Unbuilt Explorations: A tapestry of silhouettes
Mudita Avinash Pise
Statement.
This thesis delves into the complex interplay between architectural silhouettes, light, shadow, and the transformation from 2D to 3D forms, emphasizing their collective influence on human perception and the definition of space. It investigates how altering scales and the manipulation of light and shadow can dynamically transform perceived and actual spaces, challenging conventional architectural norms. The concept of liminality—transitional spaces that exist between two states—is crucial here, as it involves the scaling, distortion, and reinterpretation of architectural forms from flat drawings to textured, three-dimensional structures.
The project also addresses the role of light and shadow beyond mere aesthetics; they are fundamental in sculpting architectural environments that are interactive and ever-changing. Digital tools are utilized to transcend traditional architectural representations, allowing for new visualizations of how spaces can expand, contract, or stabilize in response to human interaction. This integration of technology enhances the narrative that architecture is not just a static physical form but an evolving art form that responds dynamically to human presence. This approach not only redefines architectural processes but also portrays architecture as a mediator between human experience and the built environment, particularly in spaces that have been abandoned and are being reconceptualized.
This thesis explores the intricate relationships between architectural silhouettes, light, shadow, and the transformative journey from 2D representations to 3D forms, emphasizing how these elements collectively shape human perception and define architectural spaces. At the core of this exploration is the focus on how altering scales and manipulating the interplay of light and shadow can dynamically alter the perceived and actual space, creating environments that challenge traditional architectural interpretations.
Central to the thesis is the concept of liminality—transitional or threshold spaces that exist between two states. Here, the transition from 2D drawings to 3D structures is not just a technical process but a transformation that involves scaling, distortion, and reinterpretation of architectural forms. By experimenting with varying scales and perspectives, the project highlights how these manipulated dimensions influence the viewer’s perception, crafting spaces that appear to evolve and respond to their movements and changing viewpoints.
This approach allows for a deeper investigation into the role of light and shadow not only as aesthetic tools but as fundamental elements that sculpt and define the architecture itself. These elements are orchestrated to enhance the textural qualities of materials and the depth of spaces, making the architecture feel alive and interactive. As light shifts and shadows move, they animate the static structures, bringing a dynamic quality to what might traditionally be seen as unchanging.
Furthermore, the project utilizes digital tools to push the boundaries of conventional architectural representation, exploring new ways to visualize and experience space that transcend the flatness of paper. This digital transformation supports the thesis’ exploration of scale and perspective, offering new methods to visualize how buildings and spaces can expand and contract, warp and stabilize, depending on the viewer’s interaction with them.
By weaving together the elements of architectural silhouettes, the manipulation of light and shadow, the fluidity of liminal spaces, and the innovative use of digital tools, the thesis constructs a narrative that redefines the architectural process. It proposes that architecture is not merely a physical construct but an experiential art form that engages, adapts, and evolves in response to human interaction. Through this lens, architecture is seen as a mediator between human experience and the built environment, where every line, form, and shadow holds the potential to influence how spaces are perceived and experienced.
Why?
The purpose of this thesis is to explore and redefine the way architectural forms are perceived by integrating the transformation of 2D drawings into 3D spaces with the dynamic interplay of light, shadow, and reflection. This investigation is driven by the need to enhance how architectural environments engage sensory experiences and challenge traditional viewing perspectives. The project seeks to push the boundaries of conventional architectural representation by employing digital tools and innovative visual techniques to create spaces that are not only functional but also deeply interactive and perceptually engaging. The ultimate goal is to offer new insights into the potential of architectural design to influence and enhance human interaction with built environments.
move·ment
/ˈmo ovm(ə)nt/ noun
1. an act of changing physical location or position or of having this changed. 2. a change or development.
Life begins with movement. At the core of existence is the persistent influence of movement, shaping the reality that envelops us. The thesis delves into an examination of the varied expressions of movement in the environment and its profound effects on individuals.
It seeks to redefine the notion of human movement through space. It aspires to explore movement beyond its literal understanding, embracing its emotional, sensory, and contextual facets within the realm of design. The ultimate aim is to harness the resulting insights to expose the capacity of architecture to dynamically influence human lives, thereby creating a positive and meaningful difference.
move·ment in Architecture
In architecture, movement refers to the way in which people move through and experience a space. It encompasses the flow, circulation, and rhythm within a building or urban environment.
Movement in architecture encompasses how individuals navigate and experience spaces, both within buildings and in urban environments. It includes the flow and circulation of people through different areas, the arrangement of pathways and routes, and the rhythm or pacing of movement within a space. Effective architectural design considers how movement patterns can influence user experiences, functionality, and the overall atmosphere of a place. Movement in architecture is not just about physical mobility but also about guiding the occupants’ perception and interaction with the built environment.
Silhouettes and the body.
In the artistic exploration of architectural movements, a series of meticulously crafted silhouettes captures the essence of diverse elements within a structure. Each silhouette serves as a visual narrative, encapsulating the nuanced interplay of openings that invite light and shadow to dance dynamically, ornamentation movements that convey a language of their own, and the tactile expressions of various material, encapsulating a distinct facet of architectural dynamism. These silhouettes collectively represent the myriad ways in which architectural elements choreograph an intricate ballet of movements, offering diverse and enriching experiences for the human body within the built environment. Through this visual language, the study seeks to unravel the nuanced interactions and experiences that arise from the coalescence of these architectural movements, celebrating the dynamic relationship between form, function, and human engagement.
Space and connection.
Architectural design encapsulates the essence of space, manipulating its form, scale, and volume to choreograph a narrative of human existence. The interplay of light and shadow within a space imparts a temporal dimension, shaping moods and perceptions. Openings and apertures become portals that frame vistas, fostering a dialogue between the constructed environment and the ever-changing external context.
The depiction of space in architecture goes beyond the tangible; it becomes a manifestation of cultural identity, historical narratives, and societal values. Ornamentation becomes a language, weaving stories into the fabric of walls and ceilings. The choice of materials, their textures, and colors contribute to the sensorial richness of a space, evoking emotions and memories.
In essence, the depiction of space in architecture is an intricate dance between the tangible and intangible, the functional and poetic. It speaks to the human condition, offering a framework for life’s myriad experiences. As architecture transcends the utilitarian and becomes a vessel for human expression, the depiction of space becomes a profound reflection of our collective identity, aspirations, and the interconnectedness of everything that surrounds it.
“its this singular density and mood, the feeling of presence, well being, harmony, beauty ... under whose spell I experience what o otherwise would not experience in this way.”
Peter Zumthor
per·cep·tion
/pər’sepSH(ə)n/
noun
1. the act or faculty of apprehending by means of the senses or of the mind; cognition; understanding.
2. immediate or intuitive recognition or appreciation, as of moral, psychological, or aesthetic qualities; insight; intuition; discernment.
ex·pe·ri·ence
1. the fact or state of having been affected by or gained knowledge through direct observation or participation.
2. practical knowledge, skill, or practice derived from direct observation of or participation in events or in a particular activity.
co·rrealism
A modernist theory of art and space that studies the relationships between humans, forms, space, time, and the world, as well as the nature of things.
The dynamic correlations between objects, environments and human experiences.
semi·otics in Architecture
Semiotics in architecture refers to the study of signs and symbols as a significant component of architectural language and expression. This approach explores how built environments convey meanings and ideas through their forms, spaces, and materials, much like words and sentences do in spoken language. Architectural semiotics investigates the cultural and contextual significance of architectural elements, analyzing how these elements communicate with users and influence their perceptions and experiences. By applying semiotic theory, architects and researchers can dissect the layers of meaning within architectural designs, revealing how structures can embody symbolic messages, cultural narratives, and social values, thereby enriching our understanding of the built environment’s communicative power.
How does architecture become literate
literate when the space is silent?
“Architecture is not only about what it looks like, but also what happens within it.”
Bernard Tschumi
on·eiric space
Oneiric comes from the Greek word ‘oneiros’, which means “dream”
A creative and speculative exploration of architecture that questions what defines architecture and how space is presented through the exploration of architecture’s speculative and creative attributes.
It can be a space that is influenced by the user’s imagination, memory, and dreams, and can create an exchange between the body and space.
kin·esthetic space
The kinesthetic experience of architecture is manifested in our ability to move and comprehend three-dimensionally. Understanding space is the act of moving, and architecture design is an act of choreographing the human body through spatial constructs.
Kinesthetic space in architecture refers to the physical experience of space as perceived through movement and bodily interaction. Unlike purely visual or auditory experiences, kinesthetic space engages the whole body, making architecture a lived and felt experience rather than just a visual one. This concept highlights the importance of how we move through and interact with spaces, emphasizing the dynamic relationship between the human body and the built environment.
sil·hou·ette
a shape especially of a figure with all detail blacked out in shadow leaving only the outline clearly defined.
Silhouettes remove all the distractions of smiles, colors and details, leaving only two dimensional profiles that, conversely, make a for a stronger story.
Silhouettes represent mystery, something unknown, uncertainty.
architectural sil·hou·ette
An architectural silhouette refers to the outline or profile of a form or structure or parr od the building as seen against a contrasting lit background.
The concept of the architectural silhouette is significant because it allows for a building to be understood and appreciated at a glance, even from a distance. It distills the complexity of architecture into a simple, yet impactful, visual representation. The silhouette can convey a building’s aesthetic, cultural, or symbolic meaning, as it often evokes strong associations with certain architectural styles, historical periods, or geographic locations.
The silhouette often highlights the key elements of a design, such as the roofline, massing, and overall geometry, making it a powerful tool for expressing the identity and character of a structure.
What happens when you activate
activate the in-between spaces?
“... in addtion to that, there’s a quality of magic.”
Renzo Piano
thresh·old
spatial arrangement of an individual’s mental need of acclimating to some random circumstance while moving towards an alternate encounter.
It is where the physical-visual combination of the space abandoned, and the space to be entered is accomplished.
a prelude, an intermediate space, a barrier? Inside or outside? The threshold space is all of these, usually even at the same time.
lim·i·nal space
the physical areas that exist between two functional spaces, or destinations. they are often transitional spaces that are created for movement from one place to another. It’s a gap, and can be physical, emotional or metaphorical.
the natural agent that stimulates sight and makes things visible. illuminate. light
shad·ow
partial darkness or obscurity within a part of space from which rays from a source of light are cut off by an interposed opaque body.
a dark area or shape produced by a body coming between rays of light and a surface.
Shettihalli Rosary Church
Shetti halli, Hassan, Settihalli, Karnataka, India
Site Context & History
The Shettihalli Rosary Church, often referred to as the “Submerged Church,” is a historical ruin located in the Hassan district of Karnataka, India. Built in the 1860s by French missionaries, the church stands as a testament to the region’s colonial past and is a unique example of Gothic-style architecture in a rural Indian setting.
Site Context
The Shettihalli Rosary Church is situated near the banks of the Hemavathi River, a tributary of the Kaveri River. The church’s remote location in a sparsely populated rural area adds to its mystique and charm. The surrounding landscape is characterized by lush greenery, agricultural fields, and the expansive waters of the Hemavathi Reservoir. The church’s location on the riverbank plays a crucial role in its current state, as the construction of the Gorur Dam in the 1960s led to the creation of the Hemavathi Reservoir, which floods the church during the monsoon season.
The site is accessible by road, though its isolation and the seasonal flooding have contributed to the church’s dilapidated state. Despite this, the church has become a significant attraction, by its unique history, architectural style, and the surreal sight of the partially submerged structure during the monsoon.
History
The site’s context dramatically changed with the construction of the Gorur Dam across the Hemavathi River in the 1960s. The creation of the dam led to the formation of the Hemavathi Reservoir, which caused the surrounding area, including the church, to be flooded. As a result, the church was abandoned, and the local community relocated. The church has since become known as the “Submerged Church” because it is partially submerged during the monsoon season, with only the spires and upper portions of the structure visible above the water.
It now stands as a hauntingly beautiful ruin, partially submerged in the waters of the reservoir during the monsoon season. The church becomes a “floating” structure, with its skeleton-like remains emerging eerily from the water. During the dry season, the waters recede, revealing more of the church’s structure This seasonal transformation adds to the church’s mystique. Over the years, the Shettihalli Rosary Church has weathered the elements, withstanding both time and water. Despite its ruinous condition, the church remains a hauntingly beautiful relic of the past, symbolizing the intersection of faith, colonial history, and the forces of nature.
Today, the Shettihalli Rosary Church stands as a poignant reminder of the region’s history and the enduring power of architecture to evoke memory and emotion, even in a state of decay. Its unique setting and the seasonal transformation from a submerged ruin to an exposed relic add to its allure, making it a significant site for those interested in history, architecture, and the interplay between human creations and the natural world.
Proposal.
The thesis proposal focuses on the transformative interplay between architectural silhouettes and the sensory experiences of light and shadow at the Shettihalli Rosary Church. This project seeks to explore and demonstrate how the manipulation of these elements can profoundly alter spatial perceptions and architectural experiences. Central to this inquiry is the use of the church’s unique interaction with natural elements—particularly water, which seasonally submerges parts of the structure, adding a layer of transient beauty and complexity.
The research will investigate the dynamic relationship between 2D architectural silhouettes and their expansion into 3D forms, emphasizing how changes in light and shadow, influenced by both the time of day and environmental conditions, can transform static structures into vibrant, interactive spaces. Through a meticulous examination of the church’s existing conditions and its interaction with these natural forces, the project aims to create a series of architectural interventions that enhance and highlight the liminal spaces within and around the structure.
The core of the proposal is to not only preserve the essence and history of the Shettihalli Rosary Church but also to reimagine it, turning the site into a living canvas that reflects the complex interplay of architecture, light, and nature. The envisioned outcome is a series of installations and architectural modifications that guide and alter visitor perceptions, inviting deeper engagement and reflection. This will be achieved by strategically placing new architectural elements and interventions that respect the existing ruins while introducing new perspectives and experiences centered on the themes of decay, transformation, and renewal.
This project, therefore, serves as both a preservation effort and a creative reinterpretation, aiming to provide a profound experience that challenges conventional views of architecture and heritage conservation. The final presentation will consist of detailed architectural models and narrative visualizations that encapsulate the theoretical and practical applications of the design concepts explored throughout this thesis.
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