ILLUSION IN ARCHITECTURE
HYPOTHESIS:Illusion created by means of art and design add character, liveliness, Dimension and surprise in any built form or building element.
AIM:To study how perceivance of a space changes when illusion is created .
OBJECTIVE:I.
To study the term optical illusion, its type and how it works.
II.
To study optical illusion created through arts.
III.
Illusion created by arts on different building elements.
IV.
Illusion created through design and build form.
SCOPE AND LIMITATION:I.
Illusion is studied in the context to visual sense only and its effect due to other senses is only taken in account.
II.
Study of suitable , examples which are available in different geographical condition and typology.
METHEDOLOGY:The study can be devided into three main partsi.
Collection of data.
ii.
Assimilation
iii.
Compilation
The first step is to do all the literature study. It includes collection of data from books, the internet and first hand in information from the people familiar with topic. Second step is to visit the appropriate buildings which are related to the topic. The information and photograph are collected and summarise. Discussion with guide and other faculty member is done which provided an in depth understanding of the topic. Finakky all the collected data is put in an orderly and in sequential manner.
CHAPTERIZATION:1.
Introduction I.
Introduction
II.
Hypothesis
2.
3.
4.
III.
Aim
IV.
Need of study
V.
Objective
VI.
Scope and limitation
VII.
Methodology
Understanding optical illusion I.
Optical illusion
II.
Causes of optical illusion
III.
History of optical issusion
IV.
Types of illusion
Optical illusion created through arts on b uilding elements I.
Introduction
II.
Walls
III.
ceiling
IV.
door
V.
floor
VI.
window
VII.
column
optical illusion created through design I.
introduction
II.
walls
III.
floor
IV.
ceiling
V.
door
VI.
window
VII.
column
5.
Conclusion
6.
Anexures
7.
Bibliography I.
www.google.com
II.
Wikipedia
III.
Charles correa by Kenneth Frampton
IV.
Ekements of space design by yatin pandya
V.
The guilkd-artist source book
MANNER UNDER TH E TITLES AND SUBTITLES. HYPOTHESIS AIM OBJECTIVE SCOPE CASE STUDIES ANALYSIS CONCLUSION
NEED FOR STUDYOptical illusion created with abstract colour and realistic images, setting up a dialectic between building and virtual imagery: a complex interaction which can add layer of metaph orical and metaphysical dimension in architecture.
HISTORY OF OPTICAL ILLUSION Epicharmus and Protagoras both lived around 450 b.c. epicharmis believed that our senses (seeing, hearing, smelling, tasting and touching) were not paying enough attention and w ere messing up. His exact words were, the mind sees and mind hears, the rest is blind and deaf. Protagoras went against what epicharmus said. He thought that our senses and body were just fine. He believed that it was the environment that was messing up. He said, Man os nothing but a bundle of sensation. Aristotle, who lived around 350 b.c. said both Epicurus and Protagoras were both right and wrong. He said our senses can be trusted, but they can be easily fooled. For example when its very hot day and you stand near the road. Heat waves rise and we see them. Our senses are right, we can see the wave but if we look through the waves at the tree, the tree appears to be wiggling. That is when our senses get fooled. Another greek was plato lived around 300 b.c. . He said our five senses need our mind to help interpret what they see. In other words, that the eyes and mind need to work together. That Is exactly what we think now. In 1826, A psychological JOHANNES MULLER wrote two books about visual illusions. But few people knew what he was talking about because he was the first person to call distortions visual illusion. In 1854, another psychologist J.J. OPPEL continued where muller left off, he published a paper with ten pages about line i llusion. Nobody had ever seen the illusions he talked about. Even famous muller -lyer illusion was introduced and twelve theories were made to ex plain illusion.
OPTICAL ILLUSION In order to answer this, we must first understand the idea of perception. Pe rception refers to the interpretation of what we take in through our senses, in terms of optical illusion this means our eyes. Optical illusion occurs because our brain is trying to intercept what we see and make sense of the world around us. Optical illus ion simply tricks our brain into seeing things which may or may not be real . HOW DO OPTICAL ILLUSION WORKS? In order to make sense of the world, our brain try to see patterns or shapes that we can easily recognise. This principle is called grouping. Our brain can group things into four types a.
Similarity
b.
Proximity
c.
Continuity
d.
Closure
I.
Similarity- when we see a group of dots we will group dots are similar. For example, if there are two types of coloured dots we will group them into two lines or blocks of d ots that are of the same colour.
II.
Proximity-Rather than 6 lines we will see 3 columns, grouping lines that are close to each other.
III.
Continuity-our brains like to see patterns and group things together. Although the dots are random, to our brains. There is a pattern, 4 lines of dots forming an X.
IV.
Closure- This happened because our brains like to make familiar objects we are used to seeing. Even if there are gaps in what we are looking at.
TYPES OF OPTICAL ILLUSION A conventional assumption is that there are p hysiological illusions that occur naturally and cognitive illusions that can be demonstrated by specific visual tricks that say something more basic about how human p ercecptual system work.
PHYSIOLOGICAL ILLUSION
Such as the after images following bright lights or adapting stimciiy of excessively longer alternating patterns( contingent perceptcial after-effect) , ate presumed to be the effects on the eyes or brains of excessive stimulation of a specific typebrightness, tilt , colour , movement and so on. The theory is that stimuli have individual dedicated natural paths in the early stages of visual processing, and that repitive stimuli of only one or few channels causes a physiological imbalance that alte r perception. COGNITIVE ILLUSIONCognitive illusion are assumed to arise by int eraction wit h assumptions about the world, leading to unconscious inference , an idea first suggested in the 19
th
century by harmann heelmholtz. Cognitive illusions are commonly divided
intoAmbiguous illusion Distorting illusion Paradox illusion
Ambiguous illusion- ambiguous illusion are pictures or objects that generally present the viewer with a mental choice of two interpretations, each of which is valid. Often the viewers see only one of them, and only realize the second, valid interpretation after some time or promoting. When they attempt to simultaneously see the second and first interpretation anymore, and no matter how they try they simply cannot encompass both interpretation simultaneously. One occupied the other. The Necker cube is a well known example, another examples is the Rubin vase.
DISTORTIN ILLUSION These are characterized by distortion of size, length, or curvature. A striking example of this type of optical illusion is the café wall illusion. This optical illusion makes the parallel straight horizontal lines appear to be bent. Paradox illusion- paradox illusion are generated by the objects that are paradoxical or impossible in real life or three dimensions, but look oddly convincing and perplexing in the two dimensional drawings. Such illusions are often dependant on a cognitive misunderstanding adjacent edge must join.
Optical illusion in art Many artists have worked with optical illusion , incuding M.C ESCHER, BRIDGET RILEY, SALVADOR D ALI, GIUSPPE ARCIMBALDO, MARCEL DUCHAMP, V ICTOR YASARELY, OSCAR RECITERSARD AND CHA RLES ALLEN GILBET. Some contemporary artists are also experimenting with optical illusion, including; DICK TERMIS, SHIGEO FUKUDA, PARTRICK HUGHES, ISTVAN OROSZ AND ROB GOSXLVES. Optical illusion is also used in films by the technique of forced perspective. Op art, also known as optical arts, is used to describe some mid 20
th
century geometric abstract painting and offer works of
art which use optical illusion. Op art is also referred to as geometric abstraction and hard- edge abstraction, although the preferred term for it is Perceptual abstraction,
TROMPE-IOLE Is an art technique involving extreme realistic imagery in order to create the optical illusion that the depicted object really exist , instead of being just two dimensional paintings. The name is derived from French for trick the eye, from trooper to deceive.
Iulian beever is a contemporary English artist who has created many chalk drawings on pavement that use th is technique to create the illusion of three dimensions when viewed from the right location. These trompe loeil drawings are created using a projection called anamorphosis and appear to defy the laws of perspective.
Op art painters devised complex optica l space by manipulating repetitive forms such as parallel lines, checkboard patterns, and concentric circles or by creating chromatic tension from the juxta position of complementary colours, thereby creating the illusion of movement. When the viewer looks at them, the impression is given of movement, hidden images, flashing and vibrations, patterns or alternately of swelling or warping many of the better known of the art works are made is only black and white.
PERCEPTION When we draw, we attempt to transc ribe aspects of 3-d reality onto a flat surface which is only 2 -d. the resulting images can be ambiguous for whatever space and depth we read in a drawing is illusionary.
DEPTH We live in a three dimensional world of objects and space. Object occupy, defi ne the limits of and give form to space.space, on the other ha nd surrounds and articulates our vision of objects.
SIZEAn interesting perceptual phenomenon is our ability to ignore apparent differences in actual size in order to identify and categorize things. This phenomenon, known as size or object consistency.
OVERLAPPING Two overlapping shapes create an illusion of depth since we tend to see one shape as being in front of, and concealing from our view, and part of another behind it.
TEXTURE As a surface texture recedes into the distance, there will be a gradual increase in the density of the texture.
KALA ACADAMY PANJI, GOA
Located on a site along the mandovi river in the capital of goa, this centre for the performing arts provides , 10,500 sqm of facilities for visiting artists and troupes of performers from other cities of india and abroad, as well as for local lonlani and Marathi theatre groups and musicians who travel around many villages and towns of goa and who constitute a vigorous and essential part of its cultural tradition. As will be seen from plan, this space leads o ne towards the canscirina trees along the riverfront, so that the building in facts as a large breezeway, connecting the campal to the mandori river.
The 1000 seat auditorium has to function under a wide range of conditions, ranging from speeches and plays, through sitar and sarod recitals to western orchestras. These variations is acoustical conditions are brought about by manipulating areas of absorbent materials along the walls and ceilings of the auditorium. The mechanism of these changes is not always apparent to the audience, since t hese devices are placed outside a box whose walls are made of a material which is acousticall y transparent but visually opaque. On the walls and ceilings of the inner box is painted the illusion of a guan theatre. The facilities provided are several: they include a 1000 seat auditorium, a 2000 seat open air amphitheatre, a special black box for experimental productions and so forth. There are also schools of Indian classical art and Indian and European classic music, as well as an exhibition gallery for painting and sculpture. In addition, accommodation has been provided for visiting troupes of artists and musicians. The si te which faces the historic mandori river is on the campal, a wide tree line road running through a nd residential area of panaji. Thus the buit form is low key an d unobtrusive- the main EVENT along the road being the large pergola, covered footer for the auditorium and the amphitheatre. Complete with balconies people with typical locals, drowned by the renowned guan artist Mario Miranda, to decrease the reverberation time in the auditorium, real curtains are pulled behind the figures in the balconies - supplemented by other drapes that moves above the false ceiling. When the show s tarts, the house lights dim gradually . With the illuminated figures in the balconies fading last of all. At the interval, this process is reversed. However, at the end of the perf ormance, just before the balcony lights come alive, spot light illuminate the ceiling behind the inner box. On this surface is painte d fragment of the great jungle of goa. An experience to remind the audience that all they have witnessed is a mare illusion. Certainly the play, perhaps also their own lives and that the only thing they can be sure of is that one day this too will pass, and the jungle will reclaim its own .
The dimension of space along with the dimension of time. Constitutes the basis for t he concept and perception of the world as we experience it. The abstract notion of space is, however physically perceivable In object around us through the séances of sight, sound. Touch, smell and taste. The three dimensions of length, breadth and height along with the fourth dimension of time gives us a tangible framework to understand physical reality through relative comparison and judgement of its component parts. The notion of space is made physically manifest in architecture through the different ele ments that constitute the basic identifiable parts of the man-made or, built environment. These elements are broadly classifiable as roof ,wall, door, window, column, stair and floor . Each of these elements possess attributes inherent to their morphological construct which endow them with particular spatial properties providing potential for their use and design in architectural competitions. The relationship of architecture to the other arts is a crucial one. In the hotel cidade de goa at Dona paula for i nstance. Mural and sculpture are used not just to provide references to local traditions and events. But really to bring back into balance the spatial tension generated by the built form. This is also attempted in the kala academy in panaji. These projects both cited in goa. Use elements from the kit of parts developed together earlier with abstract colour and realistic images, setting up a dialectic between builtform and virtual imagery - a complex interaction which can adds layers to metaphorical and metaphysical dimensions to architecture.
