Choreographed spaces : an inquiry into the subject-observer relationship through a controlled assembly of spatial tectonics (Softcopy is also available)
Dhawan, Harleen (UI1115)
Choreographed spaces : an inquiry into the subject-observer relationship through a controlled assembly of spatial tectonics (Softcopy is also available) - 2020 - 223p.
Contents
conception - theorization – application
Abstract 05
Acknowledgments 07
Contents 09
Thesis Framework
Aim and Objectives 12
Methodology 13
Scope and Limitation 17
Literature Review 18
Relevance of the Study 21
1 Understanding the Historic Background of
Subject-Observer Relationship through
Art, Cinema, Architecture
Overview 25
1.1 Progression of the Semantics of Interior Spatial Experience 29
1.1.1 The Beginnings of a Static ‘Order’ for The Medieval Age 29
1.1.2 Classical Conception of Space 33
a. Gothic and The Beginnings of An Anthropocentric Expression
b. Renaissance and the liberation from Divine Orders
1.1.3 Baroque and The Use of Compelling Visual Techniques 41
1.1.4 Architecture during the Age of Enlightenment 43
1.1.5 19th Century and the Development of Industrial Age 45
1.1.6 Cubist Art - Man’s Investigation Into Perception 47
1.1.7 Modernism - Age of Reinterpretations 53
1.1.7.1 Cubist Concepts in Le Corbusier’s Architecture
1.2. Motion Pictures as an Expression of Movement in Time 65
1.2.1 Perception of implied movement 65
1.2.2 Influence of Modernist Concepts on Cinema 69
Concluding Inference 73
2 Movement and Perception in Time
Overview 77
2.1 Comparitive Argument - 79
2.1.1 Kinesthetic Approach of Traditional Indian Architecture vs
Modernist Approach of Le Corbusier 79
2.1.2 Inference - Movement and Perception in Space-Time Context 90
2.2 Expression of Movement 93
2.2.1. Visual Movement 93
2.2.1.1. Types of Visual Movement
2.2.2 Spatio-Compositional movement 95
2.2.2.1 Types of spatio-compositional movement
2.2.3 Spatial movement 101
2.2.3.1 Circulation and its types
2.3 Perception in Space-Time Context 103
2.3.1. Types of Perception 103
2.3.1 Types of Perception- Visual, Compositional, Spatial
2.3.2 Montaged Perception
2.3.2 Role of Perception in Choreographing Sequential Unfolding 122
2.3.2.1 Mapping an architectural stroll - Bernard Tschumi’s Manhattan Transcripts
2.3.2.2 Capturing Serial Vision
2.4. Progress of Time 132
2.4.1 Pace of movement - Conflict in Momentum 132
2.4.1 Time and progress 135
Concluding Inference
3 Understanding the Application of Concepts
through Case Studies
Overview 141
3.1 In conversation with Shivdatt Sharma 142
3.1.1 Key inference- Interpreting sequential stages of experience path 145
3.2 Criteria of Selection 148
3.3 Implication of Concepts by Le Corsbusier through Mill Owner’s
Association, Ahmedabad and Chandigarh High Court 151
3.3.1 Overview of articulated concepts 151
3.3.2 Proportions and anthropometry 159
3.3.3 Expression of Multiplicity in spatial volume 161
3.3.3 a. Interpretation of Multiplicity and Transparency in the
horizontal continuum
3.3.3 b. Interpretation of Multiplicity and Transparency in the
vertical continuum
3.3.4 Architectural stroll 168
3.2 Implication of Strategies in Palace of Assembly, Chandigarh 171
3.2.1 Framework of Analysis 171
3.2.2. Overall spatial composition 173
3.2.3 Movement in the context of space and time 177
3.2.3. Perception in the context of space and time 179
3.2.4 Relative comparison of manipulation with pace of movement
3.3.5.1 Qualitative inference
Concluding Inference 192
Conclusion 195
Scope for Further Research 199
Bibliography 201
List of Figures 204
Appendices 212
Glossary of terms 214
Review Feedback Report 216
Plaigarism Report 219
I TH-0454 / DHA
Choreographed spaces : an inquiry into the subject-observer relationship through a controlled assembly of spatial tectonics (Softcopy is also available) - 2020 - 223p.
Contents
conception - theorization – application
Abstract 05
Acknowledgments 07
Contents 09
Thesis Framework
Aim and Objectives 12
Methodology 13
Scope and Limitation 17
Literature Review 18
Relevance of the Study 21
1 Understanding the Historic Background of
Subject-Observer Relationship through
Art, Cinema, Architecture
Overview 25
1.1 Progression of the Semantics of Interior Spatial Experience 29
1.1.1 The Beginnings of a Static ‘Order’ for The Medieval Age 29
1.1.2 Classical Conception of Space 33
a. Gothic and The Beginnings of An Anthropocentric Expression
b. Renaissance and the liberation from Divine Orders
1.1.3 Baroque and The Use of Compelling Visual Techniques 41
1.1.4 Architecture during the Age of Enlightenment 43
1.1.5 19th Century and the Development of Industrial Age 45
1.1.6 Cubist Art - Man’s Investigation Into Perception 47
1.1.7 Modernism - Age of Reinterpretations 53
1.1.7.1 Cubist Concepts in Le Corbusier’s Architecture
1.2. Motion Pictures as an Expression of Movement in Time 65
1.2.1 Perception of implied movement 65
1.2.2 Influence of Modernist Concepts on Cinema 69
Concluding Inference 73
2 Movement and Perception in Time
Overview 77
2.1 Comparitive Argument - 79
2.1.1 Kinesthetic Approach of Traditional Indian Architecture vs
Modernist Approach of Le Corbusier 79
2.1.2 Inference - Movement and Perception in Space-Time Context 90
2.2 Expression of Movement 93
2.2.1. Visual Movement 93
2.2.1.1. Types of Visual Movement
2.2.2 Spatio-Compositional movement 95
2.2.2.1 Types of spatio-compositional movement
2.2.3 Spatial movement 101
2.2.3.1 Circulation and its types
2.3 Perception in Space-Time Context 103
2.3.1. Types of Perception 103
2.3.1 Types of Perception- Visual, Compositional, Spatial
2.3.2 Montaged Perception
2.3.2 Role of Perception in Choreographing Sequential Unfolding 122
2.3.2.1 Mapping an architectural stroll - Bernard Tschumi’s Manhattan Transcripts
2.3.2.2 Capturing Serial Vision
2.4. Progress of Time 132
2.4.1 Pace of movement - Conflict in Momentum 132
2.4.1 Time and progress 135
Concluding Inference
3 Understanding the Application of Concepts
through Case Studies
Overview 141
3.1 In conversation with Shivdatt Sharma 142
3.1.1 Key inference- Interpreting sequential stages of experience path 145
3.2 Criteria of Selection 148
3.3 Implication of Concepts by Le Corsbusier through Mill Owner’s
Association, Ahmedabad and Chandigarh High Court 151
3.3.1 Overview of articulated concepts 151
3.3.2 Proportions and anthropometry 159
3.3.3 Expression of Multiplicity in spatial volume 161
3.3.3 a. Interpretation of Multiplicity and Transparency in the
horizontal continuum
3.3.3 b. Interpretation of Multiplicity and Transparency in the
vertical continuum
3.3.4 Architectural stroll 168
3.2 Implication of Strategies in Palace of Assembly, Chandigarh 171
3.2.1 Framework of Analysis 171
3.2.2. Overall spatial composition 173
3.2.3 Movement in the context of space and time 177
3.2.3. Perception in the context of space and time 179
3.2.4 Relative comparison of manipulation with pace of movement
3.3.5.1 Qualitative inference
Concluding Inference 192
Conclusion 195
Scope for Further Research 199
Bibliography 201
List of Figures 204
Appendices 212
Glossary of terms 214
Review Feedback Report 216
Plaigarism Report 219
I TH-0454 / DHA