Architecture + Photography: The Transformation Between Dimensions

ARCHITECTURE + PHOTOGRAPHYTHE TRANSFORMATION BETWEEN DIMENSIONS

ARCHITECTURE + PHOTOGRAPHYTHE TRANSFORMATION BETWEEN DIMENSIONS

THIS FINAL PROJECT IS PRESENTED TO THE FACULT Y OF

THE SCHOOL OF ARCHITECTURE BY

JESSICA MONTANA PICKELSIMER

IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE

BACHELOR OF ARCHITECTURE

SOUTHERN POLY TECHNIC STATE UNIVERSIT YMARIETTA, GEORGIA

SPRING SEMESTER 2014

5

DEPARTMENT OF ARCHITECTURESCHOOL OF ARCHITECTURE AND CONSTRUCTION MANAGEMENT

SOUTHERN POLY TECHNIC STATE UNIVERSIT Y

JESSICA MONTANA PICKELSIMERARCHITECTURE + PHOTOGRAPHY: THE TRANSFORMATION BET WEEN DIMINSIONS

STUDENT: JESSICA PICKELSIMER

INTERNAL ADVISOR: PROFESSOR ELIZABETH MARTIN

INTERNAL ADVISOR: PROFESSOR MICHAEL CARROLL

THESIS COORDINATOR: PROFESSOR ROBERT TANGO

THESIS COORDINATOR: PROFESSOR MICHAEL CARROLL(DATE)

(DATE)

(DATE)

(DATE)

(DATE)

6 7

I dedicate th is project to Hunter. You suppor ted me, encouraged me, and told me that ever ything would be alr ight , “you always get i t done”. You are the one person that fe l t the reprocut ions of my late nights with no s leep, and st i l l were wi l l ing to help me with the heavy l i f t ing and model cutt ing. I appreciate ever ything you have done for me. I could not have done i t wi thout you.

8 9

TABLE OF CONTENTS

CHAPTER 1 | DESIGN THEOREM 1.1.1 HYPOTHESIS

1.1.2 THESIS STATEMENT1.2.1 CASE STUDY | WALTER BENJAMIN1.2.2 CASE STUDY | ROLAND BARTHES

1.2.3 CASE STUDY | FIL IP MATTENS1.3.1 TIMELINE OF PHOTOGRAPHY

1.3.2 THE CAMERA OBSCURA1.4.1 PRECEDENT | INSTITUT DE MONDE ARAB

1.4.2 PRECEDENT | CHAPEL IN VILLECERON1.4.3 PRECEDENT | RENAISSANCE BARCELONA FIRA HOTEL

CHAPTER 2| DESIGN ANALYSIS 2.1 METHODOLOGIES

2.2.1 2D METHODOLOGIES2.2.2 2.5D METHODOLOGIES

2.2.3 3D METHODOLOGIES

CHAPTER 3| DESIGN PROCESS3.1 2D SURFACE

3.2 2.5D INHABITABLE SURFACE3.3 3D INHABITABLE SPACE

3.4 IMPLEMENTATION

CHAPTER 4| DESIGN SYNTHESIS4.1 COMPOSITE IMAGE

4.2 POROSIT Y 4.3 EXTERIOR EXPERIENCE

4.4 PLANS4.5 ELEVATIONS

4.6 SECTIONS4.7 FINAL MODEL

APPENDICES

BIBLIOGRAPHY

10 11

CHAPTER ONEDESIGN THEOREM

1312

DESIGN THEOREM | HYPOTHESIS

Since the beginning, archi tectural design has taken inspirat ion f rom di f ferent f ie lds of ar t such as, dance, music, paint ings and more. I t was not un-t i l the twent ieth centur y that photography became a popular media in ar t and was made avai lable to the masses. This modern ar t d i f fers f rom the other medias by the fact that i t is created in a matter of seconds, records the here and now, and can never be reproduced in the exact same manner. Archi tec-ture has began to take inf luence from photography, a re lat ionship unique to other forms of ar t , wi th de-f in ing character ist ics that l ink the two, whi le a lso conf i rming their independence from one another. Photography relates to archi tecture in that they both share the the measurement of l ight , the consid-erat ion of v iews, and the composit ion of the f rame. The di f ference that between the two would be that photography remains two-dimensional , whi le archi -tecture is three-dimensional . The intent of the the-s is would be to explore th is change of d imensions and discover how photography could inform the cre-at ion of space. A photograph is the documentat ion of a target that represents the space, t ime and the percept ion the photographer sees, and can not be repl icated

ident ical ly. Photography is a language that ever yone can interpret in their own manner no matter what the indiv idual percept ion; a t ra i t that is mirrored in the interpretat ion of Archi tecture by the inhabitant of the space. This idea of re lat ions between dimensional states would then be explored by the interact ion and transformation that takes place between the two-dimensions and three-dimensions. A ser ies of methodologies was created to explore th is idea, by shi f t ing between analog + dig i ta l media and two-di -mensional + three-dimensional states. Through this t ransformat ion, the design evolved and developed into elements for space. This process is a lso looking at the relat ionship of how photography has developed through i ts ex is -tence. Beginning with an actual three-dimensional space as a means for recording informat ion in the camera obscura, the histor y of photography has drast ical ly changed and is now enter ing into the f ie ld of archi tecture through technological advance-ments that a l low photographical e lements to be ex-per ienced spat ia l ly.

THESIS STATEMENT | DESIGN THEOREM

Architecture and Photography have s imi lar character ist ics, such as the measure of l ight , composit ion, and frame , wi th the di f ference being the three dimensional state of archi tecture, and the two dimensional s tate of photography. The intent of the thesis wi l l be to explore the t ransformation between two dimensional and three dimensional media and how this informs the design of space.

14 15

DESIGN THEOREM | CASE STUDY

-WALTER BENJAMINA SHORT HISTORY OF PHOTOGRAPHY

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

“WHEN THE INVENTORS OF A NEW INSTRUMENT TURN IT INTO THE OBSERVATION OF NATURE, WHAT THEY HAD HOPED FOR FROM IT ALWAYS SEEMS TINY IN COMPARISON TO THE DISCOVERIES WHICH IT CONTRIBUTES.” 1

CASE STUDY | DESIGN THEOREM

WALTER BENJAMIN[(1892-1940)

Walter Benjamin’s ear ly essay, A Shor t Histor y of Photography, is a cr i t i -c ism of the beginning years of photography. He descr ibes i t in a way that photography is now what i t was not intended to be.

This thesis p icks up f rom this point and tracks the histor y of photography and then begins to develop an understanding of where i t is going in the fu -ture. These new advancements in the l i fe of photography have connect ions to archi tecture through spat ia l exper ience and conf i rm through qual i t ies such as scale, d istor t ion, and even three-dimensions.

1

16 17


-ROLAND BARTHESCAMERA LUCINDA: REFLECTIONS ON PHOTOGRAPHY

1. Bar thes, Roland. Camera Lucida: Ref lect ions on Photography. New York: Hi l l and Wang, 1981. Pr int .

“WHAT THE PHOTOGRAPH REPRODUCES TO INFINIT Y HAS OCCURED ONLY ONCE; THE PHOTOGRAPH MECHANICALLY REPEATS WHAT COULD NEVER BE REPEATED EXISTENTIALLY.”1


ROLAND BARTHES[[(1915-1980)

2

Roland Bar thes’ , Camera Lucinda, explains how a photograph object i f ies i ts subject . I t is a mirror of th is subject , yet i ts en-t i re stor y wi l l never be know just f rom the image. So much of the stor y is lef t unknown. This image, a l though can be dupl i -cated inf in i te t imes, wi l l never be able to be recreated.

In re lat ion to archi tecture, Bar thes’ theor y is benef ic ia l in con-f i rming the research method of the methodology. By t ransform-ing th is image between two and three dimensions and analog + dig i ta l media, the “rest of the stor y” can be designed by cre -at ing space through the discover ies the methodology unvei ls .

18 19


-FILIP MATTENSTHE AESTHETICS OF SPACE: MODERN ARCHITECTURE AND PHOTOGRAPHY

1. “The Aesthet ics of Space: Modern Archi tecture and Photography.” The Aesthet ics of Space. N.p. , n .d. Web. 10 Dec. 2013.

“ IT IS NOT JUST A DISADVANTAGE THAT SPATIAL QUALITIES CAN NOT BE FULLY REPRESENTED IN PICTURES; RATHER, PHOTOGRAPHY FORMS AN OBSTACLE TO THE APPRECIATION OF SPATIALIT Y BECAUSE IT DISTRACTS OUR ATTENTION FROM WHAT IS UNIQUE TO REAL PERCEPTUAL EVIDENCE.” 1


FILIP MATTENS[THe aesthetics of space: MOdern architecture and photography

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

Mattens descr ibes photography as an obstacle to under-standing spat ia l i ty. In the typical sense, th is is t rue, how-ever, th is thesis wi l l go beyond the photograph to under-stand what l ies beneath a mere image, and what th is p iece can become.

We understand space as we inhabit i t , however, whi le look-ing at an image of “space”, we are distracted f rom exper i -encing that space, because we are not in i t .

By developing th is methodology and expanding on future techniques, an image wi l l develop into an actual space.

3

20

DESIGN THEOREM | PHOTOGRAPHY

L I G HT MODU LAT I O N

F RAM I N G

COMPOS I T I O N

21

PHOTOGRAPHIC APPLICATIONS | DESIGN THEOREM

SPAT I A L I TYA transformat ion between 2-dimensions and 3-dimensions to inform space, by taking qual i t ies and character ist ics f rom a 2-dimensional image and translat ing that into 3-dimensional space.

I Mag e app l i e dThe appl icat ion of an image onto an archi tectural e lement that can be exper ienced spat ia l ly.

MEchan i smThe direct t ranslat ion of the mechanical systems of a camera to per form a funct ion on a bui ld ing.

Archi tecture and photography have s imi lar character ist ics such as l ight modulat ion, composit i ton, and framing that are used in designing ei ther a p iece of archi tecture or in a photograph. Each ar t ist uses these elements as tools for creat ing a design of meri t .

Through a ser ies of precedents studies, i t became apparent that there are three major photographical appl icat ions to archi tecture that current ly ex ist . Mechanism would be an example of the Inst i tut du Monde Arab. Spat ia l i ty would be related to the Chapel in V i l leceron, and the Image appl ied would t ranslate to the Renaissance Barcelona Fi ra Hotel .

22 23

DESIGN THEOREM | TIMELINE

Camera O bscuraThe camera obscura used a dark room with a pinhole on one s ide to form an image on the opposite wal l .

1839

“ S u n p i c tur es ’Thomas Wedgwood forms “sun pictures” by p lacing opaque ob-jects on s i lver-n i t rate t reated leather.

Photos ens i t i v e pap erNicephore Niepce combines the camera obscura with photosen-s i t ive paper. Ten years later he created a permanent image.

Mater i a l sMater ials such as s i lver-plated copper and g lass are used to create images by spreading photosensit ive chemicals on g lass.

Kodak cameraThe f i rst Kodak camera was made avai lable. I t contained a 20 foot ro l l of paper and could produce 100 2.5 inch diameter p ictures.

Co lor f i lmThe f i rst commercial color f i lm was made avai lable to the publ ic .

Dagu err eotypeLouis Daguerre formed a process of recording images on metal p lates using chemicals .

1700sANC

IENT T

IMES

1800

1816

1837

1907

1888

i m p roved camera o bscuraClar i ty and br ightness is im-proved by the enlargement of the hole. I t was also made por table.

T IMELINE | DESIGN THEOREM

S LRThe f i rst SLR (Single-Lens-Ref lex) was made.

AutofocusThe f i rst “AutoFocus” SLR system was marketed.

D i g i ta l CameraCanon introduced the f i rst e lectronic d ig i ta l camera.

Po laro i dThe f i rst camera to develop and pr int photos instant ly.

D i s p osab l e cameraFuj i introduced cameras that were designed for s ingle use.

Goodbye , f i lmKodak ceases product ion of f i lm cameras.

Camera p hon eCamera phones became widely avai lable to the pub-l ic , which changed the way informat ion was recorded.

1949

1985

1996

1948

1986

2004

2002

24 25

1. “Project ing - A lchemy by Al Razut is 2011.” Project ing - A lchemy by’ A l Razut is 2011. N.p. , n .d. Web. 09 Dec. 2013.

4

THE CAMERA OBSCURA | DESIGN THEOREM

2. “Histor y of Photography and the Camera.” About .com Inventors. N.p. , n .d. Web. 08 Dec. 2013

The camera obscura l i teral ly means “dark room” in Lat in. By placing a smal l hole in the wal l of a dark room, the l ight wi l l t ravel through and mirror the image on the opposite wal l . Photography takes root f rom the camera obscura and develops f rom there.1

The camera obscura is the bir th of photography.

The camera obscura is an actual three-dimensional space that produces a two-dimensional image. The camera obscura could be considered “step one” of th is idea of a methodology of designing space by t ransforming f rom three-dimensions to two.

26 27

DESIGN THEOREM | PRECEDENT

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

FIGURE 3

INSTITUT DU MONDE ARABEJEAN NOUVEL PARIS, FRANCE1987

5

6

7

The Inst i tut was created as a dest inat ion de-voted to the relat ionship of Arab cul ture in France. The featured aspect of the bui ld ing is the br ise solei l system of the southern facade. I ts repeated patterning relates to an Arabic archi tectural e lement, the mashrabiyya, a t ra-di t ional lat t ice work that is used for sun pro-tect ion and pr ivacy. The system is composed of hundreds of l ight sensi t ive diaphragms that regulate the l ight that enters the bui ld ing.

These diagrams are an aper ture mechanism that mimics the same funct ion in a camera. L ight modulat ion was a s igni f icant factor that had to be control led in the bui ld ing, and Nou-vel took the camera mechanism as a tool to solve a problem.1

Space of Engagement: This bui ld ing has mult ip le funct ions including a restaurant , museum, l ibrar y, of f ices and an auditor ium. I t is a social space that celebrates the Arab cul ture’s re lat ionship with France.

PRECEDENT | DESIGN THEOREM

8

9

4

APERATUREThe aperature of the camera modulates the l ight that is a l lowed to enter

LIGHT MODULATIONThe aperature mechanism is repeated in a pattern to modulate the l ight a l lowed to enter the bui ld ing

MashrabiyyasArabic patterned screens that f i l ter l ight and provide pr ivacy

Arab Institut facadeThe repeated patterning in the facade represents the mashrabiyyas of Arabic cul ture, whi le a lso protects the bui ld ing f rom sun

28 29


1. “Chapel in V i l leaceron / S.M.A .O.” ArchDai ly. N.p. , n .d. Web. 09 Dec. 2013.

Chapel in villeaceronS.M.A .O ALMADEN, CIUDAD REAL, SPAIN1996-2001This chapel was created to have a c lose relat ionship be-tween space and the objects that occupy i t . The design is minimal with a focal point of a cross on the wal l as the only ornamentat ion, a l lowing for a serene place for ref lect ion. I t is based on a ser ies of studies of fo lded paper that are t ranslated into a concrete structure. Nat -ural l ight is the second main mater ia l used that takes advantage of i ts ever-changing and fragi le character is -t ics and compares them to the strong and stat ic charac-ter ist ics of concrete.1

The design process of th is bui ld ing is impor tant as i t re lates to a 2-dimensional and 3-dimensional re lat ion-ship. The studies began with a 2-dimensional mater ia l and manipulated i t unt i l they developed a 3-dimensional space from i t .

Space of Meditat ion:This bui ld ing ser ves the funct ion of a chapel and a quiet p lace for mediat ion. The l ight ing techniques used also provide a calming qual i ty that is der ived f rom natural resources.

4

1110


1. “Chapel in V i l leaceron / S.M.A .O.” ArchDai ly. N.p. , n .d. Web. 09 Dec. 2013.

2D to 3D TRANSFORMATION A ser ies of studies were conducted to t ransform a 2-dimensional p iece of paper into a 3-dimensional model that represents space

spatialityAxonometr ic drawings of the project that represent the progressional spat ia l qual i t ies that are developed in the studies

( r ight)

( lef t )

natural lightThe suns natural i l luminat ion is the only source of l ight in the project

light as materialNatural l ight is let in at speci f ic p laces that bounces of f the fo lds and provides sof t l ight ing in the inter ior space

13

14

30 31


RENAISSANCE BARCELONA FIRA HOTEL

This 24 storey double tower has a focus on the t rans-parency of the bui ld ing volume and provides a refuge where palm trees and vegi tat ion are t ransformed into archi tectural e lements in the open-air ver t ical c i rcula-t ion in the atr ium of the bui ld ing. These palm trees are then represented on the facades of the bui ld ing through images on the g lass skin and cast into the concrete wal ls . A var iety of colors, l ights and shadows “conver t the hotel into a l ive and changing element that ref lects the intensi ty or absense of natural l ight .” 1

The outstanding element of the project are the images of palm trees that are pr inted onto the facades. From the inter ior, these images can be exper ienced spat ia l ly and project the bui ld ing f rom harsh sunl ight . This is an example of how the advancement of technology al lows us to exper ience the photographic image in an archi tec-tural way.

Space of Engagement and Meditat ion:This bui ld ing is an example of both a publ ic and pr ivate space. Sect ions of the bui ld ing provide a social envi -ronment whi le a lso providing pr ivate spaces.

JEAN NOUVEL, RIBAS & RIBASBARCELONA, SPAIN2011

4

15

16

1.“Escofet 1886 S.A .” Escofet 1886 S.A . N.p. , n .d. Web. 21 Jan. 2014.


1817

3d experienceThe enlargement of the image, p lus the funct ion that i t serves al lows the graphic to be exper ienced spat ia l ly

2d imageThe image is 2-dimensional and is not exper ienced spat ia l ly

32 33

CHAPTER TWODESIGN ANALYSIS

34 35

METHODOLOGIES | DESIGN ANALYSIS

To develop and understand this t ranformat ion between dimensions, I conducted a ser ies of methodologies that t ransferred between analog + dig i ta l media and 2-dimensional + 3-dimensional media. Three or ig inal photographs were selected to study; each of which had proper t ies that could be translated into archi tectural design. The f i rst image, used for the 2D methodology, is a photograph of pepples on the ground at a beach in Barcelona, Spain. The second, used for the 2.5D methodology, is an image of a canopy of palm leaves with the l ight p iecing through at the Botanical Gardens in At lanta, Georgia. The thi rd image, used for the 3D methodology, is an actual archi tectural space and is looking up at the sky through a l ight wel l at the Barcelona Forum by Herzog + de Muron in Barce-lona, Spain.

The or ig inal base images are brought f rom their 2D state and are t ranslated into model form. A photograph is then taken of the model and brought back into the computer. The image is manipulated and the sequence begins again and cont inues for several revolut ions.

36

DESIGN ANALYSIS | 2D METHODOLOGY

37

2D METHODOLOGY | DESIGN ANALYSIS

2D0 0 1

38


39


2D0 0 2

40


41


2D0 0 3

42


43


2D0 0 4

44


45


2D0 0 5

46

DESIGN ANALYSIS | 2.5D METHODOLOGY

47

2.5D METHODOLOGY | DESIGN ANALYSIS

2.5D0 0 1

48


49


2.5D0 0 2

50


51


2.5D0 0 3

52


53


2.5D0 0 4

54


55


2.5D0 0 5

56


57


3D0 0 1

58


59


3D0 0 2

60


61


3D0 0 3

62


63


3D0 0 4

64 65

DESIGN THEOREM | HYPOTHESIS HYPOTHESIS | DESIGN THEOREM

CHAPTER THREE DESIGN PROCESS

66

DESIGN PROCESS | 2D SURFACE

2DSURFACE

67

2D SURFACE | DESIGN PROCESS

sam telmo museumNIETO SOBEJANO ARQUITECTOS

SAN SEBASTIAN, SPAIN2006

This project is an extension of the Sam Telmo Museum in a coastal town in Spain. I t features a per forated facade system that is intended as an innovat ive vers ion of a green wal l . Angled holes al l the natural moss and l ichen to grow free. The facade is made from aluminum pan-els by using new technology by the company Proiek. The 2-dimensional image could be

thought of as a sur face (a wal l , a roof , a f loor, etc . )

19

20 21

68

DESIGN PROCESS | 2.5D INHABITABLE SURFACE

2.5D INHABITABLE SURFACE

69

2.5D INHABITABLE SURFACE | DESIGN PROCESS

WINTERGARDEN FACADESTUDIO 505

BRISBANE, AUSTRALIA 2012

The intent ion of the facade was to create an engaging exper ience and ident i ty for the space. I t features a layer ing of i l lustrat ion to create a depth of engagement. L ight ing becomes an in-terest ing aspect as the shadows and l ight pat -terns are cont inuously changing.

The 2.5D image could become a sor t of inhabitable sur face, that does not qui te take on the ful l qual i t ies of the 3-dimensional space.

22

23

24 25

70

DESIGN PROCESS | 3D INHABITABLE SPACE

3D INHABITABLE SPACE

71

INHABITABLE SPACE | DESIGN PROCESS

TEL AVIV MUSEUM OF ARTPRESTON SCOTT COHEN

TEL AVIV, ISRAEL2007

The bui ld ing responds to i ts unique s i te by twist ing i ts geometr ies to form space. These spaces al low for l ight to refract and ref lect to a l low i t to reach the recesses of the bui ld ing that are bur ied.

the 3D inhabitable space is an actual space that is formed throught the meth-odologies.

26 27

28 29

72

DESIGN PROCESS | IMPLEMENTATION

PICTURE OF N BUILDING

73

IMPLEMENTATION | DESIGN PROCESS

The Southern Polytechnic State Univers i ty ’s Ar-chi tecture Bui ld ing became the subject to test out the 2D, 2.5D, and 3D images. The Southern facade where c i rculat ion is celebrated, was se-lected to exper iement with. There is a landing on the main level that leads to nothing. This was inspirat ion to t ransform the landings by apply ing my research that was discovered in the archi tecture and photography methodolo-g ies.

30

31

74 75

DESIGN THEOREM | HYPOTHESIS HYPOTHESIS | DESIGN THEOREM

CHAPTER FOUR DESIGN SYNTHESIS

76

DESIGN SYNTHESIS | COMPOSITE IMAGE

[COMPOSITE IMAGE]

77

COMPOSITE IMAGE | DESIGN SYNTHESIS

The composite image was formed from the meth-odologies using the three or ig inal images. Typ-ical ly photographs are exper ienced in a set s ize and frame. Archi tectural scale is much larger and for the inhabitants to use the spaces that could be created from the image, the scale must be en-larged.

A photograph is a 2-dimensional representat ion of a subject . In th is project , the 2-dimensions are bro-ken away f rom and exper ienced 3-dimensional ly.

32

78

DESIGN SYNTHESIS | POROSIT Y

{DIAGRAM EXPLAINING GROUND, CANOPY, SKY

79

POROSIT Y | DESIGN SYNTHESIS

The composite image is seen in three par ts . F i rst represented is the 2D or the “Ground”. I t begins at the bottom of the stair, and looks out over the grounds. The “ground” is sol id , and i t is not able to be seen through. I ts porosi ty is at a minimum.

The second is the 2.5D or the “Canopy”. Here, we have moved up higher and are level wi th the t rees. Our v is ion has be-come clear as the t rees g ive way to some v is ion through. I ts porosi ty is about mid-way.

The last is the 3D and the “Sky”. At th is point , th is is the top of the stairs . V is ion is c lear with porosi ty at i ts maximum and gives way to a c lear v iew of the sky.

80 81

HYPOTHESIS | DESIGN SYNTHESIS

82

DESIGN SYNTHESIS | EXPERIENCE

2D_GROUND 2.5D_CANOPY

83

EXPERIENCE | DESIGN SYNTHESIS

SKETCH RENDER-INGS

SHORT PARAGRAPH

3D_SKY

84

DESIGN SYNTHESIS | PLANS

LANDING 1 LANDING 2 LANDING 3

85

PLANS | DESIGN SYNTHESIS

LANDING 4 LANDING 5

86

DESIGN SYNTHESIS | ELEVATIONS

SOUTH ELEVATION87

ELEVATIONS | DESIGN SYNTHESIS

EAST ELEVATION

88

DESIGN SYNTHESIS | SECTIONS

SECTION 189

SECTIONS | DESIGN SYNTHESIS

SECTION 2 +3

SECTION 2 SECTION 3

90

DESIGN SYNTHESIS | FINAL MODEL

1/2” SCALE MODEL OF SPSU N-BUILDING ADDITION

91

FINAL MODEL | DESIGN SYNTHESIS

92 93

B I B L I O G R A P H Y

“The Aesthet ics of Space: Modern Archi tecture and Photography.” - MATTENS. N.p. , n .d. Web. 10 Dec. 2013.

“Bar thes’ Camera Lucida, Annotat ion by Kasia Houl ihan.” Bar thes’ Camera Lucida, Annotat ion by Kasia Houl ihan. N.p. , n .d. Web. 09 Dec. 2013.

Bel l is , Mar y. “Histor y of Photography and the Camera.” About .com Inventors. About .com, 11 Apr. 2014. Web. 05 May 2014.

Benjamin, Walter. A Shor t Histor y of Photography. N.p. : n .p. , 1972. Pr int .

“Chapel in V i l leaceron / S.M.A .O.” ArchDai ly. N.p. , n .d. Web. 09 Dec. 2013.

Dunn, Nick . Dig i ta l Fabr icat ion in Archi tecture. London: Laurence King, 2012. Pr int .

“ In Such a World Ar t | Veg | Academia | Geeker y.” In Such a World RSS. N.p. , n .d. Web. 06 May 2014.

Iwamoto, L isa. Dig i ta l Fabr icat ions: Archi tectural and Mater ia l Techniques. New York: Pr inceton Archi tectural , 2009. Pr int .

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

Pel l , Ben. The Ar t iculate Sur face: Ornament and Technology in Contemporar y Archi tecture. Basel : Bi rkhäuser, 2010. Pr int .

“San Telmo Museum / Nieto Sobejano Arquitectos.” ArchDai ly. N.p. , n .d. Web. 06 March 2014.

“Tel Av iv Museum of Ar t / Preston Scott Cohen.” ArchDai ly. N.p. , n .d. Web. 06 March 2014.

“Wintergarden Facade / Studio 505.” ArchDai ly. N.p. , n .d. Web. 11 Mar. 2014.

APPENDICES

1. Walter Benjamin. “Next Nature.” NextNaturenet Explor ing the Nature Caused by People RSS. N.p. , n .d. Web. 06 May 2014.2. Roland Bar thes. “Jonathan Rosenbaum.” Jonathan Rosen-baum. N.p. , n .d. Web. 06 May 2014.3. Archi tectural space. L ight Shadow Space. N.p. : Gardners, 2010. Pr int .4. Camera Obscura. “Camera Obscura.” Wotwedid. N.p. , n .d. Web. 06 May 2014.5. Arab Istutute. Photograph by Jessica Pickels imer6. Arab Inst i tute- Facade system. Photograph by Jessica Pickel -s imer7. Arab Inst i tute- Close up of Mechanism. Photograph by Jessica Pickels imer8. Arab Inst i tute- Facade. Photograph by Jessica Pickels imer9. Arab Inst i tute. Photograph by Jessica Pickels imer10. Chapel in V i l leceron. “Chapel in V i l leaceron / S.M.A .O.” Arch-Dai ly. N.p. , n .d. Web. 09 Dec. 2013.11. Chapel in V i l leceron. “Chapel in V i l leaceron / S.M.A .O.” Arch-Dai ly. N.p. , n .d. Web. 09 Dec. 2013.12. Chapel in V i l leceron. “Chapel in V i l leaceron / S.M.A .O.” Arch-Dai ly. N.p. , n .d. Web. 09 Dec. 2013.13. Breakdown of Form.“Chapel in V i l leaceron / S.M.A .O.” ArchDai ly. N.p. , n .d. Web. 09 Dec. 2013.14. Folding Studies. “Chapel in V i l leaceron / S.M.A .O.” ArchDai ly. N.p. , n .d. Web. 09 Dec. 2013.15. Renaissance Barcelona Fi ra Hotel . Photograph by Agnes Dang16. Close up of palm window. “Renaissance Barcelona Fi ra Hotel by Atel iers Jean Nouvel and Ribas & Ribas (74 Images) .” Renaissance Barcelona Fi ra Hotel by Atel iers Jean Nouvel and Ribas & Ribas. N.p. , n .d. Web. 06 May 2014.16. Construct ion of Renaissance Barcelona Fi ra Hotel . “Renaissance Barcelona Fi ra Hotel by Atel iers Jean Nouvel and Ribas & Ribas (74 Images) .” Renaissance Barcelona Fi ra Hotel by Atel iers Jean Nouvel and Ribas & Ribas. N.p. , n .d. Web. 06 May 2014.17. Lobby and window image. Photograph by Agnes Dang

18. Sect ion of Renaissance Barcelona Fi ra Hotel . “Renaissance Bar-celona Fi ra Hotel by Atel iers Jean Nouvel and Ribas & Ribas (74 Im-ages) .” Renaissance Barcelona Fi ra Hotel by Atel iers Jean Nouvel and Ribas & Ribas. N.p. , n .d. Web. 06 May 2014.19. Sam Telmo Museum. 20. Close up of the facade.21. Facade Assembly.22. Wintergarden Facade Inter ior. “Wintergarden Facade / Studio 505.” ArchDai ly. N.p. , n .d. Web. 11 Mar. 2014.23. Exter ior. “Wintergarden Facade / Studio 505.” ArchDai ly. N.p. , n .d. Web. 11 Mar. 2014.24. Facade Assembly. “Wintergarden Facade / Studio 505.” ArchDai ly. N.p. , n .d. Web. 11 Mar. 2014.25. Wintergarden Facade. “Wintergarden Facade / Studio 505.” ArchDai ly. N.p. , n .d. Web. 11 Mar. 2014. ’26. Inter ior of Tel Av iv Museum. “Tel Av iv Museum of Ar t / Preston Scott Co-hen.” ArchDai ly. N.p. , n .d. Web. 06 March 2014.27. Inter ior of Tel Av iv Museum. “Tel Av iv Museum of Ar t / Preston Scott Co-hen.” ArchDai ly. N.p. , n .d. Web. 06 March 2014.28. Sect ion showing l ight wel l . “Tel Av iv Museum of Ar t / Preston Scott Co-hen.” ArchDai ly. N.p. , n .d. Web. 06 March 2014.29. Tel Av iv Museum. “Tel Av iv Museum of Ar t / Preston Scott Cohen.” Arch-Dai ly. N.p. , n .d. Web. 06 March 2014.30. SPSU Archi tecture Bui ld ing. Photograph by Jessica Pickels imer31. SPSU Archi tecture Bui ld ing. Photograph by Jessica Pickels imer32. SPSU Archi tecture Bui ld ing. Photograph by Jessica Pickels imer

Documents

Architecture + Photography: The Transformation Between Dimensions