Beruflich Dokumente
Kultur Dokumente
THESIS
By
Fatema Quresh Kabir, B.Arch
*****
2009
Dissertation Committee
Professor Jeff Kipnis Approved by
Associate Professor Ashley Schafer
Assistant Professor John McMorrough Advisor
Masters of Architecture Graduate Program
Copyright by
2008
ABSTRACT
unfolds the concepts of visual phenomenon multiple unknown characters come to fore. The
realization of these changes is accredited to elapse of time and cognition of brain and eye.
There are multiple layers involved in visual perception for knowing the intended
phenomenon.
In the first layer the characters are neutral and unidentified on the given picture plane.
They create what is called the retinal images in the back of the eye. Once the brain registers
these fragments in each other's proximity it is able to recognize the image as whole. The
The essence of visual perception lies in the analysis of the view; this could be in
either of the following two ways; exploring the real from the created illusions or
experiencing the overall space by getting integrated within, through the view. For a writer
experiencing is the most important is well said by Maurice Merleau-Ponty; “How would the
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painter or poet express anything other than his encounter with the world?”
1 - Pallasma, Juhani. The eyes of the skin: Architecture and the Senses, Touching the World. Great Britain, TJ international
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For a writer of any field, experiencing what they write would be their practical
could not be less than two and considering the factor of laboratory backup to my thesis (as I
would call it), It was ideal for them to be located on Ohio State University campus.
The cases studies carried out during the Thesis; explore the multiple layers of
perception that happen in the structures. Peter Eisenman's Wexner Center of 1989 is
probably one of his unintentional design that envelopes the optical illusion phenomenon of
visual perception in it very artistically. The structure is one that functionalists might refute
but experientialists would support. They would also support Mack Scogin Merill Elam
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Dedicated to my God Father
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ACKNOWLEDGEMENT
First of all I want offer my gratitude to the architect/ designers of the two case study
structures involved in my Thesis; Peter Eisenman's Wexner Center of 1989 and Mack Scogin
Merill Elam Architects' Knowlton School of Architecture of 2004. In order to read the
Maurice Merleau-Ponty, visual grammar provided by Kepes were leading tools of analysis.
Department head Ashley Shafer and thesis committee member Jeff Kipnis in successfully
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VITA
FIELDS OF STUDY
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TABLE OF CONTENT
Page
Abstract ...............................................................................................................III
Dedication ............................................................................................................V
Acknowledgment .................................................................................................VI
Vita .......................................................................................................................VII
List of Figures .....................................................................................................IX
Chapters:
4. Bibliography ..............................................................................................26
VIII
LIST OF IMAGES
Image Page
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2.2: Mack Scogin Merill Elam Architects, Knowlton School of Architecture
Opposite Central Open Staircase - Jury.................................................15
HISTORICIZING
Wexner Center for visual arts tests the intellectual perception of the viewers.
Deceiving the mental labyrinth at every step through the phenomenon of visual perception,
the structure evolves as a multiplication of fictions. The act involves multiple scenes and
characters. The characters change masks as one gets a closer look of their generic nature. As
surprises of inconveniences the building forces us to question not only our assumptions of
the physical world..... - but about our conventional behavior”2. Owing to the unexpected
changes, multiple characterization of the structure leaves its viewer wondering between real
and virtual.
Wexner Center is set up on a stage at Ohio State University campus facing the North
High street of Columbus. Viewers walking to the structure are unaware of the complexity
hidden within.
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The undefined horizontal lattice standing before the main entrance, is strangely inviting. The
viewer wonders of its function, realizing the individuality of the entrance. The lattice still
exists, letting the viewer wonder the purpose. It is still a good start for a structure that holds
surprises at every step for the viewers. Once the viewer reaches the podium, it's just a matter
of turning to the right to know what the lattice is about. While the turn answers previous
questions, it raises new complexities. The horizontal lattice is now seen in perspective along
the walkway.
For example Vincent Scully's statement in his article on Wexner; “I was powerfully
moved by its illusionary perspective of the Lattice that runs through and alongside it”3. It has
and will always amaze the critiques who walk over it, in any era, probably by exploring the
new ways through which the lattice weaves ambiguity. The tilt of the scaffolding suggests a
slope in the ground of the walkway. The depth is illusionary and the ground is flat in its
generic existence. This was efficiently realized and mentioned by Vincent Scully. The
walkway height is divided into two rather unequal halves by an off central layer of horizontal
beams. The reducing lengths of the beams make the height seem reducing towards the end of
the walkway while also giving the slope to the ground as mentioned above. They also create
the effect of dual perspective in the walkway, which is realized only at the start of the
walkway. While there is the generic perspective created in the walkway in one direction, the
viewer will also see a second perspective in the opposite direction happening above him/her.
While one walks through the lattice, elements of optical illusion of Parthenon
resonate from it. Parthenon manipulates visual perception phenomenon to recreate the real.
3 - Scully, Vincent Joseph. 1989. Theory and delight. Progressive Architecture. 70 (10):86-87.
2
The prevailing theory that a long line appears to be concave in-spite of its inherent
theory in Parthenon. This was exploited to bring reality to fore. The trend in late 1900s was
vice versa and hence the Wexner center seems to play on the opposite lines. The long, thin,
square, vertical grids appear concave and seem to bend inwards for the viewer, when actually
they are any day straighter than the Parthenon columns which were intentionally bent. The
reflection of the horizontal and vertical grid in the mirrors on the left side of the walkway also
make the columns appear curvy, reinforcing the non-straightness of the grid, emphasizing
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Image 1.1: Peter Eisenman, Wexner Center For Arts - 1989
Lattice Walkway
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CHANGING SETS IN THE WEXNER GALLERY
Exhibit areas that open to the left of the walkway lead the viewers onto a new scene.
The scene unexpectedly ends into not more than 1.5ft wide staircase. The staircase takes the
viewer down the ramp, back to the start to once again replay and enter the second stage of the
act; the second exhibit room. If not closely noticed the staircase could be missed, it's at the
ultimate position of the exhibit room confirming the viewer's successful completion of the
interestingly enough the rather permanent piece of art functions. The staircases are not the
only inbuilt permanent artifacts of the gallery that function when any exhibition is up, the
cubicles that appear suddenly from no-where in the walls of the structure seem strange and
The changing quality provided to the exhibition space and the gallery is undeniably
intentional and is inescapably deceptive, even though it is a normal function of a stage. The
changes that take place in the gallery in every show happening at Wexner are drastically
different and they considerably mask the original face of the gallery's interior. Every exhibit
show puts on a new face on the existing, giving a changed dress to the stage and its
characters. The exhibition cubicles are also plain empty spaces that are available to adapt the
fresh set ups. From display products to the seating, flooring and even ceiling achieve altered
affects, covering the original blank white walls, floors and ceiling.
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There have been multiple acts played on the stage of Wexner gallery. Couple of them
that happened last year, like the show of charles Long introduced a new scaffolding on the
walls. The viewers were allowed to play with the exhibits and create their own façade,
involving the viewer from the visual to physical level. Spring exhibition of 2007 also
adopted similar idea. Continuous black boards were available for the visitors to write on,
making the visitors interact with the exhibits physically also. The stages, then dint remain
limited for the players of the act but the viewers also became part of the play.
Though Andy Warhol's4 exhibition seems to be limited to visual interaction for the
visitors, there is an unexpected element introduced at the end of the gallery walkway. While
walking up the gallery the sight created at the end evokes multiple questions. There are some
floating figures that can be seen, and one may wonder how they manage to get such huge fish
and create an aquarium at the end. The curtain wall in between obstructs the vision enough to
deceive the real perception, until the viewer gets into closer proximity with the exhibit. They
are helium filled, metallic, plastic film, silver clouds suspended in the end triangular corner.
The clouds float in air and are in continuous movement. Visitors are allowed to touch them.
While the curtain is nothing but a double layer of strings suspended from the ceiling,
The string curtain is repeated at every intersection of gallery and exhibition area. The
transition from the gallery path into the exhibition realm is defined artistically enough for the
viewer to mentally perceive and yet not get visually disturbed. The new ambience inside the
exhibition area; matching print carpets to the new seating, the suspended movie screens etc.
4 - Andy Warhol. Other Voices, Other Rooms Exhibition. Wexner Center for Visual Arts. Fall08
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all the more define the new exploration, which ends at the narrow staircase. From the
drastically different interiors of the exhibition area back into the gallery walkway space is
strategically transitioned through the narrow staircase to control the viewer's concentration
The original stage of the structure can never give an idea of the vast adaptations it
may have gone through or can go through in future. Drama is also like a piece of art, which
cannot be imagined by a viewer until it is written and played by the characters on the stage.
Similarly Wexner was unimaginable until before Eisenman drew his diagram of illusions in
perception.
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Image 1.2: Peter Eisenman, Wexner Center For Arts - 1989
Exhibition Gallery – Andy Warhol Set up (fall08)
When the play seems to end, the viewers yet don't realize the scenes awaiting them
after the curtains fall. Walking out of the gallery at the first floor level reaches the viewer
under the second lattice walkway. This walkway does not complicate the viewer instead
provides space for the reminiscence of the 1897 armory demolished in 1959 is re-built by
Eisenman to play its illusions. While the east towers are lost in the lattice; the west side
towers hide the lattice. The split and repositioned brick layout of the towers make them
appear as ruins of the past and hence resonate the past not only mentally but also visually. The
armory appearing as a block, release a C shaped space enclosed within them. The viewers
remain in kind of misconception of viewing block columns until they are seen from the
hollow side.
Similar to the illusion of depth at the walkway here the walls next to the armory
create a feeling of recession, making the land appear underground. The seating area
developed along the wall adds to the underground seating experience. While this seating on
the left of the armory appears underground the seating on the right side of the armory appears
extra elevated. There is an amphitheater kind of area created on the right side of the armory.
These steps have varying tread and riser sizes. Each step grows in its riser and treads size
from right to left making the steps appear to end or vanish at the reducing end.
Walking away from the structure, viewing it from the west the armory defines the
entrance. It is flanked by seating areas on both sides; left is sunken and right is elevated. Over
all the stage unusually welcomes the viewer back inside through its west facade. The act of
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Image 1.6: Peter Eisenman, Wexner Centre For Arts- 1989
Armory Towers and North Sitting
SPACE-TIME OVERLAP
Exploiting the tools of visual perception in Knowlton hall; Mack Scogin Merill Elam
Architects have walked through the mental labyrinth of the users and viewers. Located in
Ohio state university, since 2004 the structure stands covered in its rectangular marble clad
shell that domesticates space and time in its self, enabling the viewer to experience a dual
continuum as they travel through the structure. The visitors as well as the actors of the play
Beginning at the entrance with the administration block on the right the viewer is
facing the ramp which carves its path all the way to the fourth floor. Obstructed view of the
ramp achieved from in-between the shear walls and circular columns develop an interest of
the unknown. Literal transparency of modernist material provided clarity in view and
interpretation, while the spatial juxtaposition and overlapping planes introduced a use of
phenomenal transparency; as was identified by Rowe. The bare faced shear walls and
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concrete columns running across multiple floors; reflect phenomenal transparency. They
break the vision due to their opacity. The broken view continues again after the end of the
element. The part hidden by the walls or the columns is assumed by the viewer through their
memory of past. This interaction of the material with the viewer's perception evokes the
depth while the combinations of the planes as an elevation let there be variation in
interpretation.
These columns and walls introduce play of shadows in the structure. Shadows may
be either attached or cast. Attached shadows lie directly on the source of creation. Cast
shadows are thrown from one subject onto another. The shear walls create light and dark
areas around it self by casting shadows. The central open staircase documents interactive
play of cast and attached shadows. Attached shadows are subconsciously perceived in the
whole space through the realization of height, depth etc of volume/space. Interaction of these
shadows with the psychic of the viewer takes the viewer into a realm of fantasies and dreams.
Not just the present or the past, it's an act of the virtual.
The wide ramp area ahead of the administration block flanked by gui gallery on one
side and open staircase on the other is realized with additional pleasure after the walk
through the narrow paths built between the double height shear walls. The juries happening
in the central open space and the workshops of Gui gallery, are events whose moments are
captured within the history of the structure. These spaces resonate the past and reflect it in
their existence. Viewers can hence perceive the past through the historicizing of the space.
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Image2.1: Mack Scogin Merill Elam Architects, Knowlton School of Architecture - 2004
View of central open staircase from the ramp
Ultimately the concepts of visual perception of architecture tie past, present and future to the
existent body. These three phases of time are experienced by the viewer or the user;
Moving up the ramp, the viewer reaches the strategically positioned two hundred
seat auditorium at the second floor mid-landing. It connects to the lower floor classrooms,
second floor administration and the third floor studios through the ramp.
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Image 2.2: Mack Scogin Merill Elam Architects, Knowlton School of Architecture - 2004
Opposite Central Open Staircase - Jury
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PHENOMENOLOGY OF VISUAL PERCEPTION
From second floor to fourth floor the ramp is flanked by forty-five undergraduate and
graduate studios on its both sides. Overlooking from either side of the ramp, the orthogonally
juxtaposed; classrooms, studios, recreational spaces and administrative activities are visible.
The ramp not only overlooks the interior but also some of the exterior spaces of the structure.
At the second floor mid-landing of the ramp, the glazed wall looks onto the entrance porch.
Though the ramp runs throughout the structure, it has multiple obstructions in-between like
the shear walls or the columns, hence its views are not defined at any point, yet it defines and
controls the behavior in the structure. The classrooms, studios, library, administration etc
situated on either side of the ramp, provide a peripheral vision to the viewer, hence
integrating the viewer and or the inhabitant within the structure. As stated by Juhani
Pallasmaa; there is medical evidence of peripheral vision having higher priority in our
perceptual and mental system5. The unconscious peripheral perceptions of spaces transform
the retinal gestalt into spatial and bodily experience. Juhani calls this architecture as Haptic,
as it engages and unites with the viewer not only physically but also phenomenologically.
only to the spatial juxtaposition but is also extended to the overlapping time factor of the
ramp. The ramp travels from first to fourth floor, covering an ideal journey of the students
The vector of time flows freely through the multiple changing spaces explored by the
student on their journey. A viewer when crosses the floors while walking over the ramp, is
5 - Pallasma, Juhani. The eyes of the skin: Architecture and the Senses, Touching the World. Great Britain,
TJ international:
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visualize the multiple layers of life captured in the structure and is also able to experience the
elapsing time as the years of the student or the floors of the structure begin and end.
End of the ramp journey or the fourth floor of the structure seems like the brim of
knowledge with the location of the thirty thousand volume library. It's not only the ultimate
assemble of knowledge but is also the end of the sojourn that started at the entrance. Students
enter as undergraduates and move to their graduation exploring themselves and the multiple
domains of architecture. The library culminates multiple scenes of the Knowlton hall act.
Play of light, transparency, peripheral vision etc. all together makes the library.
A piece of black velvet which absorbs much of the light it receives, may under strong
illumination send out as much light as a dimly lit piece of white silk, which reflects most of
energy. Similarly in the library; in the interaction of multiple objects, colors and materials
variety of illumination strengths are observed. Luminance power of surfaces tricks the
viewer's perception of light in the space. Some surfaces like glass reflect their property of
transparency and some appear opaque much clearer under the play of light. Transparency
and opacity add an experience of privacy and openness in the respective areas. Unlike the
private cabins of standard library, the peripheral vision of students doing various activities
advances the integration of the viewer into the space, even if not supporting concentration.
By balancing time context in the given space and making it realizable for the viewer
and the inhabitant; Knowlton hall achieves the consent of user's requirements. It puts up an
act which is unending for the user. Even after reaching the fourth floor the viewer wishes the
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Image 2.3: Mack Scogin Merill Elam Architects, Knowlton School of Architecture - 2004
Ramp
Image 2.4: Mack Scogin Merill Elam Architects, Knowlton School of Architecture - 2004
Library
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PERCEPTION OF PERSPECTIVE
HISTORY
exploitation to achieve the virtual; perspective is a part and whole of visual perception. Not
that perspective always works towards realism; still the word itself forms its complex
inescapable domain. It frames itself not only over architecture but all forms of art; painting,
sculpture, drama/movies etc. Should the perspective be limited to architecture only the
picture of the Baptistry in Florence on a burnished silver surface, right on top of its own
reflection. To demonstrate that his painting was an exact replica that could fool the eye, he
drilled a small hole in the surface and then stood directly in front of the Baptistry, looking
through the peephole to see the real building. He then held up a second, mirror in front of his
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panel. The second mirror blocked the view of the real building, but reflected his painted
version, which appeared nearly identical. The idea of holding a mirror was to capture the
reflection of sky in it and hence emphasize the reality. This new technique, called linear
perspective, was a revolutionary development in the history of art. From art to sculpture to
architecture was not a slow journey. Perspective was taken up in different perspectives.
of David to achieve the realism in it. Considering that the statue would be placed at a great
height (platform) and now knowing that any object at distance is viewed smaller than its
usual size. Michelangelo increased the size of the head so that the viewer at the foot of the
After renaissance other painters modified and disrupted the spatial unity of the linear
perspectives and stepped away from the real. Unlike Michelangelo, Escher incorporated the
phenomenon to add complexity in the image and confuse the viewer with multiple planes of
perception. For example the diagram of concave and convex, where the walls become floors
or mid-landings and vice versa or the drawing of corner house where the perception of the
corner could be as concave or convex are complex representations that trick the real to be
perceived as virtual.
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Image 3.1: Filippo Brunelleschi, Florence - 1413
Linear Perspective Painting of Baptistry
modernism and the strong societal influences like the media and consumer culture lead to
loss of meaning and purity from the fields of art. Architects realized the necessity to
reinvigorate the essence of architecture from within itself, to evolve it as a discipline with its
individualistic language. At this time Kepes a Hungarian-born artist and art theorist
attempted to define the language of visual perception in art and architecture through his
writings in 1964.
phases; the plastic organization, the visual representation and the dynamic iconography.
According to kepes an artist could interact with the viewer and achieve the varying
perceptions through visual phenomenon by following the above mentioned three steps in
design. Plastic Organization is the establishment of the basic visual perception phenomenon
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KEPES OVER PERSPECTIVE
Talking about perspective in Kepes' language; its existence is old, but the concept
needs to be re-established for the viewer to acknowledge it in unique sense; ie the dynamic
iconography needs to be reworked on. Kepes also considers the above mentioned study of
the history of perspective; he leaves it after that expecting the new generation to explore
ahead of the existing. For example as a phenomenon to refute the real; Escher explored the
perspective and introduced a new concept at his time. Dynamic iconography of Kepes is a
yearn to explore the existing visual phenomenon in new directions and hence establish a new
every occurrence. Dual perspective affect at the walkway and the changing effects of
perspective in the gallery both as explained before play out as new characters in the act.
They have been observed and critiqued on multiple times. They are the known
say. The dynamic iconography is left enough ambiguous by Kepes for the future generations
to explore, in their new ways, responding to the on going culture. The Lattice perspective; an
optical illusion happening at dual level; makes the structure a piece of art of the Art Center
that befits the name functionally. The Wexner Center for Arts represents its name not only at
the functional level but is a representation of itself in its visual perception also. As rightly
questioned by K.B Jones “is it a building yet”6. No it is not just a building; it is a piece of art
6 - Jones, Kay Bea. 1991. Post Partum: Wexner fragments. Reflections: the Journal of the School of
Architecture University of Illinois at Urbana-Champaign. (8):12-21.
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architecture entertains the aesthetical as well as functional needs of the structure. Hence
holding up the concepts of its era since 1989 and answering the questions of dynamic
iconography of Kepes.
knowing the essence is not the ultimate goal. Idea is to incorporate that knowledge into the
perceivable environment as it exists in relation to human, space and time context. We witness
Phenomenology still seems to befit its requirements. The word perspective here is not
limited to the literal representation; it is the intellectual perspective experienced. While the
ramp establishes a view representational perspective ahead of the viewer, as one walks up or
down the ramp, it also opens up psychological perspectives of non architectural elements.
ramp establishing view of the studios around, as explained before controls the behavior of
the students in the studio, is a perspective of the viewer and the user to adopt to the design in
that particular manner. The organization of the studios around the ramp is the development of
the peripheral perspective as discussed before; evokes a feeling of integration in the viewer
and hence the viewer is just not a viewer but a part of the representation.
7 - Ponty. MM. Phenomenology of Perception, Preface. New York: Routledge Classics, 1962. Pxvi
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While unfolding the unknown
Of illusions and deception
Of function and Phenomenology
Visual phenomenon encounters
Multiple perceptions of perspectives
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BIBLIOGRAPHY
4. Art & Physics: parallel visions in space, time and light by Leonard shlain - 1991
5. The eyes of the skin: architecture and the senses by Juhani Pallasmaa - 2005
7. Theory and delight from Progressive Architecture by Scully, Vincent Joseph - 1989
10. Post Partum: Wexner fragments and Reflections from The Journal of the School of
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11. Wexner Center for the Visual Arts, Ohio from Architectural Design by Eisenman,
Peter. - 1988
12. Taking risks: Eisenman in Ohio from Inland Architect by Davidson, Cynthia - 1990
13. Wexner Center for the Visual Arts, The Ohio State University / a building designed
by Eisenman / Trott Architects; critical essays by Rafael Moneo and Anthony Vidler
New York : Rizzoli - 1989
14. Programming aspiration - Mack Scogin, Merrill Elam: Knowlton Hall. from Praxis:
15. Program is as program does from Praxis: Journal of Writing + Building by Dean,
Penelope. - 2006.
16. At Ohio State University, Mack Scoggin Merrill Elam's new Knowlton Hall from
17. Mack Scogin Merrill Elam--Knowlton Hall by Todd Gannon, Margaret Fletcher,
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