinet-and-bottle-of-rum-on-a-mantelpiece-1911

Figure 2.44

Retrieved from: https://architecturality.wordpress.com/tag/transparency/

Figure 2.45

Retrieved from: https://architecturality.wordpress.com/tag/transparency/

Figure 2.46

Retrieved from: https://architecturality.wordpress.com/tag/transparency/

Figure 2.47

Retrieved from: https://architecturality.wordpress.com/tag/transparency/

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Figure 2.48

Retrieved from: https://architecturality.wordpress.com/tag/transparency/

Figure 2.49

Retrieved from: https://hts3.files.wordpress.com/2010/12/rowe-slutzkytransparency.pdf

Figure 2.50

by the author

Figure 2.51

Retrieved from: https://architecturality.wordpress.com/tag/transparency/

Figure 2.52

Retrieved from: https://architecturality.wordpress.com/tag/transparency/

Figure 2.53

Retrieved from: https://architecturality.wordpress.com/tag/transparency/

Figure 2.54

Retrieved from: https://architecturality.wordpress.com/tag/transparency/

Figure 2.55

Retrieved from: https://www.flickr.com/photos/jozioau/40401081270

Figure 2.56

Retrieved from: https://www.flickr.com/photos/jozioau/40401081270

Figure 2.57

Retrieved from: https://architecturality.wordpress.com/tag/transparency/

Figure 2.58

Retrieved from: https://www.flickr.com/photos/jozioau/40401081270

Figure 2.59

by the author

Figure 2.60

Retrieved from: https://www.moma.org/collection/works/31

Figure 2.61

Retrieved from: https://www.moma.org/collection/works/31

Figure 2.62

Retrieved from: https://www.moma.org/collection/works/31

Figure 2.63

Retrieved from: https://www.emperors.kucjica.org/ event-and-movement-in-architecture/

Figure 2.64

Retrieved from: https://gointothestory.blcklst.com/hitchcocks-storyboardsfrom-13-classic-films-239a2a40f2de?gi=72b4f905b3a7

Figure 2.65

Retrieved from: https://gointothestory.blcklst.com/hitchcocks-storyboardsfrom-13-classic-films-239a2a40f2de?gi=72b4f905b3a7

Figure 2.66

Retrieved from: https://gointothestory.blcklst.com/hitchcocks-storyboardsfrom-13-classic-films-239a2a40f2de?gi=72b4f905b3a7

Figure 2.67

Retrieved from: https://gointothestory.blcklst.com/hitchcocks-storyboardsfrom-13-classic-films-239a2a40f2de?gi=72b4f905b3a7

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Figure 2.68

Retrieved from: https://gointothestory.blcklst.com/hitchcocks-storyboardsfrom-13-classic-films-239a2a40f2de?gi=72b4f905b3a7

Figure 2.69

Retrieved from: https://gointothestory.blcklst.com/hitchcocks-storyboardsfrom-13-classic-films-239a2a40f2de?gi=72b4f905b3a7

Figure 2.70

Retrieved from: https://www.britannica.com/art/ history-of-the-motion-picture

Figure 2.71

Retrieved from: Davids, R. (2006). Serial Vision: Storyboards:In The Design Studio. (master’s thesis). University of California, Berkeley.

Figure 2.72

Retrieved from: Davids, R. (2006). Serial Vision: Storyboards:In The Design Studio. (master’s thesis). University of California, Berkeley.

Figure 2.73

Retrieved from: Davids, R. (2006). Serial Vision: Storyboards:In The Design Studio. (master’s thesis). University of California, Berkeley.

Figure 2.74

Retrieved from: Davids, R. (2006). Serial Vision: Storyboards:In The Design Studio. (master’s thesis). University of California, Berkeley.

Figure 2.75

Retrieved from: https://www.ijcua.com/index.php/ijcua/article/view/36/232

Figure 2.76

by the author

Figure 2.77

Retrieved from: https://commons.wikimedia.org/wiki/Category:Villa_Savoye

Figure 2.78

Retrieved from: https://commons.wikimedia.org/wiki/Category:Villa_Savoye

Figure 2.79

Retrieved from: https://commons.wikimedia.org/wiki/Category:Villa_Savoye

Figure 2.80

Retrieved from: Samuel, F. (2010). Le Corbusier and the architectural promenade. Basel: Birkhäuser.

Figure 2.81

Retrieved from: https://247forever.tumblr.com/post/43082567099/threetimes-of-day-in-a-cubic-pantheon-of

Figure 2.82

Retrieved from: https://archpaper.com/2013/08/the-law-of-the-meander/

Part 3 | Application of Concepts All diagrams, sketches, photographs, tables, in this section are done by the author, otherwise credit given.

Figure 3.11

Retrieved from: Samuel, F. (2010). Le Corbusier and the architectural promenade. Basel: Birkhäuser.

Figure 3.12

Retrieved from: Samuel, F. (2010). Le Corbusier and the architectural promenade. Basel: Birkhäuser.

Figure 3.16-3.20

Retrieved from: Sharma, S. (2014). The Corb’s capitol. India: White Falcon Publishing

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Appendices Appendix A Gestalts Principles Gestalt principles are the set of visual design principles based on psychology of 1920s, describing how humans typically read by grouping similar elements, recognizing interrelationships and simplifying complexity in images.

Proximity - Simple shapes which are in close proximity to each other are read as conjoined or in one group.

Similarity - The elements with similar shape and size are perceived as a singular entity.

Continuation - The human eye follows paths, lines and curves in complex groups of elements, flowing with the path.

Closure - Incomplete shapes are subconsciously filled in to perceive the image as one complete whole.

Figure/Ground - the human eye isolates shapes from backgrounds, reading the foreground as the main element.

Symmetry - Elements that are symmetrical to each other are perceived as a singular entity.

This allows for a balanced composition wherein focus is constant.

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Appendix B Symbolism of human body and proportions: His parallel of the city and the human body did not end at this scale; he even looked at the cell for inspiration. The cells, basic building blocks of all living things, provide order and structure to the whole body. He saw the cell as a self-sufficient organism, interacting with other cells to ensure the proper and smooth functioning of the body. Analogous to the cell, each sector in the urban layout of Chandigarh city was self-sufficient, having shops, schools, health centres and places of worship and recreation within itself. Similar to the cells in the natural world, each sector had its designated role to play in the smooth functioning of the whole - the city. This analogy to the cell justifies his need to standardise the dimensions of the sector and reproduce it multiple times to fill the city’s layout plan.

While the large city has no obvious physical similarities to a human’s body, it remains symbolic of the order of the natural world. In the words of the architect himself, “If the creation is ordered, it lasts throughout time and remains an object of admiration in every mind. This is the work of art, the human creation which, while no longer bearing any of the evident aspects of Nature, yet submits to the same laws.” The immense thought put into the anthropomorphic design of Chandigarh makes the city itself a symbol. By applying the laws of the human body to the ordering of human habitation, Le Corbusier attempted to infuse the city with a primeval spirit that was until then buried deep within each individual.

While Mayer’s and Novicki’s plan of Chandigarh also indicated the head and body of the city, it was Le Corbusier’s deeper understanding of this symbolism that allowed him to connect the two separate parts. He envisaged the city of Chandigarh with the Capitol Complex, Sector 1 as the head, the City Center Sector-17 became the heart, the Leisure valley and other green open spaces were the lungs providing a breath of fresh air to the city’s residents, the cultural and educational institutions stood for the intellect, the industrial areas formed the viscera and lastly the hierarchy of roads in the V7 network acted as the circulatory system of the body.

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Glossary of terms Anthropocentrism

Regarding humankind as the central or most important element of existence, especially as opposed to God or animals.

Anthropocentrism

Of or relating to the scientific study of the measurements and proportions of the human body.

Avant-garde

New and experimental ideas and methods in art, music, or literature.

Divine orders

Directed by God or the ‘Divine’. These were static and unquestionable orders or principles that governed the major design decisions in art and applied art in Medieval and classical architecture.

Facet

One side or face of an object with several sides.

Focal Point

The dominant elements which draws one’s attention while moving through a built space becomes the focal point. These can be dominant because of their size, color, form, etc. in relation to the other elements in space.

Juxtaposition

Two things being seen or placed close together with contrasting effect.

Kinesthetic Perception

Perception of body movements, involving the awareness of body response by the means of sensory organs.

Mise-en-scene

The spatial arrangement with an overlapping or superimposition of elements and planes leading to ambiguity in the perception of space as perceived from a singular point of view.

Montage

A single pictorial assembly juxtaposing or superimposing many pictures or facets.

Multivalence

The attribute or state of pertaining many meanings or values.

Parasol roof

A roof or covering of a structure designed to provide cover from wind, rain, or sun.

Phenomenal Transparency

The spatial arrangement with an overlapping or superimposition of elements and planes leading to ambiguity in the perception of space as perceived from a singular point of view.

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Pier

A solid support designed to sustain vertical pressure.

Pilotis

Replacement of structural walls by a grid of reinforced concrete columns.

Portico

A porch area consisting of a roof, supported by columns at regular intervals

Promenade

Journey of walking through a building.

Proprioception

Sense or awareness of the movement of body, including sense of balance and equilibrium.

Space perception

Process of reading a space wherein humans and organisms become aware of the relative positions of their bodies with the space around, using the reading of depth, orientation and distance.

Spatial Layering

The spatial arrangement where there is an overlapping or superimposition of elements and planes as views from a point.

Threshold

The points where there is a change in elevation or change in spatial frame that makes the observer pause to comprehend the space become pause points or thresholds. Example, the landing of a staircase can provide a moment of pause.

Tapestry

A piece of thick textile fabric with pictures or designs formed by weaving coloured weft threads or by embroidering on canvas, used as a wall hanging or soft furnishing.

Theocentricism

The belief that the Christian God is the central aspect to our existence, as opposed to anthropocentrism or existentialism.

Spatio-Temporal

Belonging to both space and time

Utilitarianism (in architecture)

Maximization of the efficiency of the use of space, light, material that the construction of a building requires.

Voyeurism

The practice of gaining pleasure from secretly watching through a peephole.

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Review Feedback Report Review 1 - 28th January 2020 “Qualitative Analysis of Cinematic Frames in the Suspense Films of Alfred Hitchcock Break Down Analysis of Visual and Spatial Attributes Through The Lens of Design/ Gestalt Principles for an Effective Visual Communication” Discussion Points: • Research must ultimately relate to spatial qualities than starting and ending in art • The research on visual frames in cinema and paintings can be considered as a sub-part of the larger research question.

• Scope should be made clearer • Probable framework of inquiry and probable conclusion

Reflections As per the feedback of the first review, the topic of study was rechannelized to approach the observations of design theories in various periods of art (cinema and paintings), leading to a historical initial research under the lens of subject-observer relationship. and reinterpretation of these attributes under the movement of Modernism.

The lens of subject-observer relationship further gave inferences on sub-lenses of point of views- static and shifting, frame of visions, and the interpretation of Cubism as an avantgarde movement in changing perceptions - of both visuals and space. This further led to analysing the works of Le Corbusier, Mies, and F. L. Wright, and thereafter the role of movement was explored in shaping visual perception of space as one sequentially unfolds it.

Historical research was compiled and observations were interpreted to further develop the topic under the lens of subject-observer relationship and space perception, from January 29th to February 15th.

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Review 2

- 6th February 2020

“Space Perception Through Controlled Assembly of Spacemaking Elements Exploring the Elements of Kinesthetics With The Dawn of Modernism” Discussion Points: • Title should be precise and short, explanation of the topic in sub-title • Specific lens to study the case study • Since it is a theoretical approach, discussed methodology on • Content chapterization and narrative • Larger sections and how each section leads to the next • Methods of visual interpretation and visual representation - storyboard as a method of visual representation of sequential unfolding • Breakdown of visual frames • The role of observer in space triggered another node of analysis and inference - the shift of man in space from a mere viewer, to an observer, to an explorer or participant in space perception was delved into further.

Reflection: Keeping the points of discussion in mind, the topic was further developed with major nodes and inter-nodes.

Cubism’s concepts in art and architecture were observed in the works of Le Corbusier, and its role in shaping the spatial configuration to lead to montaged-space that unfolds sequentially as an observer moves through it.

The values of movement and perception was researched and analysed further in the month of February. Case study selection criteria and probable conclusions were discussed.

The precedent case studies of Chandigarh High Court and Mill Owner’s Association were visited between March 6th-10th and analyzed to frame a larger picture of the framework and probable inferences for the primary case study.

The primary case study of Chandigarh Palace of Assembly was visited on 12th March.

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CHOREOGRAPHED SPACES

Thesis viva - 25th May 2020 “Choreoraphed Spaces: An inquiry into the subject-observer relationship through a controlled assembly of spatial tectonics” Discussion Points: • The thesis could be condensed with the first section reduced to the key inferences and a chronological summary than a narrative approach.

• The approach to the topic could be focussed on a singular subject, i.e. movement and movement strategies governing visual manipulations. This could help in creating a crisper and detailed study on only one of the several concepts discussed in the thesis.

• A comparitive reflection on the movement and perception strategies could be made on the three buildings studied that concludes the effects of various strategies applied.

• The study could be continued comparing the architect’s vision of tangible factors governing perception of space versus the effects of natural intangible factors such as light, wind, etc. which come into consideration only when an observer moves through the space.

• Certain assumptions on the historical reflection could be avoided.

• The case studies of Palace of Assembly and High Court building can be further studied in detail keeping in regard primarily the programmatic requirement and the vision of architect in choreographing the movement of the functional activities.

Reflection: A condensed comparitive reflection of the three buildings is attempted which concludes the effect of various strategies applied in all three forms of Modernist architecture. The reflection attempts to take in regard the architect’s choreography of movement within the building with the functional activities of the employees and workers in regard.

Certain assumptions concerning the historical study in the first section have been deleted or altered.

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