Architecture + Photography: The Transformation Between Dimensions by Jessi Pickelsimer

ARCHITECTURE + PHOTOGRAPHY THE TRANSFORMATION BETWEEN DIMENSIONS

T H I S F I N A L PRO JE CT I S PR E S E N T E D TO T H E FACU LT Y O F T H E S CH O O L O F A RCHI T E CT U R E BY

JESSICA M ONTA NA P ICKELSIM ER I N PA RT I A L F U LF I LM E N T O F T HE R E Q U I R E M E N T S FO R T HE D E G R E E

BACHELOR OF A RCHITECTU RE SOUTHERN POLY TECHNIC STATE UNIVERSIT Y M A R I E T TA , G E O RG I A S PR I N G S E M E ST E R 2 014

D EPARTMENT O F ARC H I TEC TUR E

SCH O O L OF ARCH IT ECT URE AND CO NST RUCT ION MA NAGE ME NT SO UT HERN POLY T ECHNIC STAT E UNIVERS IT Y

JE S S I C A M O N TA N A P I C K E L S I M E R

ARC H I TEC TUR E + P H OTO G R AP H Y: THE TR ANS FO R MATI O N B E T WE E N D I M I N S I O N S

ST U D ENT: JES S I C A P I C K EL S I M ER

(DAT E)

T H ES I S C OORD I NATOR: P RO F E S S O R MI CHA E L CA R RO L L

( DAT E )

I NT ERNA L A DVI S OR: P ROFES S OR EL I ZA B ET H M A RT I N

(DAT E)

T H ES I S C OORD I NATOR: P RO F E S S O R RO B E RT TA N G O

( DAT E )

I NT ERNA L A DVI S OR: P ROFES S OR M I C H A EL C A RROL L

(DAT E)

I dedi ca te t h i s proj ec t to H un ter. You supp or ted m e, en co ura ged m e, a nd tol d m e t h a t ever y t h i n g would be a lri gh t , â&#x20AC;&#x153;you a lway s get i t don eâ&#x20AC;?. Yo u a r e t h e one per son t h a t felt t h e r eprocut i on s o f my la te n i gh t s wi t h n o sleep , a nd s t i l l were wi lli n g to h elp m e wi t h t h e h eav y li f t i n g a n d m o del c ut t i n g. I a p p r ec i a te ever y t h i n g you h ave don e fo r m e. I could n ot h ave do n e i t wi t h o ut you.

TA B LE O F CO N T E N T S C HAP T E R 1 | DE SI GN T HE ORE M

1.1.1 H Y POTH ESIS 1.1.2 TH ESIS STATEM ENT 1.2.1 C A SE STU DY | WA LTER BENJA M IN 1.2.2 C A SE STU DY | ROLA ND BA RTH ES 1.2.3 C A SE STU DY | FILIP M ATTENS 1.3.1 TIM ELINE OF PH OTOGRA PH Y 1.3.2 TH E C A M ERA OBSC U RA 1.4.1 PREC EDENT | INSTITU T DE M ONDE A RA B 1.4.2 PREC EDENT | C H A PEL IN VILLEC ERON 1. 4 . 3 PREC EDENT | RENA ISSA NC E BA RC ELONA FIRA H OTEL

C HAP T E R 2 | DE SI GN AN ALYSI S 2.1 2.2.1 2D 2.2.2 2.5D 2.2.3 3D

M ETHODOLOGIES M ETH ODOLOGIES M ETHODOLOGIES M ETH ODOLOGIES

C HAP T E R 3 | DE SI GN P ROC E SS

3.1 2D SU RFAC E 3.2 2.5D INH A BITA BLE SU RFAC E 3.3 3D INH A BITA BLE SPAC E 3.4 IM PLEM ENTATION

C HAP T E R 4 | DE SI GN SY N T HE SI S

4.1 C OM POSITE IM AGE 4.2 POROSIT Y 4.3 EX TERIOR EX PERIENC E 4.4 PLA NS 4.5 ELEVATIONS 4.6 SEC TIONS 4.7 FINA L M ODEL

AP P E N DI C E S B I B LI OGRAP HY

CHAPTER ONE D E SIG N T HE ORE M

DESIGN T HE O R E M | HYPOT HE SIS

S in c e t he b eg i n n i n g , a rc h i tectural d es ign has taken in s p irat ion f rom d i f fer en t f ields of ar t s uch as , d an c e, musi c , p a i n ti n g s a n d more. It was not unt il t h e t wen ti eth c en tur y th at photo graphy b ecame a p o p u l ar med i a i n a r t a n d was mad e availab le to t he m as s es . T h i s mod er n a r t d if fer s f rom the other m edias by th e fa c t th a t i t i s created in a matter of s ec on ds , r ec ords th e h er e and now, and can never b e rep rod uc ed i n th e ex a c t s ame manner. Architect ure h as b eg a n to ta ke i n f l uence f rom photography, a rel at ion s h i p un i que to othe r forms of ar t, w ith de f in in g c h a r a c ter i sti c s th a t link the two, w hile als o c on f irm in g th ei r i n dep en d en ce f rom one another. Photogr a p hy r el a tes to architecture in that they b ot h s hare th e th e mea s ur ement of light, the cons id erat ion of vi ew s , a n d th e c ompos ition o f the f rame. T h e dif fer en c e th a t b etween the two would b e that p h otog rap hy r ema i n s two- dimens io nal, w hile architec t u re is th r ee- d i m en s i on al. The intent of the the s is wo ul d b e to ex p l or e th i s change of d ime ns ions an d d is c over h ow p h otog r a phy could inform the cre at ion of s p a c e. A p h otog ra p h i s th e d ocumentation o f a target t hat rep res en ts th e s p a c e, time and the perception t he p h otog r a p h er s ees , a n d can not b e replicated

id entically. Ph otogra phy is a la ngua ge th a t ever yon e can interpret in th eir own m a nn er n o m a tter wh a t the ind ivi dua l perception ; a tra it th a t is m irrored in the interp reta tion of Arch itecture by th e in h a bita nt of the s pace. This idea of rela tion s between dim en sion a l s tates would th en be explored by th e in tera ction and transform a tion th a t ta kes pla ce between th e two-d imen sion s a n d th ree-dim en sion s. A series of method ologies wa s crea ted to explore th is idea , by s hif ting between a n a log + digita l m edia a n d two-dimens ional + th ree-dim ension a l sta tes. T h rough th is trans forma tion , th e design evolved a nd developed into elem ents for spa ce. This p rocess is a lso lookin g a t th e rela tionsh ip of how ph otogra phy h a s developed th rough its existence. Beginn in g with a n a ctua l th ree-dim en sion a l s pace as a m ea n s for recordin g in form a tion in th e camera obscura , th e h istor y of ph otogra phy h a s d ras tically ch a nged a n d is now entering in to th e f ield of arch itecture th rough tech n ologica l a dva nce ments that a llow ph otogra ph ica l elem ents to be experience d spa tia lly.

TH ES I S STAT E M E N T | D E S I G N T HE O R E M

A rch i tec t ur e a n d P h otogr a phy h ave s i mi l a r c h a r a c ter i s t i c s , s uc h a s t h e mea s ur e of l i g h t , c omp os i t i on, a nd fra me , w i t h t h e d i f fe renc e b ei ng t h e t h r ee di m en si on a l st a te of a rch i tec t ur e, a n d t h e t wo di m en si on a l s t a te of p h otog r a p hy. T h e i ntent of t h e t h esi s wi ll be to ex plor e t h e t r a n sfor m a t i on b et ween t wo d i mens i ona l a nd t h ree di m en si on a l m edi a a n d h ow t h i s i nfor ms t h e desi g n of sp a c e.

DESIGN T HE O R E M | CA SE ST U DY

C AS E ST U DY | D E S I G N T H E O R E M

Wa lter B en j a m i n ’ s ea r ly essay, A S h or t Hi sto r y o f P h otogra phy, i s a cr i t i c i sm of t h e begi n n i n g yea r s o f p h otogr a phy. H e desc r i bes i t i n a way t h a t ph otogr a p hy i s n ow wh a t i t wa s n ot i n ten ded to be. T h i s t h esi s pi c k s up from t h i s poi n t a n d t ra ck s t h e h i stor y o f ph otogr a p hy a n d t h en begi n s to develop a n un der st a n di n g o f wh er e i t i s goi n g i n t h e fu t ur e. T h ese n ew a dva n cem en t s i n t h e li fe of ph otogr a p hy h ave con n ec t i on s to a rc h i tec t ur e t h rough spa t i a l ex p er i en c e a n d c on f i r m t h rough qua li t i es such a s sca le, di stor t i on , a n d even t h ree- di m en si on s. “ W HE N TH E I N V E N TO R S O F A N EW IN STRU M EN T TU RN IT IN TO T HE O BSERVAT IO N O F NATU R E , WHAT T HE Y HA D HO P ED FOR FROM IT ALWAYS SEEM S TINY IN CO MPARISO N TO TH E DI S C OV E R I E S W HI C H I T CON TR IBU TES.” 1 - WALTER BENJAMI N A S HORT H I STO RY O F P H OTO G R AP H Y

WALTER BENJAMIN [(1892-1940)

1. Benjamin, Walter. A Shor t Histor y of Photography. N.p.: n.p., 1931 Print

DESIGN T HE O R E M | CA SE ST U DY

C AS E ST U DY | D E S I G N T H E O R E M

Rola n d B a r t h es’ , C a m era Luc i n da , ex p la i n s h ow a ph otogr a p h obj ect i f i es i t s subj ec t . I t i s a m i r ror o f t h i s subj ect , yet i t s en t i r e stor y wi ll n ever be k n ow j ust from t h e i m a ge. S o m uc h of t h e sto r y i s lef t un k n own . T h i s i m a ge, a lt h ough c a n be dup li c a ted i n f i n i te t i m es, wi ll n ever be a ble to be r ec r ea ted. I n r ela t i o n to a rc h i tec t ur e, B a r t h es’ t h eor y i s ben ef i ci a l i n c on f i rm i n g t h e r esea rc h m et h od of t h e m et h odology. B y t r a n sfor m i n g t h i s i m a ge bet ween t wo a n d t h ree di m en si on s a n d a n a lo g + di gi t a l m edi a , t h e “rest o f t h e sto r y ” c a n be desi gn ed by c re a t i n g sp a c e t h rough t h e di sc over i es t h e m et h odology unvei ls.

“ W HAT T H E P HOTO G R A P H R E PROD U CES TO IN FIN IT Y HAS OCCU R ED O NLY O NCE; T H E PH OTO GRAPH MEC H ANI C A L LY R E P E AT S W HAT COU LD N EV ER BE REPEATED EX IST ENT IALLY.” 1 - RO L AND BARTHES C A MERA LUC INDA: R E F L E CT I O NS O N P H OTO G R AP H Y

ROLAND BARTHES [[(1915-1980)

1. Bar thes, Roland. Camera Lucida: Reflections on Photography. New York: Hill and Wang, 1981. Print.

DESIGN T HE O R E M | CA SE ST U DY

C AS E ST U DY | D E S I G N T H E O R E M

FILIP MATTENS [THe aesthetics of space: MOdern architecture and photography M a t ten s desc r i bes p h oto gr a p hy a s a n obst a cle to un derst a n di n g spa t i a li t y. I n t h e t y pi c a l sen se, t h i s i s t r ue, h ow ever, t h i s t h esi s wi ll go beyon d t h e p h otogr a ph to un derst a n d wh a t li es ben ea t h a m er e i m a ge, a n d wh a t t h i s pi ece ca n bec om e. We un der st a n d sp a c e a s we i n h a bi t i t , h owever, wh i le looki n g a t a n i m a ge o f “sp a c e”, we a r e di st r a c ted from ex p er i en ci n g t h a t spa ce, bec a use we a r e n ot i n i t .

“ IT I S NOT JU ST A D I S A DVA N TAG E THAT SPATIAL QUALITIES CAN NOT BE FULLY REPRESENT ED IN PI C T U R E S ; R AT HE R , P HOTO G RAPHY FOR M S AN OBSTACLE TO THE APPRECIAT IO N O F SPAT IALIT Y BEC AU S E I T D I ST R AC T S O UR ATTEN TION FROM W HAT IS U N IQU E TO REAL PERCEPT UAL EVIDENCE.” 1

B y develop i n g t h i s m et h odo lo gy a n d ex p a n di n g on fut ur e tec h n i ques, a n i m a ge wi ll develop i n to a n a c t ua l sp a c e.

- F I L I P MATTENS THE A ESTHETIC S OF S PAC E: M ODER N ARCH I T E CT U R E AND P H OTO G R AP H Y

1. “The Aesthetics of Space: Modern Architecture and Photography.” The Aesthetics of Space. N.p., n.d. Web. 10 Dec. 2013.

1 “In Such a World Ar t | Veg | Academia | Geeker y.” In Such a World RSS. N.p., n.d. Web. 10 Dec. 2013.

DESIGN T HE O R E M | PHOTOGR A PHY

P HOTO G R AP H I C AP P L I CAT I O N S | D E S I G N T H E O R E M

LIGHT MODULATION MEchanism A rchitecture a n d ph otogr a phy have s i m i l a r cha racter istics s uc h a s l i gh t m odul a t i on , composititon , a n d f ra m i n g t h a t a r e us ed in desig n in g eith er a pi ec e of a rc hi tec t ur e or in a p h otog r a p h . E a c h a r t i s t us es t hes e elem en ts a s to ol s for c r ea t i n g a d es i gn of merit .

COMPOSITION

Through a serie s of prec edents studies, it bec ame apparent that there are three major photographic al applic ations to arc hitec ture that c urrently exist. M ec hanism would be an example of the Institut du M onde A rab. Spatiality would be relate d to the Chapel in Villec eron, and the Image applied wo uld translate to the Renaissanc e Barc elona Fira Hotel.

The dire c t translation of the m ec h a n i c a l s y s tem s of a c a m era to per fo rm a func tion on a buildi n g.

SPATIALITY A transformation between 2-d i m en s i on s a n d 3 - di m en s i on s to i n form spac e , by taking qualities and c h a ra c teri s t i c s from a 2 - di m en s i on a l image and translating that into 3 - di m en s i on a l s pa c e.

IMage applied The applic atio n of an image on to a n a rc h i tec t ura l el em en t t h a t c a n be experienc ed spatially.

FRAMING

DESIGN T HE O R E M | T IME L IN E

TI M E LI N E | D E S I G N T HE O R E M Materials

Pol a roi d

Di gi t a l Ca mera

T h e f i r st ca m er a to develop a n d pr i n t p h oto s i n st a n t ly.

Camera phone

C a n on i n t roduced t h e f i r st elec t ron i c di gi t a l c a m er a .

2002

Kodak camera

Ca mera p h ones b ec a me w i del y ava i l a b l e to th e p ub l i c , w h i c h c h a ng ed t h e way i nforma t i on wa s rec ord ed .

1996

T h e f ir st Koda k c a m er a wa s m a de ava ila ble. It cont a i n ed a 2 0 foot roll of pa per a n d could p ro duc e 10 0 2 .5 inch di a m eter pi c t ur es.

1888

T h e f i r st “AutoFoc us” S L R sy s tem wa s m a rketed.

1985

Louis Da guerre form ed a process of recordin g im a ges on m eta l pla tes using ch em ica ls.

1948

Clarity and b rightnes s is im proved by the enlargement of th e ho le. It was als o mad e por ta ble.

1839

Daguerreotyp e

i m pr o ved cam er a o b scura

Photosensitive p aper

N iceph ore Niepce com bin es th e cam era obscura with ph otosen s itive pa per. Ten yea r s la ter h e crea ted a perm a n ent im a ge.

SL R

T h e f i r st S L R (S i n gle- L en s- Reflex ) wa s m a de.

2004

T h e f i r st com m erci a l color f i lm wa s m a de ava ilable to t h e p ubli c .

1949

Color fi l m

1986

1816

Thomas Wedgwood form s “sun pictures ” by pla cin g opa que objects on s i lver-n itra te trea ted leather.

1907

“ S u n pi ct ures’

1800 22

1837

T h e camera o b s cura us ed a d ark room w ith a p i nho le on o ne s ide to for m an image on the op p os ite wall.

1700s

ANCIENT TIMES

C a m er a O bs cu r a

A ut ofocus

Materials such as silver-plated copper a nd gla ss a re used to crea te im a ges by sprea ding ph otosen sitive ch em ica ls on gla ss.

Goodbye, film

Kod a k c ea s es p rod uc t i on of f i l m c a mer a s .

Di sposa bl e ca mera

Fuj i i n t roduc ed c a m er a s t h a t were desi gn ed for si n gle us e .

TH E C AMER A OB S CU R A | D E S I G N T H E O R E M

T h e c a m era o bscur a li ter a ll y mea ns “ d a rk room” i n L a t i n. B y p l a c i ng a s ma l l h o le i n t h e wa ll of a da rk room, t h e l i g h t w i l l t ravel t h roug h a nd mi r ror t h e i m a ge on t h e op posi te wa ll. P h otog r a p hy t a kes root f rom t h e c a mer a ob s c ura a n d develops fro m t h er e. 1 T h e ca m er a o bsc ur a i s t h e b i r t h of p h otog r a p hy. T h e c a m er a obscura i s a n a c t ua l t h r ee- d i mens i ona l s p a c e t h a t p rod uc es a t wo- di m en si o n a l i m a ge. T h e c a mer a ob s c ur a c oul d b e c ons i der ed “ s tep on e” o f t h i s i dea of a m et h od ol og y of des i g ni ng s p a c e by t r a ns for mi ng f rom t h ree- di m en si on s to t wo. 4

1. “Projecting - Alchemy by Al Razutis 2011.” Projecting - Alchemy by’ Al Razutis 2011. N.p., n.d. Web. 09 Dec. 2013. 2. “Histor y of Photography and the Camera.” About.com Inventor s. N.p., n.d. Web. 08 Dec. 2013

DESIGN T HE O R E M | PR E CE DE N T

P R E CE D E N T | D E S I G N T H E O R E M

INSTITUT DU MONDE ARABE JEA N N OU V EL PAR IS, F R A N C E 1987

Th e I n s t it ut wa s c r ea ted a s a d es tination d evoted to t h e r el a ti o n sh i p of Arab culture in Fr a n c e. T h e fea tur ed a s p ec t of the b uild ing is t he bris e s o l ei l sy stem of th e s outhern facad e. It s rep eated p a tter n i n g r el a tes to an Arab ic arc h itec t ura l el emen t, th e mas hrab iyya, a tradition al l at ti c e work th a t i s us ed for s un pro tec t ion an d p r i va c y. T h e s y stem is compo s ed of hun dreds of l i g h t s en si ti ve d iaphragms that r egul ate t he l i g h t th a t en ter s the b uild ing.

APERATURE

LIGHT MODULATION

The aperature of the camera modulates the light that is allowed to enter

The aperature mechanism is repeated in a pattern to modulate the light allowed to enter the building

FIGURE 3

Th es e diag r a ms a r e a n a p er ture mechanis m t ha t m im ics th e s a m e f un c tion in a camera. Li g ht m odul a ti o n wa s a si g n if icant facto r that ha d to be c o n trol l ed i n th e b uild ing, and N o u vel took t h e c a m er a m ec h a nis m as a too l to sol ve a p rob l em. 1

S pace of Engagement:

Th is buil din g h a s m ul ti p l e f unctions includ ing a res t au ran t, m useum , l i b r a r y, o f f ices and an aud itorium . I t i s a soc i a l sp a ce that celeb rates t he Arab c ul tur e’ s r el a ti on s hi p w ith France.

1. “ATELIERS JEAN NOUVEL.” ATELIERS JEAN NOUVEL. N.p., n.d. Web. 09 Dec. 2013.

Mashrabiyyas

Arab Institut facade

Ara bi c pa t tern ed s c reen s t h a t f i l ter l i gh t a n d prov i de pri va c y

T h e r ep ea ted p a t ter ning in t h e fa c a d e r ep r es ent s t h e m a s h r a b iy ya s o f A r a b ic c ult ur e, w h ile a ls o p rotec t s t h e b uild ing f rom s un

DESIGN T HE O R E M | PR E CE DE N T

P R E CE D E N T | D E S I G N T H E O R E M

Chapel in villeaceron S.M.A .O

(r i g h t )

A LMADEN, C I U DA D R EAL , S PAI N 1996-20 01 Th is c h ap el wa s c rea ted to h ave a clo s e relati ons hip b e t ween s p ace a n d th e o b j ec ts that occupy it. The des ign is m in im al w i th a foc a l p oi n t o f a cros s on the wall as t he on l y orn a men ta ti on , a l l owing for a s erene place for r efl ec t ion . I t i s b a s ed o n a s eries of s tud ies of fold ed pa p er t hat a re tr a n s l a ted i n to a concrete s tructure. N atur al l ig h t is th e s ec o n d m a i n material us ed that takes advan t ag e of i ts ever- c h a n g i ng and f ragile characteris t ics an d c omp a r es th em to the s trong and s tatic characteris t ic s of c on c r ete. 1 Th e d es ig n p roc ess o f th i s b uild ing is impor tant as it r el ates to a 2- di men si on a l a nd 3-d imens ional relationship . T h e studi es b eg a n w i th a 2-dimens io nal material an d m an ip ul a ted i t un ti l th ey d eveloped a 3-d imens ional sp ac e from i t.

(l ef t )

2D to 3D TRANSFORMATION

spatiality

S pace of Medi tati on:

Axon om et ri c drawi n gs of th e proj ec t t h a t repres en t t h e progres s i on a l s pa t i a l qua l i t i es t h a t a re devel oped i n t h e s t udi es

Th is b uil din g s er ves th e f u n c tio n of a chapel and a quiet plac e for m ed i a ti on . T h e l i g h ting techniques us ed als o prov id e a c a l mi n g qua l i ty that is d erived f rom natural r es o urc es .

A s eri es of s tudi es were c on duc ted to t ra n s form a 2 - di m en s i on a l pi ec e of pa per i n to a 3 - di m en s i on a l m odel t h a t repres en t s s pa c e

10 11 1. “Chapel in Villeaceron / S.M.A .O.” ArchDaily. N.p., n.d. Web. 09 Dec. 2013.

1. “Chapel in Villeaceron / S.M.A .O.” ArchDaily. N.p., n.d. Web. 09 Dec. 2013.

natural light

light as material

The suns natural illumination is the only source of light in the project

Natural light is let in at specif ic places that bounces of f the folds and provides sof t lighting in the interior space

DESIGN T HE O R E M | PR E CE DE N T

P R E CE D E N T | D E S I G N T H E O R E M

RENAISSANCE BARCELONA FIRA HOTEL JEA N N OU V EL , R I B A S & R I B AS BA RCELON A , S PA I N 2011 Th is 24 s tor ey d oub l e tower has a focus o n the trans pa ren c y of th e b ui l d i n g vol ume and provid es a ref uge wh ere p al m tr ees a n d veg i tation are trans formed into arc hitec t ur a l el emen ts i n th e open-air ver tical circulat ion in t he a tr i um o f th e b ui l d ing. Thes e palm tree s are t hen rep res en ted on th e fa c a d es of the b uild ing through imag es on th e g l a ss s ki n a n d cas t into the concrete wa l l s . A var i ety of c ol or s , l i ghts and s had ow s “ conver t t he hotel into a l i ve a n d c h a nging element that ref lects t he in ten s it y or a b s en se of n atural light.” 1

2d image

3d experience

The image is 2-dimensional and is not experienced spatially

The enlargement of the image, plus the function that it ser ves allows the graphic to be experienced spatially

Th e out s t an d i n g el emen t of the project are the images of p al m t rees th a t a r e p r i n ted onto the facad es . From t he in terior, th ese i ma g es c an b e ex perienced s patially an d p roje c t th e b ui l d i n g f rom har s h s unlight. This is an ex amp l e of h ow th e a d va n c ement of technology allow s us to ex p er i en c e th e p h otog r a phic image in an architect ural way.

S pace of Engagement and Me d i t a t i on:

Th is buil din g i s a n ex a mp l e of b oth a pub lic and private sp ac e. S ec ti o n s of th e b ui l ding provid e a s ocial environ m en t wh i l e a l s o p rovi di n g private s paces .

1. “ Es c ofet 1886 S . A . ” Es c ofet 1886 S. A . N . p . , n . d. Web . 21 Ja n. 2014.

CHAPTER TWO DESIGN ANALYSIS

METH O D O LO G I E S | D E S I G N A N A LYS I S

To develop and under stand th i s t ra n form a t i on bet ween di m en s i on s , I c onduc ted a series o f met h odol ogi es t h a t t ra n s ferred bet ween analog + digital media and 2 - di m en s i on a l + 3 - di m en s i on a l m edi a . Three o riginal photographs were s el ec ted to s t udy ; ea c h of wh i c h had pro per ties that c ould be t ra n s l a ted i n to a rc h i tec t ura l des i gn . The f ir st image, used for the 2 D m et h odol ogy, i s a ph otogra ph of pepples on the gro und at a bea c h i n B a rc el on a , Spa i n . T h e s ec on d, used for the 2.5D methodology, i s a n i m a ge of a c a n opy of pa l m leaves with the light piec ing t h rough a t t h e B ot a n i c a l Ga rden s i n Atlanta, Geo rgia. The third im a ge, us ed for t h e 3 D m et h odol ogy, i s an ac tual arc hitec tural spac e a n d i s l ook i n g up a t t h e s k y t h rou gh a light well at the Barc elo na Forum by Her z og + de M uron i n B a rc e lona, Spain. The original base images are brough t from t h ei r 2 D s t a te a n d a re translate d into model form. A ph otogra ph i s t h en t a ken of t h e m odel and bro ught bac k into the c o mputer. T h e i m a ge i s m a n i pul a ted a n d the sequenc e begins again an d c on t i n ues for s evera l revol ut i on s .

DESIGN A N A LYS I S | 2D ME T HODOLOGY