A Journey of Light and Shadow
Name: Mei-Fang Liao Tutor Name: Shaun Murray E-mail: mei-fang.liao@ucl.ac.uk
Journey of Light and Shadow. How to use architectural concepts of space to understand personal interaction with the environment?
Introduction This project is about a peculiar journey in which the crucial aim is not necessarily to arrive the final destination but to record and describe the experiences of journey by the observer. In other words, the most relevant aspect of this journey is the information being “experienced” by observer before reaching the arrival per se, in Stone Circle, a historical site located in Oxfordshire(UK). Initially, the project investigated a series of narratives that reflect interactions between the observer and environment. These narratives are constructed by photographs taken along the journey. The journey to be presented will be divided into four stages. The first one is about preparation for the journey. Secondly, the transport during the journey is shown. In the third stage, the experience of “touching” the environment will be emphasized. Finally, it will describe the perception of arriving. The first stage of this project is a gradual process of collecting fragments of narratives available through the track. The purpose is to use the concept of ”light and shadow” to discuss not only how they are entangled with the environment but also to what extent they establish an original “conversation” with the architecture. Hence, this project focuses on the light and shadow as elements appropriated by architecture. In the second stage of this work, the goal is to explain and describe details of the photographs taken in the previous stage. These pictures represent the experience about the journey and will be analysed according to their perspectives of light and shadow. At the same time, the project analyses and interprets the effect of light and shadow through a succession of drawings. In the context, the drawings are results of experiments made to test a subjective or even abstract conception about how light and shadow can be projected in the environment. The pictures are frozen images of the journey; by contrast, the drawings are a result of dynamic experiments. The drawings should be understood in this project as the bridge between environment and architecture. By using distinct means of representation, such as photographs and drawings, this project suggests that there are multiple ways in which observers can establish an interaction with the environment. Consequently, different connections between the environment and the architecture can be possible. In summary, the project develops a series of drawings about an original journey of light and shadow; in which surface challenge the concept and the perception of the traditional model of space in depth. This project proposes an initial work for developing 3D model to depict the spatial journey.
Motivation The main interest of this work is the interaction between people and environment, and how people perceive the world where they live. People can smell, see, touch, and listen, when they live in certain environment. The interesting issues are: what other forms of interaction with the environment would remain? What kind of conversation would exist between observers and objects? Fascination for the relationship between light and shadow is the key aspect of this project. It also attempts to discuss how light project the shadow of an object to the surface, and how shadow can present an image directly. In ‘The Republic’ Plato states that “the shadow is even further away from the truth than the mirror” (Hill, J. 2006). This shows how the representation of shadow has been a fascination of mankind since antiquity. Light and shadow exist simultaneously. The shadow is shown as the silhouette of an object from the ray of the light point’s perspective. On the one hand, the shadow is the trace of light that projected in the environment. On the other hand, it is the object itself that “touch” the environment through the light. Then the shadow is generated on the surface as an image of object. This project was constructed by using the touch as a method to explore the natural world. Touch can be defined as the ability to do things “in the stated, especially positive way” (Cambridge dictionary). It is also a bridge which permits the communication between the natural world and the architecture. The sense of touch obviously plays a unique and important role in human interactions. Touch can also have the dimension of a sensory mode that integrates our own experiences with our memories. When visual perceptions are connected and integrated into the habit continuum of individuals; my body remembers who I am and where I am located in the world. My body is truly the central point of my world, not only in the view point of the central perspective, but also the very locus of reference, memory, imagination and integration. This research is also an attempt to use technology to translate the observer’s experiences through the journey. When technologies facilitate communication, they are in a way amplifying our natural senses and perception. For instance, using ultrasound technology scan can show what is happening inside of human body. It can reveal the organs beneath our skin. Digital technologies give us the opportunity to be aware of the existence of different spaces, and the possible communication both inside and outside of ourselves, close to or far away from us.
Methodology This project will apply the method of "touching� to address the relationship between the observer and the environment. The touch is presented by the forms of drawings, photos, and experiments that utilize modern technology devices. These methods focus on analyzing light and shadow. They try to record the journey of the observer by integrating the different forms of presentation. A complete investigation flow will be described at the end of this section. The photographs are taken by specific angle and position to capture the movement and the reflection of light and shadow in the environment during the journey. Portion of drawings are constructed by the experience of journey in order to support the narrative of a prior departure. Some drawings are drawn by analysing the detail of photographs. The rest part of drawings is produced based on the experiments that develop the object to investigate the relationship between light and shadow. The experiments are implemented by investigating how light and shadow project the perspective to the environment by using modern technology device. One experiment is by using GPS device to track the route of journey for the purpose of recording the moving path. Another one is by using the tool equipped with light sensor to move around in the darkness space. The movement of tool will leave trace on the surface by reacting with light. According to those experiments, the project develops the sensor paper which has reaction with light, in other words, it develops the observing drawing. These works about the project are also presented on my personal blog (http://mei-space.blogspot. com/). The personal blog is to guide and upload this research, and further to clarify concepts used in this project. This research focus on the interaction between light and shadow, It presents how the observer communicates with environment is by the experience of the journey. . Supported by these experiments, it is reasonable to argue that representation of the physical architecture operates differently on the mind of the observer by using touch. The method of touch is visible through drawings; additionally, photos also capture the shadow of objects which have left the trace to the surface during the journey.
Definition In this project the word “touch” will combine multiple meanings as mention below. “Touch” is the bridge to negotiate the gap between the observers and environment. 1. Touch, noun -move hand: the ability to know what something is like by feeling it with the fingers. 2. Touch, verb -move hand: to move especially the hand or another part of the body lightly onto and off something or someone 3. Touch, noun –close together: to communicate or continue to communicate with someone by using a telephone or writing to them. 4. Touch, noun –ability: an ability to do things in the stated, especially positive way. (Cambridge dictionary) The gap implies a new kind of space. It is the space in-between that defines the potential depth. The space of the interval is a shallow and compressed space; it is unfolding in time and linked together by the perception and recall of the observer.
Content A.
About the journey A-1. Part one- The launch of the pilgrimage A-2. Part two- Walking through the light A-3. Part three-“Touching� the environment A-4. Part four- The arrival
B.
The investigation work :experiments and the drawings Light and shadowB-1.The reflection B-2.The trace B-3.The movement
C.
Summary
The journey made by images focuses on the shadow of objects and the image of a place that is used, touched, walked, and seen.
A-1 Part one The launch of the pilgrimage
The series of photographs are arranged according to time-and-space intervals. The photographs are the trace, the footprints, and a specific interpretation of parts of the journey.
It is about experience and memory. Photographs are used to record the spatial environment.
1-1 The room is the beginning
1-6 The structure of roof is the performance for shadow
1-2 Another stage: the light goes to another room
1-3 The path: It is the turning point A-1 Part one:The launch of the pilgrimage
1-5 The time: The light shift through the circle of time
1-4 The image: The light stop in this station 01
1-1 The room is the beginning
1-2 Another stage: the light goes to another room
This is the beginning of the journey. The light peers through a chink in the curtain
In this photograph the light dances with shadow. The metal surface assists the
and penetrate the room from outside to inside. It radiates onto the ceiling and
light to reflect onto the wall. The shadow of object presents the image on the wall
leaves its mark. It also appears in the corners of the wall to showing the path of
as well. The surface of wall is the screen to present the performance. And the
the light. When the light peers into the room through the chink of curtain, it also
actors are the dancer of light and shadow. The photograph captures the moment
corrodes the fabric gently. From the picture, it is clear to see the edge of curtain is
of play in time and space. Their action is captured in this picture forever.
burned by the light. Here light penetrates this gloomy space.
A-1 Part one:The launch of the pilgrimage
02
1-3 The path: It is the turning point
1-4 The image: The light stop in this station
It is the path of corridor and the corner of the space. Some parts of objects do
This is the outline shadow of a wheel. This image implies the movement of the
not exist in this picture. They are presented by their trace through the light. The
wheel; however, the light casts the shadow on the ground directly. It is to describe
light etches the objects’ silhouette temporarily on the wall. However, the shapes
the frozen time happened in this image. There is no time onward and no space to
are different from the original one, because the corner bends down the shadow
present.
of objects. The space changes the track of shadow. The object existing in this 2 dimensional picture creates a 3 dimensional image.
A-1 Part one:The launch of the pilgrimage
03
1-5 The time: The light shift through the circle of time
1-6 The structure of roof is the performance for shadow The frame of cast iron is presented clearly in this photography. It is through the
In the bottom left corner of this picture, there is a clock on the platform which
light to cast the image on the background of sky. Although some parts of object
reads 08:36:47. It is one moment of time during twenty-four hours in a day. This
are blurred, it is the shadow that smears it intentionally. The cast iron frame is
moment is always presented from one day to another. It is not the frozen moment.
not the only object in this picture. The shadow of this object is represented in the
It is just represented in the image and is captured by camera. Therefore, it is the
overlap of vertical wall and horizontal ceiling. It is also a spatial picture.
spatial space in this picture.
A-1 Part one:The launch of the pilgrimage
04
A-2 Part two Walking through the light It is in the process of journey. These series of photographs are about transportation from a place to another place. And they are arranged at interval between one station to another.
2-1 The platform
2-6 Implicit dimensions of image (Part 2)
2-2 The window
2-5 Implicit dimensions of image (Part 1)
2-3 The mirror A-2 Part two- Walking through the light
2-4 The speed 05
2-1 The platform
2-2 The window
The broadcaster announces the destination of the various trains and their
The window in this picture is the barrier between outside and inside. One can
platform number. The echo of broadcast sounds around the structure of roof from
see through the window but not feel the wind passing on the face, and the heat
top to the bottom, from the gate to the end of platform. The sound makes visual
of sunlight. The glass of window reflects the light of inside; however, it implies
perception more sensitive. The eyes see the detail of architecture through the
that the window is also kind of shelter for the interior space. It is comfortable to sit
zoom lens. That is the reflection of light surround the environment.
inside of train to enjoy the scenery.
A-2 Part two- Walking through the light
06
2-3 The mirror
2-4 The speed
It is interesting to observe the reflection of the bus driver in the windscreen mirror.
The image is blurred because of the speed of movement. It is easy to identify that
Normally, it is hard to see the front view when sitting behind the driver. In this
the bus was traveling at a fast speed when this picture was taken. The distance of
standing position, it can be seen that the end of this road is where bus has to turn
space between the viewer and scenery in the environment can also be measure
left. The representation of this photo also looks like looking at the driver’s face in
by the speed. This photograph depicts speed of space.
front of the bus; however, it is the reflection image through the light path into the mirror.
A-2 Part two- Walking through the light
07
2-5 Implicit dimensions of image (Part 1)
2-6 Implicit dimensions of image (Part 2)
The eyes look at the environment through the reflection of image. This reflection
The feature of this picture is similar above one. The view of scenery is presented
of image is presented on the dome. What interesting is due to the form of object,
by the reflection. However, this image is clearer than the previous one because of
the image extends the dimension more than would be presented on the flat of
the material of surface.
surface.
A-2 Part two- Walking through the light
08
A-3 Part three “Touching” the environment In this stage, the observer is experiencing the environment by using “touch”. The angle of image shows the position of observer when taking picture, thereby using a different perspective to examine the surrounding area. This perspective shows the interaction between observer and the environment.
3-1 Swamp: above the surface
3-6 Cliff: hide and seek (part 2)
3-2 Swamp: preparing to submersion
3-3 Forest: the slipping and the sneaking A-3 Part three-“Touching� the environment
3-5 Cliff: hide and seek (part 1)
3-4 Forest: behind and above 09
3-1 Swamp: above the surface
3-2 Swamp: preparing to submersion
This photo uses a bird’s eye view to look down on the swamp. From this photo,
In this photo, the camera zooms in to take a close look at the swap. The eyes start
it looks like light is dancing on the surface of water. The reflection of light makes
to examine how light and shadow shift on this surface. This is the performance of
clear the movement of water from surface place to deeper area. The reflection
light and shadow. They dance and shift slightly in different position at this stage.
of light shifts and leaves the trace through the camera; it projects an impression
The light dances in the positive space, and the shadow dances in the negative
onto the observer’s eyes.
space. Here technology in the form of the camera freezes the action frozen at that moment.
A-3 Part three-“Touching” the environment
10
3-3 Forest: the slipping and the sneaking
3-4 Forest: behind and above
This also uses micro view to examine how the light projects onto the environment.
Here, the camera zooms out to fully perceive the interaction of light and shadow.
It reveals the implicit conversation between light and shadow in this image. The
In this photo, the light is hidden behind the tree. It casts a shadow of the tree
light communicates with the environment in a positive way by brightening it and
through the lens of camera. The huge image of the shadow created by the tree
the shadow in a negative way by darkening it. The light jumps quickly from one to
implies that observer is small in this environment. Also the position of the shadow
another; on the other hand, the shadow keeps the gentle rhythm.
in this picture dominates the light.
A-3 Part three-“Touching� the environment
11
3-5 Cliff: hide and seek (part 1)
3-6 Cliff: hide and seek (part 2)
This picture creates an image of the observer climbing from the bottom of the cliff
The camera zooms in to look closely at the surface of the stone on this cliff. The
to the top. The image also shows that the shadow is lurking beneath the cracks of
background is blurred; however, the foreground is clear to present the texture
rock. It prowls in this narrow space to avoid being captured.
of stone. In this game of light, the light smudges the image in order to avoid the shadow to be revealed on the surface.
A-3 Part three-“Touching� the environment
12
A-4 Part four The arrival This is the final part of the journey. A portion of the image is imbued with color. It emphasizes the position of the camera and what the ritual is in the Stone Circle.
4-1 It is the start point for the ritual
4-6 The end. It is also the beginning of point
4-2 The spot light (Part 1)
4-5 Return
4-3 The spot light (Part 2) A-4 Part four- The arrival
4-4 The spot light (Part 3) 13
4-1 It is the start point for the ritual
3-2 Swamp: preparing to submersion
The texture of stone shows corrosion of the stone. The Stone Circle transforms
The observer peers through a gap between the plant and stone. His eyes can not
the light from the sun, the moon and the starts into shadow. From time to time,
see the image clearly because the light moves slowly. It presents a vague image.
the ray of the light projects on the surface of the stone, then the shadow of stone is changed by light accordingly. In other words, the groups of flecks are the evidence that shadow was once an existing substance.
A-4 Part four- The arrival
14
4-3 The spot light (Part 2)
4-4 The spot light (Part 3)
The light is gathered in the central place, and the shadow is surrounding outside
In this picture, although the spot light tries highlights the scenery but the image is
the circle. From here, the image is presented clearly by the spot light.
obscured by the tree. The observer sees the things peeping through the leaves.
A-4 Part four- The arrival
15
4-5 Return
4-6 The end. It is also the beginning of point
This perspective image shows that light shifts slightly. The light “touches� the
This is the starting point where light sneaks in. Because of the darkness of the
surface of environment and extends its shape. It also spreads from the tree to the
room, at first it is a room of shadows. At the end of journey, the light permeates
ground to point out the road is the way to go back.
the space. The light is dancing, shifting, and jumping in this place to celebrate it.
A-4 Part four- The arrival
16
The reflection 1. Drawing
The investigation work :experiments and the drawings
“In architecture projection space is nothing other than pictures of light”. (Panofsky, E.,1968 cited in Evans, R., 1995, p.108).
B-1.The reflection As a whole, forms of life and the environment depend on sunlight to create and maintain ecosystems. Light is not only closely intertwined with our bodily and perceptual sensations and situations in daily life, but also a fundamental substance that makes a diverse range of objects visible, things and situations. For human beings, light is not only a matter of existence and survival, but also a spiritual and mental guide, assigned religious, scientific and philosophical significance of them. For artists, light path implies the line of drawing; it also reveals things in order for drawing about them to be produced. Light is the ultimate geometric instrument; this fact has been proven by contemporary laser surveys. In Euclid’s ‘Elements’, the straight line is defined as what can only be interpreted as a line that looks like a point when seen from end on, in other words a line that is identical to a light path (Sir Thomas L. Heath, 1968 cited in Evans, R., 1995). During the journey, the reflection of light reveals the environment’s image. The drawings present the physical architecture where the observer has visited. The drawings are constructed by experience of journey which is “touching” the environment. In addition, the perspectives are drawn from the position we occupy as we observe the space. The camera angles are also taken from the perspective of the observer experiencing the environment. Here are the drawings that describe third part of the journey.
B-1 The reflection
01
B-1 The reflection
02
B-1 The reflection
03
B-1 The reflection
04
The reflection 2. Experiment One of the fascinating projects based on modern light art is “Light Space Modulator” which was designed by László Moholy-Nagy, 1928-30 (Popper, F., 2007). The power of this work depends more on the reflection than on the original material. This experiment uses the reflection of light to capture the movement of shadow. The project develops one object that is operated by hand. The object can change the angle to measure the space of crevice where the light is hard to reach. It is interesting when taking the object into the experiment and surveying its environment. This work assists my project in experience the reflection of light. It investigates the shadow by observing the trace of light. The work records the movement of the object to trace the route of shadow during the environment. It is the experiment about light and shadow. The perspective of shadow can be drawn through the object. The drawing presents the trace of light as well as the movement of shadow in the environment through out the experiment.
The photos of the object show experiments and measurements upon the space of the crevice within an environment.
B-1 The reflection
05
It records the movement of the shadow of object in time by observing reflection of light on the surface Left: X+Y plan, X= distance, Y= depth Middle: X+Z elevation, X=distance, Z=width/range Right: Y+Z section, Y= height, Z=width
B-1 The reflection
06
These drawings are produced by observing the reflection of light and trace of shadow. It is a drawing of perspective of shadow in the environment.
B-1 The reflection
07
The trace 1. Drawing
The investigation work :experiments and the drawings B-2.The trace
The shadow is the geometric shape of the object. It is shown elementarily as the silhouette of an object from the ray of the light point’s perspective. In other words, the shadow is the trace of light that has been projected upon the environment. In this stage, the project investigates the space that exists after the drawing. “It is important to remember that in the classical tradition, drawing began when a Corintian maiden outlined the shadow (a profile) of her departing lover on a wall.” (Pérez-Gómez, A. & Pelletier, L. 1997, p.112) Many discussions of drawings begin with the classical legend of the origin of drawing. The trace of a shadow’s outline is sometimes cited as the first drawing or painting. In other words, drawing is the trace of shadow. Meanwhile, a drawing is like a window through which we can see things and environment (Booker, P.J., 1963) From ‘Projective Cast’, Robin Evans (1995) which states briefly that: “architects do not make buildings, and they make drawing for buildings.” They not only design the object but also draw the environment. Without drawings, there would be no environment (Evans. R.,1997). Drawings depends upon how observer sees, interprets and analyzes the environment. At the final stage of this journey, the Stone Circle is the point of departure. It is the space wher the heavenly sphere is transformed by the shadow’s projection. The trace of shadow is presented the space through the drawing.
B-2 The Trace
08
B-2 The trace
09
The trace 2. Experiment The experiment is to investigate the space exist after drawing. The project uses one tool that is equipped with a light sensor to move around in a darkened space. The movement of this tool will leave trace on the surface by reacting with light. In the end, the drawing of trace is represented the dimension of the space.
The image shows the movement of the tool. The video uploads in the personal blog.
This project also researches one of the works of Jochem Hendricks : “Eye-drawings”, which was made in 1992-93. Which also uses the device to record movement. The fascination of this work is the drawing of trace. It uses interactions from the human eye to trace the movement. The drawings are done directly by the eyes without using any hands. The experiment of investigating the space exists after drawing and the research of Eye-drawing, the environment is tested out by the project. It takes the paper as the physical architecture which is used to observe how light projects objects and how shadow leaves trace on the papers. The work inspires the project to develop the sensor paper which has reaction with light. The sensor paper is folded and cut by the reaction with light, in other words, the paper exists in the shadow space. In the end, the fragments of papers are collected to represent the space where they have been surveyed and measured. It is the dynamic drawing; more specifically, it is the observing drawing of drawing.
The trace of a shadow’s outline truly reflects the reality in the environment.
B-2 The trace
10
The paper surveys and measures the space which has light and projecting shadow
This is the observing drawing of drawing.
in the environment. The sensor paper is folded and cut by reaction with light.
B-2 The trace
11
The movement 1.Experiment
The investigation work :experiments and the drawings B-3.The movement
In this journey, a GPS device is used to record movement on a given path for collecting more elements throughout the journey, photos are taken at the same time. The purpose of using a GPS device is to navigate with the use of satellite technology. The observer relies on this technique to arrive to the point of arrival; meanwhile, the path of the journey is also recorded. After returning from this journey, the information can be collected and uploaded to the website. The personal experience of the journey becomes a saved file in the internet. It is a form of personal cartography that documents an occurrence in life as a visual journal. The picture in next page is an image captured from the website. Information about this journey is also linked to my personal blog. At the point of arrival, these technological devices can not only record the path of the journey, but also define the position and direction of sunlight, this information is also collected. The project depends on this technology to analyze the trace of light during a particular period of time in Stone Circle. This work also helps reveal the movement of shadow in space.
B-3 The movement
12
The movement 2. Drawing During the journey’s trajectory, the photos also capture the movement of light and shadow within a particular environment. For instance, in Part three, 3-1, 3-2, 3-3, 3-5, observe the detail of the A GPS device is used to record movement
interaction between light and shadow. The photos fix the movement to one period of time and the drawings reveal the dynamic interaction in the environment. The drawings represent the image of light and shadow that shift and skim on the surface.
Here are the drawings that represent the movement about the track of sunlight and the trace of shadow.
B-3 The movement
13
B-3 The movement
14
B-3 The movement
15
B-3 The movement
16
C. Summary To sum up, this project had implemented several experiments and produced many drawings which use different methods to describe the environment by investigating the relationship between light and shadow. Because of these works, it assists to reveal the implicit conversation and to reveal an interaction between the observer and the environment. In comparison to the other projects researched, this project presents the drawings by using technology to communicate. It uses some modern technologies to amplify human’s natural senses and perception to aware the environment. The purpose of this project is to examine and represent the relationship and the interaction between the observer and the environment more precisely, in order to bridge the gap between them. The gap is the space in-between and unfolding in time. They are also linked together with architecture by the perception of observer. In the end, the project proposes an initial work for developing 3D model to depict the spatial journey.
Bibliography: Allen, S., 2000. Practice: architecture, technique and representation. Commentary by Agrest, D., London: Routledge Allen, S., 1999. Points + lines : diagrams and projects for the city. New York: Princeton Architectural Press. Booker, P.J., 1963. A history of engineering drawing. London: Chatto & Windus . Baker, R., 1993. Designing the future : the computer transformation of reality. London: Thames and Hudson Barthes, R., 1993. Camera lucida : reflections on photography. Translated from French by Howard, R., London:Vintage BBC ONE: Britain from Above, 2008, Taxi in London [Online] Available at: http: http://www.bbc.co.uk/britainfromabove/stories/visualisations/taxis.shtml [Accessed 30 Jan.2009]. Corbett,. J., (n.d.). Torsten H채gerstrand: Time Geography. Available at: Regents of University of California, Santa Barbara [Online] http://www.csiss.org/classics/content/29[Accessed 20 February 2009] Colson, R., 2007. The fundamentals of digital art. Lausanne: AVA Cook, P., 2008. Drawing : the motive force of architecture. Chichester: Wiley Evans-Boddy, M., 2002.Camera Lucida: An Optical Illusion for Artists. [on line] Available at: http:// painting.about.com/od/oldmastertechniques/ss/camera_lucida_4.htm [Accessed 6 December 2008] Evans, R., 1997. Translations from Drawing to building and Other essays. London: Architectural Association. Evans, R., 1995. The projective cast : architecture and its three geometries. Cambridge, Mass ; London : MIT Press Grosz, E., 2001. Architecture from the outside : essays on virtual and real space. Cambridge, Mass. ; London : MIT Press. Grosz, E., 1995. Space, time, and perversion : essays on the politics of bodies. New York ; London : Routledge. Hockney, D., 2001. Secret knowledge: rediscovering the lost techniques of the Old Masters. London : Thames & Hudson Hill, J., 2006. Immaterial architecture. London : Routledge.
Ingo Günther, Shine a Light, 2007, Thank You-Instrument [Online] (Updated 16 Feb 2009) Available at: http://www.tokyoartbeat.com/tablog/entries.en/2009/02/shine-a-light.html [Accessed 30 May 2009]. Jochem Hendricks ,1992-93, Eye-Drawings[Online] Available at: http://www.jochem-hendricks.de/englisch/re_index.htm [Accessed 30 May 2009]. Jeremy Wood, 2006, GPS-Drawing [Online] Available at: http://www.gpsdrawing.com/maps.html [Accessed 20 Jan. 2009]. Kear, J.,1999. Sunless : sans soleil. Trowbridge:Flicks Kemp, M., 1990. The science of art : optical themes in western art from Brunelleschi to Seurat. New Haven, Conn. ; London : Yale University Press . La jetée ; Sans soleil, 2003. [Film] Directed by Chris Marker. France:Nouveaux Pictures Makarius, M., 2004. Ruins.Paris: Flammarion Michell, J., 1969. The New View Over Atlantis. London: Sago Press. Massey, L., ed., 2003. The treatise on perspective. Washington D.C.: National Gallery of Art. Nat, C,. 2005. drawing indeterminate architecture, indeterminate drawings of architecture. Wien : Springer. Pérez-Gómez, A. & Pelletier, L., 1997.Architectural representation and the perspective hinge. Cambridge, Mass : MIT Press Pérez-Góme, A., 1992. Polyphilo, or, The dark forest revisited : an erotic epiphany of architecture. Cambridge: MIT Press Popper, F., 2007. From technological to Virtual Art. Cambridge: MIT Press Spiller, N. ed, 2002. Cyber reader : critical writings for the digital era. London: Phaidon Shigeo Fukuda, Masters of Deception,2004, Second identity through shadows: Lunch with a Helmut On 1987 [Online] Available at: http://www.illusionworks.com/mod/fukuda.htm [Accessed 2 June 2009].