TY  - BOOK
AU  - Dhawan, Harleen (UI1115)
AU  - Sutaria Shah, Ratna  (Guide)
TI  - Choreographed spaces : an inquiry into the subject-observer relationship through a controlled assembly of spatial tectonics (Softcopy is also available)
U1  - I TH-0454 
PY  - 2020///
N1  - 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

ER  -