The Sublime and the Artifice
Sonny Eric Xu Bachelor of Architecture May 2013 College of Architecture, Art & Planning Cornell University Advisers: Andrew Lucia, Kevin Pratt & Val Warke
Thank you! to my family, professors and friends: Mother and Father, Professor Andrew Lucia, Professor Dana Cupkova, Professor Don Greenberg, Professor Kevin Pratt, Professor Mary Woods and Professor Val Warke, Anthony Terzino, Caio Barboza, Daniel Toretsky, Giffen Clark Ott, Helena Rong, Jamie Chow, Jenny Kwon, Jessie Zhang, Jimmy Chen, John Lai, Joseph Kennedy, Junyoung Lee, Karen Chi-Chi Lin, Kevin Jin He, Nata Saslafsky, Natalie Kwee, Prim Chanarat, Simin Wang, Vinayak (Vinny) Portonovo and Warren Davis. i
A thesis presented to the Department of Architecture in the College of Architecture, Art & Planning, Cornell University in partial fulfillment of the requirements for the Bachelor of Architecture Degree Sonny Eric Xu Bachelor of Architecture May 2013 Advisers: Professor Andrew Lucia ____________________ Professor Val Warke
____________________
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This book is dedicated to my mentor Professor Kevin Pratt.
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Table of Contents
I The Analysis of the Sublime
III The Rendered Perspectives
The Sublime: A Brief Historic Overview
Renderings
pg 2
Sublimity of the Digital Age pg 9
pg 131
Model Photography pg 141
The Sublime: A Catalog pg 12
The Sublime: The Construct, Perspective and Scale pg 28
IV The Production, Documentation and Presentation The Processes pg 163
II The Experimentation with the Artifice Thesis Statement pg 40
The Presentation pg 169
SX pg 173
Site pg 41
Site Documentation pg 47
The Experiment pg 54
The Evaluation pg 101
The Combinatory Conditions pg 119
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I The Analysis of the Sublime
1
18th Century Notion of Sublime
Taken from Edmund Burke (1729 - 1797)’s Sublime and Beautiful (1756)
Defined as “greatness beyond all possibility of calculation, measurement or imitation”, the Sublime is often used to describe the unbelievable sight and transcendent quality of vast landscape or architectural conditions. It causes astonishment and visceral experience in the viewer where all the motions of the soul “are suspended, with some degree of horror” (Burke, 57).
2
Architectural Propositions from the 18th -19th Century
3
Exterior vs. the interior
Exterior vs. the interior
Étienne-Louis Boullée: Cénotaphe à Newton, unbuilt (1785)
Étienne-Louis Boullée: Temple of Death, unbuilt (1795)
Paintings from the 18th - 19th Century
Caspar David Friedrich: Wanderer above the Sea of Fog (1817)
Joseph Mallord William Turner: Snow Storm: Hannibal and his Army Crossing the Alps (1812)
4
Paintings from the 19th Century
Albert Bierstadt: Looking Down Yosemite Valley, California (1865)
5
Frederic Edwin Church: The Iceberg (1891)
Photography of the Early 20th Century
Ansel Adams: Tioga Pass, (July 1940)
Ansel Adams: Zabriskie Point, Death Valley National Monument (1942)
Ansel Adams’ Mt. Williamson, Sierra Nevada, from Manzanar, California, (1944)
6
Urban Sublimity of the Early 20th Century
By analysing architectural projects, landscapes, writings, drawings, paintings and photographs, I tried to understand how historically and contemporarily the Sublime is perceived and imagined. I drew upon precedents such as works by Étienne-Louis BoullÊe, Peter Eisenman, Christo and Jeanne-Claude, Michael Heizer and etc.
Alvin Langdon Coburn: Fifth Avenue (1910)
7
Early 20th Century Redefinition of Urban Sublimity through Photography:
Alfred Stieglitz: Old and new New York (1910)
Berenice Abbott: Pike and Henry Lower East Side (1936)
Berenice Abbott: City Arabesquen (1938)
8
Sublimity of the Digital Age
This thesis aims to explore how the sublime is envisioned and created contemporarily. I re-examined the 18th century idea with contemporary thinking and with the help of 21st century technologies and methods.
Edward Burtynsky: Movie: Manufactured Landscapes (2006) Shipyard
9
Edward Burtynsky: Movie: Manufactured Landscapes (2006) Artificial landscape of coal
Edward Burtynsky: Movie: Manufactured Landscapes (2006) Ceconstruction of an aircraft carrier
Edward Burtynsky: Movie: Manufactured Landscapes (2006) Chinese factory
Precedents
By analysing architectural projects, landscapes, writings, drawings, paintings and photographs, I tried to understand how historically and contemporarily the Sublime is perceived and imagined. I drew upon precedents such as works by Étienne-Louis Boullée, Peter Eisenman, Christo and Jeanne-Claude, Michael Heizer and etc.
Étienne-Louis Boullée: Deuxieme projet pour la Bibliothèque du Roi (1785)
Peter Eisenman: The Memorial to the Murdered Jews of Europe (2004)
Christo and Jeanne-Claude: The Mastaba (1977 - Present)
Michael Heizer: North, East, South, West, (1967/2002)
10
Man-Altered Landscape Conditions
I also looked at unique landscape conditions altered by human activities such as quarries, salt mines, stepped farms, the Carnac Stones and etc. I am trying to explore the grey zone between what is natural and what is manmade; aimed to first understand then produce meditative, poetic, and timeless spatial conditions that evoke the emotions of awe and calmness in its occupants.
Iberia Quarries
11
Saltmines
Moray
Carnac Stones
The Sublime: A Catalog
The collection of seemingly different and unrelated Sublime conditions are then catalogued based on found similarities. Some of the conditions have more than one category which they can fall under. Catergories include: Monumentality, monolith, re-establishment of scalar relationships Man-altered landscape conditions Undulating forms/ surfaces Field condition of similar forms Field condition of forest of columns Confusion/ complexity/ incomprehensibility Suggestion of infinity, vastness Porportional relationship Sound Ambiguity Light and Contrast
12
The Sublime: A Catalog (1/9)
Monumentality, monolith, re-establishment of scalar relationships
Carl Zimmerman: model photography
Pilgrimage Church, Neviges, Germany, 1965-68
13
Michael Heizer: City
Kofun
Mario de Biasi: Milano, Piazza Duomo, 1951
Coolidge Dam
Christo and Jeanne-Claude, The Mastaba
Junya Ishigami: Balloon
The Sublime: A Catalog (2/9) Man-altered landscape conditions
Google Satellite Map of San Francisco Salt Mines
Salt Mines
Robert Smithson: Spiral Jetty
Lois Hechenblaikner
Mines
Inca Stepped Farms
Walter Niedermayr: Atmosphere. Mer de Glace 08, 2008
James Turrell: Roden Crater Plan
14
The Sublime: A Catalog (3/9) Undulating forms/ surface
15
Ryue Nishizawa: Teshima Art Museum
Toyo Ito: Crematorium in Kakamigahara
Peter Eisenman: City of Culture
Tara Donovan: Transplant
Pier 62
Chinese Landscape Paintings
Antelope Canyon
Kverkfjรถll Ice Caves, Iceland
The Sublime: A Catalog (4/9) Field condition of similar forms
Ice circles: form from slow rotating slabs of ice
Maya Lin: Wave Field
Alberto Burri: Gibellina Vecchia
Tadao Ando: Awaji Yumebutai Center
Peter Eisenman: Memorial to the Murdered Jews of Europe
Carnac Stones, France
Mount of Olives
Robert Smithson: Dallas- Fort Worth Regional Airport
16
The Sublime: A Catalog (5/9) Field condition of forest of columns
17
Hypostyle Hall at Persepolis, Drawing
Hypostyle Hall at Persepolis as ruins
Tokyo Sewage System
Snøhetta: library of Alexandria
Mosque Cathedral of Cordoba Spain
Axel Schultes Architekten: Crematorium Baumschulenweg
Giuseppe Terragni: Danteum
Gerco de Ruijter
The Sublime: A Catalog (6/9)
Confusion/ complexity/ incomprehensibility
Junya Ishigami: KAIT Workshop
Giovanni Michelucci: dell’ Autostrada del Sole
Stepped Wells, India
Piranesi: Prison Drawings
Pieter the Elder: Library of Babel
Enric Miralles & Carme Pinos: Igualada Cemetery
Martha Schwartz Partners: Xi’an International Horticultural Expo
Yayoi Kusama: Fireflies
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The Sublime: A Catalog (7/9) Suggestion of infinity, vastness
Israeli West Bank Barrier
Christo and Jeanne-Claude, Ten Million Oil Drums Wall Project for the Suez Canal, 1972
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Christo and Jeanne Claude: Running Fence
Lynn Davis: Icebergs
Brasilia: Tunnels in the Federal District
William Turner: Fishermen at Sea
Peter Zumthor: Witch Trial Memorial
Gunnar Asplund and Sigurd Lewerentz: Woodland Cemetery
The Sublime: A Catalog (8/9)
Porportional relationship, sound, ambiguity
Taughannock Falls in winter time
Taughannock Creek
Tate Modern: Ai Wei Wei
Daniel Libeskind: Jewish Museum Berlin
Niagara
Niagara Falls
Random International: Rain Room
Antony Gormley: Blind Light
Christo & Jeannie Claude: Wrapped Reichstag
20
The Sublime: A Catalog (9/9) Light and Contrast
Étienne-Louis Boullée
Steven Holl: Chapel of St. Ignatius
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Boullée: Cénotaphe à Newton (1784)
Kenzo Tange: Yoyogi National Gymnasium
Frank Lloyd Wright: Johnson Wax Factory
Peter Zumthor: Kolumba Museum
Peter Zumthor: Bruder Klaus Kapelle
James Turrell: Afrum I
The Sublime: A Catalog Monumentality/ Re-establish Scalar Relationships:
Carl Zimmerman
Coolidge Dam
Pilgrimage Church, Neviges, Germany, 1965-68
Junya Ishigami: Balloon
Mario de Biasi: Milano, Piazza Duomo, 1951
Lois Hechenblaikner
Inca Stepped Farms
James Turrell: Roden Crater Plan
Chinese Landscape Paintings
Kverkfjöll Ice Caves, Iceland
Michael Heizer: City
Christo and Jeanne-Claude, Ziggurat
Kofun
Robert Smithson: Spiral Jetty
Mines
Walter Niedermayr: Atmosphere. Mer de Glace 08, 2008
Salt Mines
Toyo Ito: Crematorium in Kakamigahara
Peter Eisenman: City of Culture
Antelope Canyon
Tara Donovan: Transplant
Mount of Olives
Maya Lin: Wave Field
Tadao Ando: Awaji Yumebutai Center
Giuseppe Terragni: Danteum
Tokyo Sewage System
Snøhetta: library of Alexandria
Giovanni Michelucci: dell’ Autostrada del Sole
Pieter the Elder: Library of Babel
Man-altered Landscapes:
Google Satellite Map of San Francisco Salt Mines
Undulating Form/ Surface:
Ryue Nishizawa: Teshima Art Museum
Field Conditions of Repetitive Forms:
Ice circles: form from slow rotating slabs of ice
Alberto Burri: Gibellina Vecchia
Peter Eisenman: Memorial to the Murdered Jews of Europe
Carnac Stones, France
Robert Smithson: Dallas- Fort Worth Regional Airport
Forest of Columns:
Hypostyle Hall at Persepolis, Drawing
Hypostyle Hall at Persepolis as ruins
Mosque Cathedral of Cordoba Spain
Axel Schultes Architekten: Crematorium Baumschulenweg
Gerco de Ruijter
Enric Miralles & Carme Pinos: Igualada Cemetery
Yayoi Kusama: Fireflies
Complexity/ Incomprehensibility
Junya Ishigami: KAIT Workshop
Stepped Wells, India
Piranesi: Prison Drawings
Martha Schwartz Partners: Xi’an International Horticultural Expo
Vastness: Suggestion of Infinity:
Israeli West Bank Barrier
Christo and Jeanne Claude: Running Fence
Brasilia: Tunnels in the Federal District
Peter Zumthor: Witch Trial Memorial
Christo and Jeanne-Claude, Ten Million Oil Drums Wall
Lynn Davis: Icebergs
William Turner: Fishermen at Sea
Gunnar Asplund and Sigurd Lewerentz: Woodland Cemetery
Ambiguity:
Porportional Relationship: Sound:
Taughannock Falls in winter time
Taughannock Creek
Tate Modern: Ai Wei Wei
Daniel Libeskind: Jewish Museum Berlin
Niagara Falls
Random International: Rain Room
Antony Gormley: Blind Light
Christo & Jeannie Claude: Wrapped Reichstag
Peter Zumthor: Kolumba Museum
James Turrell: Afrum I
Light & Contrast:
Étienne-Louis Boullée
Boullée: Cénotaphe à Newton
Kenzo Tange: Yoyogi National Gymnasium
Peter Zumthor: Bruder Klaus Kapelle
Steven Holl: Chapel of St. Ignatius
Frank Lloyd Wright: Johnson Wax Factory
22
Case Study: Georges-Henry Pingusson: Memorial des Martyrs de la DĂŠportation (1962)
Extracts the use of languages such as floating mass, pinched passageway, narrow circulation, diminishing horizon, and sense of danger
23
Case Study: The Great Mosque of Cordoba (784)
Understands the scale, perspective, quantity and proportions of the columns and archways
21’
18.5’
9’
15’ 8’
24
Case Study: Arnold Böcklin: Island of the Dead (1880 - 1886) Variation on a theme
25
Isle of the Dead: “Basel” version (1880)
Isle of the Dead: “New York” version (1880)
Isle of the Dead: Fourth Version, (1884), photograph
Isle of the Dead: Fifth version (1886)
Isle of the Dead: Third version (1883)
Isle of Life (1888)
Case Study: Salvador Dali: Island of the Dead (1932 - 1934) Reinterpretation on a theme
The True Painting of The Isle of the Dead by Arnold Bocklin at the Hour of the Angelus (1932)
The Isle of the Dead - Centre, Section (1934)
West Side of the Isle of the Dead (1934)
26
Case Study: Etienne-Louis BoullĂŠe: Temple of Death (1795)
Identifies and changes the contrast, brightness and the shade of the interior condition of the iconic image
27
The Sublime: The Construct, Perspective and Scale
Each condition is then examined through its construct, the scalar relation to human figure and the perspective. The precedents are then categorized and catalogued.
The construct
The perspective
Alberto Burri: Gibellina Vecchia
View looking downa two city blocks
The scale to the human ďŹ gure
Scalar relationship to human
28
The Sublime: The Construct, Perspective and Scale (1/8)
29
The construct
The perspective
Junya Ishigami: KAIT Workshop
Field of unaligned grid of columns
Mosque Cathedral of Cordoba Spain
Corridors of aligned column-archways
Tokyo Sewage System
Two-point perspective showing the massive infrastructure
The scale to the human ďŹ gure
The Sublime: The Construct, Perspective and Scale (2/8) The construct
The perspective
Carnac Stones, France
Immersed in the field of aligned stones with varying geometries
Giuseppe Terragni: Danteum
Grid of glass columns
Mount of Olives
Field of tombs with similar but varing geometries
The scale to the human ďŹ gure
30
The Sublime: The Construct, Perspective and Scale (3/8)
31
The construct
The perspective
Axel Schultes Architekten: Crematorium Baumschulenweg
Field of unaligned grid of columns with light pouring down
Alberto Burri: Gibellina Vecchia
View looking down between two city blocks
Carl Zimmerman: Model
Interior view of the dome
The scale to the human ďŹ gure
The Sublime: The Construct, Perspective and Scale (4/8) The construct
The perspective
Toyo Ito: Crematorium in Kakamigahara
Artificial landscape
Peter Eisenman: Memorial to the Murdered Jews of Europe
View looking down the corridor of rectangular extrusions
James Turrell: Roden Crater
The oculus and the crater
The scale to the human ďŹ gure
32
The Sublime: The Construct, Perspective and Scale (5/8)
33
The construct
The perspective
Arne Jacobsen: Danmarks Nationalbank
The triangular wedge plan and the suspended stairs
Pilgrimage Church, Neviges, Germany
The scale and the triangular geometries of the ceiling
Tate Modern
Floor covered by hand-crafted porcelain sunflower seeds
The scale to the human ďŹ gure
The Sublime: The Construct, Perspective and Scale (6/8) The construct
The perspective
Tadao Ando: Awaji Yumebutai Center
Landscape of terraced gardens
Peter Zumthor: Bruder Klaus Kapelle
The oculus framed by the charred timbers
Ryue Nishizawa: Teshima Art Museum
The oculus of the museum and an art piece by Rei Naito
The scale to the human ďŹ gure
34
The Sublime: The Construct, Perspective and Scale (7/8)
35
The construct
The perspective
Tara Donovan: Transplant
Textured artificial landscape
KverkfjĂśll Ice Caves, Iceland
Cave with undulating surfaces
Georges-Henri Pingusson: Memorial to the Martyrs of the Deportation
Descending narrow staircase with diminishing view of Paris on the horrizon
The scale to the human ďŹ gure
The Sublime: The Construct, Perspective and Scale (8/8) The construct
The perspective
Daniel Libeskind: Jewish Museum Berlin
Sound of metal clanking
Richard Serra: Gagosian Gallery
Narrow curved spaces
Indian Stepped Well
Meditative descending to a pool of water
The scale to the human ďŹ gure
36
The Sublime: The Construct, Perspective and Scale The Construct:
Junya Ishigami: KAIT Workshop
Mosque Cathedral of Cordoba Spain
Tokyo Sewage System
Carnac Stones, France
Giuseppe Terragni: Danteum
Corridors of aligned column-archways
Two-point perspective showing the massive infrastructure
Immersed in the field of aligned stones with varying geometries
Grid of glass columns
Toyo Ito: Crematorium in Kakamigahara
Peter Eisenman: Memorial to the Murdered Jews of Europe
James Turrell: Roden Crater
Arne Jacobsen: Danmarks Nationalbank
Pilgrimage Church, Neviges, Germany
Tate Modern
Tadao Ando: Awaji Yumebutai Center
Artificial landscape
View looking down the corridor of rectangular extrusions
The oculus and the crater
The triangular wedge plan and the suspended stairs
The scale and the triangular geometries of the ceiling
Floor covered by hand-crafted porcelain sunflower seeds
Landscape of terraced gardens
Ryue Nishizawa: Teshima Art Museum
Tara Donovan: Transplant
Kverkfjรถll Ice Caves, Iceland
Georges-Henri Pingusson: Memorial to the Martyrs of the Deportation
Daniel Libeskind: Jewish Museum Berlin
Richard Serra: Gagosian Gallery
Indian Stepped Well
The occulus and art piece by Rei Naito
Textured artificial landscape
Cave with undulating surfaces
Descending narrow staircase with diminishing view of Paris on the horrizon
Sound of metal clanking
Narrow curved spaces
Meditative descending to a pool of water
Mount of Olives
Axel Schultes Architekten: Crematorium Baumschulenweg
Mario de Biasi: Milano, Piazza Duomo, 1951
Perspective:
Field of unaligned grid of columns
Field of tombs with similar but varing geometries
Field of unaligned grid of columns with light pouring down
View looking down between two city blocks
Scale:
The Construct:
Carl Zimmerman: Model
Perspective:
Carl Zimmerman Interior view of the dome
Scale:
The Construct:
Peter Zumthor: Bruder Klaus Kapelle
Perspective:
The oculus framed by the charred timbers
Scale:
37
II The Experimentation with the Artifice
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Google Definition of the Sublime and the Artifice:
sub·lime /səˈblīm/ Adjective Of such excellence, grandeur, or beauty as to inspire great admiration or awe: „ranging from the sublime to the ridiculous‰.
ar·ti·fice /ˈärtəfis/ Noun Clever or cunning devices or expedients, esp. as used to trick or deceive others: „artifice and outright fakery‰.
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Thesis Statement
Following analyses of the sublime, a series of architectural moves are extracted and applied to the site as an experiment. The testing ground is a historic and now abandoned warehouse space in DUMBO (Down Under the Manhattan Bridge Overpass), Brooklyn, NY. The thesis tries to recall the lost urban sublimity of New York and offers the artiďŹ ce as a device for urban reclamation. I aim to generate conditions that are inďŹ nite, incalculable, immeasurable and unrepeatable.
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Site
Vinegar Hills, Brooklyn, NY It is right beside the water, and situated between the Manhattan and the Brooklyn bridges
The Empire Stores: It sits on landfill deposited in the late 18th century and early 19th century 41
Site
The Brooklyn Bridge Park: View of the Bridge and the Manhattan Skyline
Bird’s Eye Perspctive 42
Site
Situated between two parks
Proximity to the water 43
Site
Historic Photographs by Berenice Abbott (1930’s)
Brooklyn Bridge, Water and Dock Streets, looking southwest, Brooklyn
Warehouse, Water and Dock Streets, Brooklyn
44
Site
Jean Nouvel Jewelbox Houses Historic Carousel
45
Site
Nearby Building, The Tobacco Inspection Warehouse
The Tobacco Inspection Warehouse used as different public/ event spaces:
Market
Restaurant
Public art 46
Site Documentation: Maps & Aerial View
47
Site Documentation: Panoramas 1/3
48
Site Documentation: Panoramas 2/3
49
Site Documentation: Panoramas 3/3
50
Site Documentation: Sections
Site section:
Long section:
51
Site Documentation: Plan
Site plan:
52
Site Documentation: Details
53
Setting Up the Experiment
With the use of computer modeling and rendering, the project focuses to create conditions of the Sublime through the use of scale, precession, perspectives and framing of views. Catalogs were created to document the language palette. In order to test what I have created, I physically modeled the conditions to represent how such an environment would feel and touch, and to capture the natural lighting of the space.
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Field Condition of Columns: A Parametric Study
55
A Parametric Study of Different Conditions
I have extracted the following nine conditions from the analyses. These conditions were modeled digitally and rendered to capture the construct, the perspective and the scale to the human figure. The renderings are all captured as if the photographer, standing at 6’ tall is using a 35mm lens. I have also used consistent lighting conditions (natural day lighting). To keep the results of the experiment truthful, the renderings were left unedited.
Field Condition of Columns
Field Condition of Shaved Stones
Field Conidtion of Extrusions
Ground Condition
The Ditch
The Mount/ Monument/ Monolith/ Wall
The Monstrous Object
Ceiling Condition
The Perspective Cut
56
The Experiment
57
Field Conditions of Columns: A Parametric Study (1/5) Regular grid: 9x10, radius: 1’ Individual geometry: extrusion, full building height
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Regular grid: 17x18, radius: 6” Individual geometry: extrusion, full building height
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Regular grid: 34x38, radius: 2.5” Individual geometry: extrusion, full building height
58
Field Conditions of Columns: A Parametric Study (2/5) Irregularly populated field: 300, radius: 2.5” Individual geometry: with entasis, full building height
59
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 100, radius: 6” Individual geometry: with entasis, full building height View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 150, radius: 6” Individual geometry: with entasis, full building height View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Field Conditions of Columns: A Parametric Study (3/5) Irregularly populated field: 300, radius: 6” Individual geometry: extrusion with entasis, full building height
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 500, radius: 6” Individual geometry: extrusion with entasis, full building height
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 150, radius: 1’ Individual geometry: extrusion with entasis, full building height
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
60
Field Conditions of Columns: A Parametric Study (4/5)
61
Irregularly populated field: 150, radius: 2’ Individual geometry: extrusion with entasis, full building height
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 150, radius: 3’ Individual geometry: extrusion with entasis, full building height
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 150, radius: 3’, Individual geometry: extrusion with entasis, exceeds building height
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Field Conditions of Columns: A Parametric Study (5/5) Irregularly populated field: 150, radius: 3’ Individual geometry: extrusion with entasis, exceeds building height
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
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Field Condition of Shaved Stones: A Parametric Study (1/5)
Regular grid based on the existing structural column grid of the building:
63
Regular grid: 17x18, Spacing: 16.1’x8.8’ Individual geometry: randomly generated, Maximum XYZ: 3’x6’x3’ View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Regular grid: 17x18, Spacing: 16.1’x8.8’ Individual geometry: randomly generated, Maximum XYZ: 5’x5’x5’ View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Regular grid: 17x18, Spacing: 16.1’x8.8’ Individual geometry: randomly generated, Maximum XYZ: 5’x5’x10’ View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Field Condition of Shaved Stones: A Parametric Study (2/5) Regular grid: 17x18, Spacing: 16.1’x8.8’ Individual geometry: randomly generated, Maximum XYZ: 5’x5’x15’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Regular grid: 17x18, Spacing: 16.1’x8.8’ Individual geometry: randomly generated, Maximum XYZ: 3’x6’x25’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Regular grid: 17x18, Spacing: 16.1’x8.8’ Individual geometry: randomly generated, Maximum XYZ: 3’x3’x35’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
64
Field Condition of Shaved Stones: A Parametric Study (3/5)
65
Regular grid: 17x18, Spacing: 16.1’x8.8’ Individual geometry: randomly generated, Maximum XYZ: 3’x6’x42’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 100 Individual geometry: randomly generated, Maximum XYZ: 3’x3’x35’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 150 Individual geometry: randomly generated, Maximum XYZ: 3’x3’x25’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Field Condition of Shaved Stones: A Parametric Study (4/5) Irregularly populated field: 200 Individual geometry: randomly generated, Maximum XYZ: 6’x6’x15’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 306 Individual geometry: randomly generated, Maximum XYZ: 10’x10’x10’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 500 Individual geometry: randomly generated, Maximum XYZ: 15’x15’x6’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
66
Field Condition of Shaved Stones: A Parametric Study (5/5) Irregularly populated field: 1000 Individual geometry: randomly generated, Maximum XYZ: 15’x15’x2’
67
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Field Condition of Extrusions: A Parametric Study (1/5) Regular grid: 17x19, spacing: 5’, wavy trimmed top surface Individual geometry: square extrusions, max XYZ: View from south-east corner, 35mm lens 3’x3’x1’~7’
View from within the field at 6’, 35mm lens
Regular grid: 17x19, spacing: 5’, wavy trimmed top surface Individual geometry: rectangular extrusions, max XYZ: 3’x3’x1’~7’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Regular grid: 17x19, spacing: 3’, wavy trimmed top surface Individual geometry: rectangular extrusions, max XYZ: 6’x9’x3’~8’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
68
Field Condition of Extrusions: A Parametric Study (2/5) Regular grid: 17x19, spacing: 3’, wavy trimmed top surface Individual geometry: rectangular extrusions, max XYZ: 6’x9’x5’~9’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Field Condition of Extrusions: A Parametric Study (2/5)
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Regular grid: 17x19, spacing: 3’, increasing slant trimmed top surface Individual geometry: rectangular extrusions, max XYZ: 6’x9’x5’~21’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Regular grid: 17x19, spacing: 3’, increasing slant trimmed top surface Individual geometry: rectangular extrusions, max XYZ: 6’x9’x6’~36’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Field Condition of Extrusions: A Parametric Study (3/5) Regular grid: 17x19, spacing: 3’, flat trimmed top surface Individual geometry: rectangular extrusions, max XYZ: 6’x9’x38’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Regular grid: 60, spacing: 3’, wavy trimmed top surface Individual geometry: randomly generated, max XYZ: 25’x25’x5’~9’ View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 10, spacing: 3’, wavy trimmed top surface Individual geometry: randomly generated, max XYZ: 100’x100’x5’~9’ View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
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Field Condition of Extrusions: A Parametric Study (4/5)
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Irregularly populated field: 20, spacing: 3’, wavy trimmed top surface Individual geometry: randomly generated, max XYZ: View from south-east corner, 35mm lens 78’x78’x3’~7’
View from within the field at 6’, 35mm lens
Irregularly populated field: 50, spacing: 3’, wavy trimmed top surface Individual geometry: randomly generated, max XYZ: 45’x45’x 11’~14’ View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 98, spacing: 3’, wavy trimmed top surface Individual geometry: randomly generated, max XYZ: 26x26’x5’~9’ View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Field Condition of Extrusions: A Parametric Study (5/5) Irregularly populated field: 249, spacing: 3’, wavy trimmed top surface Individual geometry: randomly generated, max XYZ: 14’x14’x14’~21’ View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
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Ground Condition: A Parametric Study (1/5)
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Irregularly populated field: 5000 Individual geometry: randomly generated, Maximum XYZ: 1’x1’x1’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Irregularly populated field: 20000 Individual geometry: randomly generated, Maximum XYZ: 6”x6”x6”
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Symmetrical mount Maximum height: 23’
View from south-east corner, 35mm lens
View from top of the mount at 29’, 35mm lens
Ground Condition: A Parametric Study (2/5) Symmetrical mount Maximum height: 33’
View from south-east corner, 35mm lens
View from top of the mount at 39’, 35mm lens, person can touch the ceiling at 42’
Symmetrical pit Maximum depth: 33’
View from south-east corner, 35mm lens
View from within the pit at -25’, 35mm lens
Symmetrical pit, flooded with water Maximum depth: 33’
View from south-east corner, 35mm lens
View of the water-filled pit at 6’, 35mm lens
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Ground Condition: A Parametric Study (3/5)
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Irregularly sunken ground: 20, spacing: 3’, flooded with water Individual geometry: randomly generated, max XYZ: 78’x78’x4’
View from south-east corner, 35mm lens
View from on the pathway at 6’, 35mm lens
Nonuniform surface Polygon count: 759 808
View from south-east corner, 35mm lens
View from within the valley at 6’, 35mm lens
Nonuniform surface Polygon count: 189 952
View from south-east corner, 35mm lens
View from within the condition at 6’, 35mm lens
Ground Condition: A Parametric Study (4/5) Nonuniform surface Polygon count: 409 599
View from south-east corner, 35mm lens
View from within the condition at 6’, 35mm lens
Nonuniform surface, flooded with water Polygon count: 759 808
View from south-east corner, 35mm lens
View of the water-filled valley at 6’, 35mm lens
Nonuniform undulating vertical surfaces Polygon counts: 393 216 each
View from south-east corner, 35mm lens
View of the surface at 6’, 35mm lens
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Ground Condition: A Parametric Study (5/5) Terraced surfaces Stepped by 2’
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View from south-east corner, 35mm lens
View of the stepped landscape at 6’, 35mm lens
The Ditch: A Parametric Study (1/4)
33’ x 162’ x -12’ extruded
View from south-east corner, 35mm lens
View from -6’ underground
22’ x 162’ x -18’ extruded
View from south-east corner, 35mm lens
View from -12’ underground
13.5’ x 133’ x -24’ extruded
View from south-east corner, 35mm lens
View from -18’ underground
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The Ditch: A Parametric Study (2/4)
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84’ x 154’ x -6’ extruded
View from south-east corner, 35mm lens
View from 0’ ground level
84’ x 154’ x -15’ extruded
View from south-east corner, 35mm lens
View from -24’ underground
84’ x 154’ x -30’ extruded
View from south-east corner, 35mm lens
View from -24’ underground
The Ditch: A Parametric Study (3/4)
50’ x 270’ x -14’ tapered
View from south-east corner, 35mm lens
View from -8’ underground
77’ x 165’ x -24’ tapered
View from south-east corner, 35mm lens
View from -18’ underground
135’ x 243’ x -24’ tapered
View from south-east corner, 35mm lens
View from -18’ underground
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The Ditch: A Parametric Study (4/4)
84’ x 154’ x -160’ tapered
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View from south-east corner, 35mm lens
View from -154’ underground
The Mount/ Monument/ Monolith/ Wall: A Parametric Study (1/4)
100’ x 243’ x 6’ tapered
View from south-east corner, 35mm lens
View from 12’ aboveground
100’ x 203’ x 12’ tapered
View from south-east corner, 35mm lens
View from 18’ aboveground
130’ x 130’ x 18’ tapered
View from south-east corner, 35mm lens
View from 21’ underground
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The Mount/ Monument/ Monolith/ Wall: A Parametric Study (2/4)
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84’ x 134’ x 24’ tapered
View from south-east corner, 35mm lens
View from 0’ ground level
134’ x 52’ x 36’ tapered
View from south-east corner, 35mm lens
View from 0’ ground level
134’ x 52’ x 36’ extruded
View from south-east corner, 35mm lens
View from 0’ ground level
The Mount/ Monument/ Monolith/ Wall: A Parametric Study (3/4)
110’ x 52’ x 36’ tapered upsidedown
View from south-east corner, 35mm lens
View from 0’ ground level
84’ x 8’ x 36’ tapered upsidedown
View from south-east corner, 35mm lens
View from 0’ ground level
32’ x 221’ x 24’ extruded
View from south-east corner, 35mm lens
View from 0’ ground level
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The Mount/ Monument/ Monolith/ Wall: A Parametric Study (4/4)
4’ x 204’ x 45’ tapered
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View from south-east corner, 35mm lens
View from 0’ ground level
The Monstrous Object: A Parametric Study (1/5) Geometry: ellipsoid Length: 260’, width:31.5’, height:31.5’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Geometry: ellipsoid Length: 260’, width: 55’, height: 39’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Geometry: ellipsoid shell Length: 260’, width: 167’, height: 52’, thickness 6”, View from south-east corner, 35mm lens hole diameter 3’
View from within the field at 6’, 35mm lens
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The Monstrous Object: A Parametric Study (2/5)
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Geometry: deformed ellipsoid Max length: 237’, max width: 120’ height: 38’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Geometry: deformed ellipsoid Max length: 237’, width: 120’ height: 38’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Geometry: deformed ellipsoid Length: 266’, width: 169.5’ height: 41’, thickness: 6”, View from south-east corner, 35mm lens hole diameter 1.5’
View from within the field at 6’, 35mm lens
The Monstrous Object: A Parametric Study (3/5) Geometry: sphere, number: 4 Individual radius: 19.5’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Geometry: half spherical shells, number: 4 Individual radius: 19.5’, thickness: 1’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Geometry: cylindrical shell, number: 1 Radius: 19.5’, thickness: 1’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
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The Monstrous Object: A Parametric Study (4/5)
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Geometry: existing door extrusions, solid, number: 4 Individual length: 232’, width: 9.8’, height: 9.8’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Geometry: existing door extrusions, number: 4 Individual length: 232’, width: 10.8’, height: 10.8’, thickness: 1’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Geometry: existing door extrusions, crisscrossed, number: 4 Individual length: 232’, width: 10.8’, height: 10.8’, thickness: 1’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
The Monstrous Object: A Parametric Study (5/5) Geometry: Deformed ellipsoid Max length: 266’, width: 157’ height: 37’, thickness: 1’, hole diameter: 9’ View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
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Ceiling Condition: A Parametric Study (1/5)
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Symmetrical dome: Maximum height: 22’
View from south-east corner, 35mm lens
View of the dome at 6’, 35mm lens
Symmetrical inverse dome: Maximum depth: 14’
View from south-east corner, 35mm lens
View of the inverse dome at 6’, 35mm lens
Symmetrical inverse dome: Maximum depth: 22’
View from south-east corner, 35mm lens
View of the inverse dome at 6’, 35mm lens
Ceiling Condition: A Parametric Study (2/5) Symmetrical inverse dome: Maximum depth: 35’
View from south-east corner, 35mm lens
View of the inverse dome at 6’, 35mm lens
Symmetrical bowing ceiling, maximum depth: 3’ Number of cuts: 300, individual cut’s length: ~1.5’ View from south-east corner, 35mm lens
View of the starry ceiling, at 6’, 35mm lens
Symmetrical bowing ceiling, maximum depth: 10’ number of cuts: 300, individual cut’s length: ~3’
View of the starry ceiling, at 6’, 35mm lens
View from south-east corner, 35mm lens
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Ceiling Condition: A Parametric Study (3/5) Flat Ceiling: Number of cut: 1, length: 276’, width: 3.5’ extends into wall 4’
View from south-east corner, 35mm lens
View from under the cut at 6’, 35mm lens
Flat Ceiling: Number of cut: 1, length: 276’, width: 23’, extends into wall’s full height
View from south-east corner, 35mm lens
View from under the cut at 6’, 35mm lens
Symmetrical dome with oculus: Maximum height: 19’, oculus short diameter: 44’, long diameter: 61’ View from south-east corner, 35mm lens
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View from under the oculus, at 6’, 35mm lens
Ceiling Condition: A Parametric Study (4/5) Nonuniform dome with oculus: Maximum height: 32’, oculus diameter: 20’
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Symmetrical inverse dome with oculus: Maximum depth: 19’, oculus short diameter: 40’, long diameter: 48’
View from south-east corner, 35mm lens
View from under the oculus, at 6’, 35mm lens
Nonuniform inverse dome with oculus: Maximum depth: 32’, oculus diameter: 20’
View from south-east corner, 35mm lens
View from under the oculus, at 6’, 35mm lens
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Ceiling Condition: A Parametric Study (5/5) Flat Ceiling: 5’ gap between ceiling and the walls
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View from south-east corner, 35mm lens
View of the gaps at 6’, 35mm lens
The Perspective Cut: A Parametric Study (1/3)
Plan of projection to A1
3D view
View from south-east corner
View from A1
3D view
View from south-east corner
View from B4
A B D E F G H 7 6 5 4 3 2 1
Plan of projection to B4
A B D E F G H 7 6 5 4 3 2 1
Plan of projection to C4
3D view
View from south-east corner
View from C4
A B D E F G H 7 6 5 4 3 2 1
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The Perspective Cut: A Parametric Study (2/3)
Plan of projection to D4
3D view
View from south-east corner
View from D4
3D view
View from south-east corner
View from E4
3D view
View from south-east corner
View from E4
A B D E F G H 7 6 5 4 3 2 1
Plan of projection to E4
A B D E F G H 7 6 5 4 3 2 1
Plan of projection to F4
A B D E F G H 7 6 5 4 3 2 1
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The Perspective Cut: A Parametric Study (3/3)
Plan of projection to F7
3D view
View from south-east corner
A B D E F G H 7 6 5 4 3 2 1
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Sketches
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The Evaluation: A List of Criteria
Vastness Monumentality/ monolith Suggestion of infinity/ immeasurability Overpowering Re-establishment of scalar relationships Defamiliarizing Repetition Confusion/ complexity/ incomprehensibility Excellence/ perfection Unrepeatable condition
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Danger/ awe/ fear Surprise Lack of point of touch Lack of perception of boundary conditions Transcendence/ religious Ephemerality Light/contrast Sound/ silence
The Evaluation:
Using the criteria, I evaluated the various conditions I have created to determine how effective each one is in terms of simulating the sublime.
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The Evaluation (1/12)
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The Evaluation (2/12)
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The Evaluation (3/12)
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The Evaluation (4/12)
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The Evaluation (5/12)
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The Evaluation (6/12)
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The Evaluation (7/12)
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The Evaluation (8/12)
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The Evaluation (9/12)
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The Evaluation (10/12)
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The Evaluation (11/12)
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The Evaluation (12/12)
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The Crossbreeding of Conditions
A diagram showing the primary conditions combined
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The Combined Condition
A sketch showing possible configuration of conditions on the site
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The Combined Condition
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Sequencing of the Perspectives
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Combined Conditions
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Combined Conditions: Ground + Ceiling + The Monstrous Object, A Parametric Study (1/3) Flat ceiling with occulus Surface rolled in the shape of a frustrum of a cone View from south-east corner, 35mm lens
Symmetrical inverse dome: maximum depth: 35’
View from south-east corner, 35mm lens
Symmetrical bowed ceiling, depth: 3’, with oculus Irregularly populated field: 5000 Individual geometry: randomly generated, Maximum XYZ: 1’x1’x1’ View from south-east corner, 35mm lens
View of the ring of light at 6’, 35mm lens
View from within the field at 6’, 35mm lens
View from top of the mount at 29’, 35mm lens
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Combined Conditions: Ground + Ceiling + The Monstrous Objects, A Parametric Study (2/3) Symmetrical bowed ceiling, depth: 3’, Number of cuts: 300, individual cut’s length: ~1.5’, Irregularly populated field: 20, 000 Individual geometry: randomly generated, Maximum View from south-east corner, 35mm lens XYZ: 6”x6”x6”
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View from within the pit at -25’, 35mm lens
Ground condition extruding out of the ceiling condition
View from south-east corner, 35mm lens
View from within the pit at -25’, 35mm lens
Wall surfaces with a crack in the middle
View from south-east corner, 35mm lens
View of the water-filled pit at 6’, 35mm lens
Combined Conditions: Ground + Ceiling + Monstrous Object, A Parametric Study (3/3)
Bowed ceiling and pit filled with water
View from south-east corner, 35mm lens
View from on the pathway at 6’, 35mm lens
Oculus cut through dome ceiling and object
View from south-east corner, 35mm lens
View from within the valley at 6’, 35mm lens
4 Boxes with dimensions ~40’ x 40’ x 40’
View from south-east corner, 35mm lens
View from within the condition at 6’, 35mm lens
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Combined Conditions: Ground + Ceiling + Monument/ Ditch, A Parametric Study (1/3)
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Extrusion diagonally cutting through ceiling plane
View from south-east corner, 35mm lens
View of the ring of light at 6’, 35mm lens
Upsidedown triangular extrusion cutting through ceiling plane
View from south-east corner, 35mm lens
View from within the field at 6’, 35mm lens
Upsidedown triangular extrusion cutting through ceiling plane Geometry divided to fit passageway for a person
View from south-east corner, 35mm lens
View from top of the mount at 29’, 35mm lens
Combined Conditions: Ground + Ceiling + Monument/ Ditch, A Parametric Study (2/3)
Wedge cutting through ceiling plane and wall
View from south-east corner, 35mm lens
View from top of the mount at 39’, 35mm lens, person can touch the ceiling at 42’
Coplanar walls cutting through perpendicular ceiling and walls
View from south-east corner, 35mm lens
View from within the pit at -25’, 35mm lens
Wedge cutting perpendicular through ceiling and wall
View from south-east corner, 35mm lens
View of the water-filled pit at 6’, 35mm lens
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Combined Conditions: Ground + Ceiling + Monument/ Ditch, A Parametric Study (3/3)
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Wedge void subtracted perpendicularly from ceiling and walls
View from south-east corner, 35mm lens
View from within the valley at 6’, 35mm lens
Coplanar voids subtracted perpendicularly from ceiling and walls
View from south-east corner, 35mm lens
View from within the condition at 6’, 35mm lens
Intersecting voids subtracted from ceiling and walls
View from south-east corner, 35mm lens
View from within the condition at 6’, 35mm lens
Combined Conditions: Ground + Ceiling + Field Conditions, A Parametric Study (1/3) Bowed Ceiling with field of rocks Regular grid: 17x18, Spacing: 16.1’x8.8’ Individual geometry: randomly generated, Maximum XYZ: 5’x5’x15’ View from south-east corner, 35mm lens
View of the ring of light at 6’, 35mm lens
Bowed Ceiling with field of rocks Irregularly populated field: 100 Individual geometry: randomly generated, Maximum XYZ: 3’x3’x35’
View from within the field at 6’, 35mm lens
View from south-east corner, 35mm lens
Bowed Ceiling with field of rocks, Irregularly populated field: 500 Individual geometry: randomly generated, Maximum XYZ: 15’x15’x6’ View from south-east corner, 35mm lens
View from top of the mount at 29’, 35mm lens
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Combined Conditions: Ground + Ceiling + Field Conditions, A Parametric Study (2/3)
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Surface condition with field of rocks, Regular grid: 17x18, Spacing: 16.1’x8.8’ Individual geometry: randomly generated, Maximum XYZ: 5’x5’x10’
View from south-east corner, 35mm lens
View from top of the mount at 39’, 35mm lens, person can touch the ceiling at 42’
Surface condition with field of rocks, Regular grid: 9x10, Individual geometry: randomly generated, Maximum XYZ: 10’x10’x10’
View from south-east corner, 35mm lens
View from within the pit at -25’, 35mm lens
Surface condition with field of rocks, I rregularly populated field: 150 Individual geometry: randomly generated, Maximum XYZ: 3’x3’x25’
View from south-east corner, 35mm lens
View of the water-filled pit at 6’, 35mm lens
Combined Conditions: Ground + Ceiling + Field Conditions, A Parametric Study (3/3) Bowed ceiling with cuts and Irregularly populated field
View from south-east corner, 35mm lens
View from on the pathway at 6’, 35mm lens
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III The Rendered Perspectives
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I chose a few effective conditions and represented them through digital renderings and model photography.
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The Production, Documentation and Presentation
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Process: The Artificial Landscape
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Process: The Shaved Stones
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Process: Field Condition of Columns
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Process: The Monstrous Object
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Process: The Ditch
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The Presentation
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SX
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Sonny Eric Xu Bachelor of Architecture 2013 College of Architecture, Art & Planning Cornell University With concentrations in Visual Representation in Architecture, Architectural Science and Technology, and Architectural Analysis www.sonnyxu.com 174
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