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Discovering Beauty and Meaning: a Meditative

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Discovering Beauty and Meaning: a Meditative Acknowledgements: Special thanks to Professor John Turpin, Professor Judy Thoedorson, Dr. David Wang, my family, and Julia Day. This thesis would not have been possible without their support and guidance. 2 Table of Contents List of Figures 4 Précis 6 Introduction/Literature Review 8 Methodology 12 Discussion 15 Shadows as Beauty 16 Shadows as Philosophical Meaning 19 Shadows as Ornamentation 28 Model Study 31 Identify Techniques 31 Recreate Shadow Conditions 37 Development and Evaluation 44 Conclusion 48 Appendix 49 Heliodon 50 Additional Photos 51 Works Cited 52 3 List of Figures 1. Yoshijima House 8 2. Structure of Ornamentation 9 3. Study Models 14 4. Beauty and Shadows 19 5. Space and Time, Accrued and Measured 20 6. Hara House 21 7. Koshino House 21 8. Jewish Museum Berlin, Garden of Exile and Emigration 22 9. Jewish Museum Berlin, Holocaust Tower 22 10. Jewish Museum Berlin, Interior 22 11. Jewish Museum Berlin, Interior Voids 22 12. Westminster Abby 23 13. The Chapel of St. Ignatius, Sanctuary 24 14. The Chapel of St. Ignatius, Chapel of Reconciliation 24 15. The Chapel of St. Ignatius, The Blessed Sacrament Chapel 24 16. Water Temple, Exterior 25 17. Water Temple, Hallway to sanctuary 25 18. Water Temple, Sanctuary 25 19. Kimbell Art Museum, Daylight Reflector 26 20. Kimbell Art Museum, Portico 26 21. Kimbell Art Museum, Gallery 26 22. Jo-an Tearoom 27 4 23. Soseikan Teahouse 27 24. Shadows = Ornamentation 28 25. Regular Rhythm, Physical 29 26. Regular Rhythm, Shadow 29 27. Progression, Physical 29 28. Progression, Shadow 29 29. Tracery, Physical 30 30. Tracery, Shadow 30 31. Single Motif, Physical 30 32. Single Motif, Shadow 30 33. Analysis of Case Studies 32 34. Model Study, Energetic Shadows 38 35. Model Study, Hushed Shadows 41 36. Model Study, Combination: Energetic/Hushed 44 5 Précis Beginning with the earliest examples, ornamentation has been an essential component of design and continues to be inseparable from the built environment today. In ornamentation and other aspects of their work, interior designers use the many elements of design to create beauty both in three-dimensional spaces and on two-dimensional surfaces. Of the design elements, light is particularly complex and is integral to the presentation of the other elements. Darkness, the reverse of light, is equally needed. It creates and defines light’s existence through contrast. The dynamic relation of contrast with light can be experienced through shadow, a softer version of darkness. Shadows, like light, have measurable aspects; yet remain inherently subjective, qualitative, and mysterious. In his book, Tanizaki writes, “the beauty of a Japanese room depends on a variation of shadows, heavy shadows against light shadows—it has nothing else” (18). This discussion explores the qualitative aspects of shadows in design; specifically shadows as they relate to ornamentation. Articles and architectural works were studied to set the foundation for a theoretical framework in which to discuss shadows. The framework presents ornamentation as the combination of beauty and meaning. Beauty sustains life. Beauty inspires discovery and discussion. As meaning, shadows relate to the past and represent the enduring presence of one’s ancestors, connect one to the sacred and the worship experience, and are the source of inspiration and creativity. Having discussed shadows in terms of beauty and meaning, a relation can be drawn between shadows and ornamentation. A comparison of physical ornamentation and examples of shadows show clearly that shadows demonstrate the same characteristics; shadows convey beauty and meaning through rhythm, progression, tracery, or a single motif. 6 In application, light must be controlled and limited to create shadow. The methods of limitation fall into three categories: reflection, diffusion, and interruption. These methods were explored using study models. Results of the study show the elements of ornamentation, as well as two types of overall shadow conditions; shadow as negative space produced when an object blocks light and shadow as a muted quality of light. The two types of shadow generate very different moods when created in a space. The hard edges of the “negative space” shadows create an energized feeling, while the muted shadows creates a hushed atmosphere. The designer can artistically combines these different techniques and effects to generate ornamentation. Shadows, as a subject, are worth looking at separately from light. Shadows are art and ornamentation. Most importantly, shadows are an intentional part of design and there is a world of potential application yet to be explored. 7 The light of the sun filters through the garden, further reduced by the wide eaves of the house, and then by the paper shoji screens. The resulting mix of intensities creates a serene composition on the walls, complemented by dark alcoves where almost no light can reach. It is a beautiful interior environment. Figure 1. Yoshijima House. Introduction Home, work and entertainment are all contained within the built environment. The average person spends ninety percent of their lifetime within some kind of interior environment. The spaces we inhabit greatly influence our physical, mental and emotional well-being (Evens). This is the power placed into the hands of interior designers. What is interior design? The National Council for Interior Design Qualification gives this definition: Interior design is a multi-faceted profession in which creative and technical solutions are applied within a structure to achieve a built interior environment. These solutions are functional, enhance the quality of life and culture of the occupants, and are aesthetically attractive. Designs are created in response to and coordinated with the building shell, and acknowledge the physical location and social context of the project. (NCIDQ) To expand on this, interior design is “a decorative craft, an architectural specialty, a spatial art, or a physical articulation of social interaction...” (Taylor and Preston “Proximities” 9, emphasis 8 added). It is a broad field that has many areas of specialization that encompasses both the artistic and technical. The artistic side of Interior Design is expressed mainly through decoration and ornamentation, the discipline’s foundation. Beginning with the earliest examples, ornamentation has been an essential component of design and continues to be inseparable from the built environment today (Bloomer 205-211, Pontius 5). Kent Bloomer writes, “Perhaps the most powerful contribution ornament makes to the articulation of architectural space is its capacity to transform the raw dimension into a fantastic place” (209). Humans have always turned to ornamentation to beautify their environments. In addition to beauty, ornamentation conveys meaning that is separate from the structure of the building, but equally important. Therefore, ornamentation is built on the foundation of both beauty and meaning. Beauty Ornamentation Meaning Figure 2. The Structure of Ornamentation. Ornamentation is expressed through repeated motifs. Motifs are literal shapes and forms simplified to express, through beauty, an object’s utility or cultural context. Motifs respond to the elements of rhythm, progression and scale. Rhythm, in its simplest form, is the regular repetition of an element. However, “it is a corporeal and mental activity that on one level acknowledges periodic repetition while on another consciously moves to…disrupt, and shift the boredom of regular repetition. It is actually experienced as an irregular pattern” (Bloomer 62). These irregular patterns seek to have an origin and develop to a climax or culmination, creating a progression. The motifs that create repetition and progression exist in all scales. Tracery is small 9 linear and curvilinear elements creating fine detail. Single motifs are groups of tracery, larger building elements or even an entire building (210). Single motifs are usually repeated, but there are some exceptions where a particularly complex motif will only occur once. In all aspects of their work, interior designers use the many elements of design to generate beauty both in three-dimensional spaces and on two-dimensional surfaces. The elements are line, shape/form, texture, color, light, balance, rhythm, proportion/scale and unity/variety. Of the elements of design, light is particularly complex and is needed to create the other elements. Light reveals texture, transmits color, creates lines or shapes, and articulates form. Patterns of light display balance, rhythm, unity and/or variety. “Whatever we are doing in our lives, light plays a part. Light is a communication tool; light is energy; light is magic. Light is life” (Major 1). Light is a powerful tool and is often the key element in designing, whether the goal is function or aesthetics. Function focuses on the scientific aspects of light, but the aesthetic expression of light falls into the realm interpretation. The scientific definition of light is “that part of the electromagnetic radiation spectrum which can be perceived by the human eye” (Schiller 1). Scientists have dedicated their lives to the study of light; explaining it and measuring it. Visible light has been quantified by wavelength, in nanometers; speed, in kilometers per second; and intensity, in foot-candles per square foot (metric: Lux per square meter). These are valuable tools for working with light; however, they are unable to adequately address the qualitative aspects of light. Interpretation of light’s meaning is a much more complicated task; a task given to artists, philosophers, and designers. The built environment has a unique opportunity to dialog with light in an effort to suggest an interpretation of light. “Light is only one of many aspects of architecture. But light reveals the building, its intention, its place, its form, its space, its 10 meaning. Light reveals architecture and, in the best instances, architecture reveals light” (Millet 3). Through built forms, light is able to represent a greater significance and a connection to that which has no physical form. Some architects and designers have dedicated their lives and work to exploring the nature of light.
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