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. These studies range in focus from light revealing space and form to light creating experience and meaning (Millet).
Any exploration of light will eventually touch on the idea of darkness. Darkness, the reverse of light, is essential. It creates and defines light’s existence through contrast. Contrast is darkness and light working together to show texture, define shapes, and delineate depth. “The act of working with light requires an understanding of how to maintain darkness. Shadow, like light, has quality, quantity, direction, and focus. In natural light, it changes in perfect harmony with the movement of the sun” (Major 59). Darkness, the total absence of light, is rarely experienced in its pure form (63). The dynamic relation of contrast with light can be experienced through shadow, a softer version of darkness. There are two ways to use the word shadow. The first refers to the shape or silhouette created when light is interrupted by an object.
Shadow is the negative space created by the absence of direct light. The second is a more abstract concept describing a muted light that seems barely adequate to fill the space. Enough light is present to allow the room to be viewed and experienced, but communicates to the viewer more of a feeling of darkness than a feeling of light.
Designers and critics all acknowledge that shadows exist, but use them without discussing how shadows respond to the established theories of design. Until recently, In Praise of Shadows by Jun’ichir Tanizaki was the only book that attempted to discuss the significance of shadows. Although Tanizaki was a freelance writer and in no way an architect or designer, any book that touches on the topic of shadows in architecture refers back to Tanizaki’s
11 masterpiece and a small handful of designers have begun to explore some of the concepts presented. 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). He is explaining the absence of conventional decoration in Japanese rooms, which usually have blank walls of a uniform, neutral color. He seems to be suggesting that the desire for, or presence of, shadows dictates the way rooms are decorated. What implications does this have for the field of interior design; is it possible to use shadows as ornamentation?
Methodology
This study began with the admiration of the traditional Japanese interiors. While seemingly simple, these interiors are the canvas for complex layers of shadows. Admiration developed into a search for the conditions that created these shadows. The project consists of two parts; development of concepts and physical application.
A study of articles and architectural works discussing light and theory set the foundation for a theoretical framework in which to discuss shadows. At first glance, it seemed that the artistic use of shadows was a uniquely Asian characteristic. However, upon further investigation, several excellent examples from western design were found. This shifted the scope of research from cultural differences to differences in the intended use of the space. The literature was revisited, this time looking for similarity between the application types. While cultural origin influenced the composition of the shadows, the emphasis was clearly on aesthetic value and philosophical meaning.
In order to discuss aesthetic value, a definition of beauty was established. Shadows were then evaluated based on the criteria presented. Meaning was established through philosophical
12 arguments and examples from architecture. The early philosophical concepts were first sketched out through class discussions, lecture notes, and additional reading. The concepts were further developed and supported through reading the comments of architects and analyzing examples of their work.
The examples used were selected for several reasons: Intentional shadows were an integral part of the design, the design used natural daylight, and it was a work of a well- documented architect. In addition, examples were selected from both eastern and western architecture to emphasize the parallel between the two cultures.
The sun is the original and ultimate source of light and this study was limited to natural daylight. This allowed the study to start with a constant source and eliminated the variation found within other light sources. Electric lighting, in particular, contains too many different types of bulbs, fixtures, and possible locations to evaluate concisely. Projects by architects were studied due to a lack of documentation of interior design projects with this particular emphasis.
However, the focus remained entirely within the interior of the building. The projects from
Daniel Libeskind, Tadao Ando, Steven Holl, and Louis Kahn have been selected as examples.
The work of these architects demonstrated extensive use of shadows and the architect’s own commentary was available.
The second part of the project was to build study models to explore methods of application. The models are simple boxes made of foam-core with one side left open to allow the camera a view inside. In the first model, the top of the box was made up of a series of interchangeable panels, each exploring a different technique for creating shadows. In the second model, the side of the box directly facing the light source was made to be interchangeable.
13
Figure 3. Study Models.
All models were tested on the Heliodon at the Integrated Design Lab, Spokane. The Heliodon simulated sun penetrations as they change throughout the day and during different seasons.
Model designs and evaluations were intended a starting point for design, not as prescriptive instruction.
Several factors limit this study. Most importantly, it was not possible to visit each site in person to observe the lighting conditions first hand. The research and analysis was dependant on documentation done by others. To avoid being influenced by any one photographer’s agenda or bias, images from several sources were used to create an overall impression. The main case studies were chosen specifically because they were well documented and the shadow conditions remained consistent throughout multiple sources. Secondly, designs focusing on daylight cater to the specific climate conditions and location of the site; this will influence the amount of daylight that enters an interior space. However, it is possible to generalize. Temperate climates tend to encourage larger openings for more light, while buildings in climates that experience
14 extreme hot or cold tend to have smaller openings. The site of the examples have similar
climates overall. Thirdly, each building is the result of different clients with different goals and
is designed to fit different needs, even within the same building type. The unifying factor for all
the examples used in this paper is the use of shadow. Instead of being negatives, the differences
show the ability of shadows to adapt to various applications and open the door for future use of
shadows in designs. Finally, this is a discussion exploring the qualitative aspects of shadows in
design. Beauty and meaning are particularly subjective topics; while everyone is entitled to their
own opinion, the views presented are within the normative standards held by society today.
DISCUSSION
The issue of ornamentation deals directly with beauty and meaning. The potent cultural
and religious ties immediately immerse any discussion about beauty or meaning into the
philosophical. It must first be established which philosophical tradition is to be used; the western
tradition, which originated in Greece and emphasizes individual identity, or the Eastern tradition,
which came out of China and emphasizes a holistic view through process (Wang “Authenticity”).
This is an impossible division because, in many ways, shadows are able to satisfy the desires of
both philosophical traditions and are present in the architecture of both. The traditions have parallel concepts of beauty and both find philosophical significance in shadows.
Shadows as Beauty
It is said that beauty is in the eye of the beholder, meaning that beauty is entirely subjective. While determining the beauty of a specific item is subjective, the definition of beauty is not. A framework exists to identify the characteristics that define beauty. These
15 characteristics are “unprecedented,” “sacred,” “lifesaving,” and “incites deliberation” (Scarry 23-
24). An object or experience’s ability to exhibit these characteristics is what determines whether they are beautiful or not.
Elaine Scarry explains “unprecedented” as “things that have as their only precedent only
those things which are themselves unprecedented” (28). The unprecedented creates a feeling that
the world has been made new (24). The viewer is so taken in by what they are experiencing that
they can believe that nothing so extraordinary has existed before. In this way, the act of Michael
Jordan going to the basket is beautiful because nobody else has gone to the basket in quite the
same way as Jordan (Wang “Beauty”). Pierre Marivaux, an 18th century playwright, also equates
the concept of beauty as unprecedented in his essay “Le Jardin De Je Ne Sais Quoi” (The
Garden of I-Know-Not-What)1. He describes beauty as a garden in which everything is
constantly new. “…there were an infinite number of graces passing back and forth through that place, working and retouching everywhere” (45). The garden itself speaks saying, “you see me
and you seek me; and you will never find me otherwise, but you will never tire of seeing me”
(48) because the garden is always new. This is reinforced by Thomas Hope’s criticism of furniture that lacked beauty. He says, “…long even before the extreme insolidity and flimsiness of their texture could induce material injury…the inanity and tameness of their shapes and appendages already completely tired the eye and mind” (154). The beautiful must continually provide a delightful experience.
The characteristic of sacred relates closely to the characteristic of unprecedented (24).
Sacred is a heightened sense of the unprecedented. Deity, particularly the Judeo-Christian concept of God, is eternal and, as such can have no precedent. Marivaux also makes the connection between beauty and the sacred. His garden of Je Ne Sais Quoi is created and
1 The original text is in French and a bookless translation was used. The page numbers refer to the original text.
16 maintained by “graces;” a direct reference to Greek mythology and deity (45). In the sacred,
objects that connect to the spiritual are beautiful because they convey the heightened sense of the
unprecedented.
The third characteristic is that of being lifesaving. This does not mean that without
beauty, there would only be death. It means that beauty is something that “makes life more
vivid, animated, living, worth living” (Scarry 25). It is “life-giving” or “life-affirming” (27).
The narrator, upon entering the garden Je Ne Sais Quoi, exclaims, “This is a charming place to be. I could spend my life here” (Marivaux 45, emphasis added). Beauty continues and sustains life. Beauty is the overwhelming feeling of relief when danger has been avoided; beauty welcomes you when you arrive at safety and provides a source of regeneration and revitalization.
The fourth characteristic is deliberation, which is a constant consideration and revision of one’s opinion. “Something beautiful fills the mind yet invites the search for something beyond itself, something larger or something of the same scale with which it needs to be brought into relation” (Scarry 29). There is also an element of searching expressed in Marivaux’s garden.
The visitors say, “ever since we arrived we have been looking for him without success. It is true that the search has been agreeable…and even if we never find him, we are resolved to seek him forever” (45). Beauty inspires discovery and discussion.
Nature so well fits the characteristics it is often included as a characteristic of beauty.
Nature and its natural processes have no precedents. Nature existed long before and continues today. For many, nature is an expression of God or connection to the spiritual. Warmth, food, and shelter come from nature. The life and energy of the numerous plants and animals make nature the ultimate example of vitality.
17 So far, the criteria for beauty has only been discussed from a western view of the world;
one that emphasizes specific events and origin. The essential traits of each characteristic remain
the same when viewed from an Eastern perspective, which emphasizes process. Unprecedented
is present in the Japanese religion of Shinto; rocks and natural formation are considered sacred
because they are unlike anything else (Nute 12). In addition, when unprecedented becomes an
action, it becomes spontaneity, a trait revered in the Taoist tradition. The sacred, worship of
something greater than oneself, is translated to apperception, loosing oneself in a consuming
awareness. In the western tradition, a specific entity is worshiped and focused on in order to be
seen with more clarity. The Zen Buddhist strives to become aware of the self as immaterial in
order to harmonize with the cosmos. The essence of a consuming awareness is equivalent to that
of worship. Lifesaving becomes vitalism, a celebration of energy in everyday life and the very
liveliness of nature. A strong connection to nature creates the experience of vitalism (Wang
“Beauty”). In Eastern thought, the focus on nature as an object becomes a focus on the natural cycles within nature. Shadows are beautiful when they are evaluated based on these criteria.
Shadows created by natural light are in a state of constant change. Every moment of every day presents different shadows as they respond to the progression of daylight. The location and orientation of the building as well as the designer’s creativity ensure that no shadow will be exactly like another. The intangible nature of shadows allows them to represent spirituality; becoming a link to the experience of a heightened sense of the unprecedented or
undefined. Shadows have a dual nature that allows them to be both restful and invigorating. In
hot climates, shadows are protection from the burning heat of the sun. In all climates, lower light
levels have a calming affect. Shadows are also energizing due to their close relation to nature.
They are indicators of the natural passage of time and a greater connection to nature by being
18 aware of time. Shadows are inherently subjective, qualitative and mysterious. This paper is only a small piece of the potential discussion of shadows; one could study shadows for a lifetime and still be making new discoveries. In short, these curious phenomena are beautiful. The following chart organizes multi-faceted criteria for evaluating the beauty of shadows:
Figure 4. Beauty and Shadows.
Characteristics of Shadows
WEST EAST
Beauty: Identity Beauty: Process
Unprecedented Each application is individual, Spontaneity change with different sun conditions Sacred Contemplation, represents that Apperception which is undefined Life-giving, Restful atmosphere, represent Vitalism Regenerative protection from sun Part of natural cycle Deliberation Vast potential for discovery Deliberation
Shadows as Philosophical Meaning
More than simply beautiful or aesthetically pleasing, shadows convey deeper meaning and complex emotions. These meanings are present in both eastern and western architecture.
Shadows connect to one’s cultural roots and memory, encourage a religious experience, and are a source of inner creativity or inspiration.
Shadows have an inherently murky quality about them, which is ideal for representing the past. Dr. David Wang establishes this essential characteristic of shadows when he states:
The word shadows attempts to capture in language a phenomenological
appreciation for things that are no longer chronologically or geometrically here,
19 but are somehow still present because…space and time are part and parcel of an
immanent and continuous reality. (Wang “Chapter 7” 227)
Some moments remain relevant to the here and now; these points linger within the indistinct edges of time, as can be seen in the diagram of Space and Time, Accrued and Measured (Wang
“Authenticity”):
SPACE In accrued time and space, Along the time axis, every dot is a time and space are part of a NOW, with other dots denoting “past” holistic reality. The distant and “future.” Along the Space axis, parts are just “dim”, they are every dot is a HERE, with other dots not not-here, nor are they not- denoting “there.” now. They are just “in the shadows.”
TIME
In measured time and space, HERE and NOW is where the two axes intersect, and it receives primary importance because it is the point where reality is measurable.
Figure 5. Space and Time, Accrued and Measured.
20
Figure 6. Hara House. Figure 7. Koshino House.
Tanizaki directly connects shadows to the past and sees these shadows as the enduring presence of one’s ancestors. His definition of shadows extends beyond light to the physical evidence of wear. He refers to the worn edges on the pottery and the cloudy surface of tarnished metal as the beautiful “sheen of antiquity” (11); saying, “We love the colors and the sheen that call to mind the past that made them. Living in these old houses among these old objects is in some mysterious way a source of peace and repose” (12). Worn edges represent places that family members from many generations have touched and it is the connection to one’s ancestors that give value to shadows. Darkness of light is a continuation of Tanizaki’s “sheen of antiquity” and is a treasured quality in traditional Japanese homes and temples. The Hara House (figure 6), shoji screens and wooden slats diffuse and limit the amount of light that enters the room allowing rich shadows to dominate the space. The alcoves at the back of the room hold the darkest shadows along side family heirlooms. Use of shadows continues to be present in modern
Japanese homes. In the Koshino House (figure 7) by Tadao Ando, shadows make the house feel established even though it is newly constructed (Ando 31). Light is limited by the narrowness of the skylight along the curved wall and by the landscaping in front of the main window. This gathers the darkness into the back corner much like the alcove in a traditional Japanese home. In both examples, those who cherish their cultural roots also cherish shadows.
21
Figure 8. Garden of Figure 9. Holocaust Figure 10. Interior. Figure 11. Interior Exile and Emigration. Tower. voids.
For Daniel Libeskind, a descendant of Holocaust survivors, designing the Jewish
Museum Berlin was a poignant journey to commemorate his cultural roots. He moved his family
from New York to Berlin and remained there for the twelve years it would take for the project to
be realized (Libeskind, “Story”). Daniel Libeskind describes his view of architecture:
…architecture is a movement beyond the material. It is length, height and width,
but also the depth of aspiration and memory…I have sought to make a building
which communicates the memorable. (Libeskind “Prize,” emphasis added)
Speaking specifically about his work on the Jewish Museum Berlin he emphasized memory as one of the driving concepts pointing out “the necessity to integrate physically and spiritually the meaning of the Holocaust into the consciousness and memory of the city of Berlin” (Libeskind
“Between”). While he does not talk extensively about the light qualities he created in the museum, it is clear from his work that he used shadows to achieve his goal. Garden of Exile and
Emigration (figure 8) represents the Jews that left Germany and the hardships they faced. The
Holocaust Tower (figure 9) “is a memory area in which nakedness and emptiness represent the many victims of Germany's mass genocide” (“Libeskind-Building”). They are not here, but they
22 are not forgotten. Libeskind included a series of voids, (figure 10 & 11) “open spaces devoid of
rooms or light, representing the empty silence left by the Holocaust” (Libeskind “Story”).
Lowered levels of light continue throughout the museum. The shadows that fill these spaces
support the symbolism and prepare the mind to remember.
Figure 12. Westminster Abby.
Shadows have a long association with the tradition of religious spaces and continue to
usher the worshiper into a spiritual experience. During medieval times worshipers gathered in
dark stone churches. Even during the later Gothic period, a hushed quality of light remained part
of the worship experience. Large expanses of stained glass bring in light, representing the divine presence of God, into the sanctuary, but side aisles, coves, niches, and the dark wood of the pews
created shadows. In these shadows was the privacy and solitude for an individual to come before
their God.
23
Figure 13. Sanctuary. Figure 14. Chapel Figure 15. The Blessed of Reconciliation. Sacrament Chapel.
The Chapel of St. Ignatius in Seattle, Washington, is an example of how shadows
continue to produce privacy and reverence in religious spaces. Designed by Steven Holl, the
Jesuit Chapel “uses illumination as a powerful metaphor for spiritual life” (Le Cuyer). Carefully
controlled light creates the desired effect in the sanctuary (figure 13). Direct light glows on the
wall above the altar, representing the presence of God. Around the perimeter of the sanctuary, a
complex series of windows and skylights limit the amount of daylight. The seats are shaded, and
the shadows that stretch across the ceiling create a reverently hushed atmosphere. Shadows
dominate the two important areas, the Reconciliation Chapel, symbolically providing privacy for
confession (figure 14), and the Blessed Sacrament Chapel (figure 15). Western spirituality uses shadows to fill the experience with the presence of God. Eastern spirituality uses shadows similarly, but perceives them differently.
The Zen tradition focuses on the concept of absolute simplicity, often expressed as void.
“The elimination of the unnecessary is achieved by Zen in its intuitive grasp of final reality…Zen also aims at stripping off all the artificial wrappings humanity has devised, supposedly for its own solemnization” (Suzuki 271). Particularly in Japan, emptiness expresses the ‘Godhead’ or spiritual dimension (Drew). Shadows are the visual representation of the void.
24 Henry Plummer describes this quality in the, “smoky darkness of a great Zen temple…[where] all the stress of everyday life falls away upon entering such peaceful solitude, clearing the mind and calming the soul” (19).
Figure 16. Exterior. Figure 17. Hallway Figure 18. Sanctuary. to Sanctuary.
The Water Temple by Tadao Ando is a modern example of shadows creating a spiritual atmosphere through the representation of void. Visitors descend a staircase through the center of an oval lily pond and enter the temple rooms, which are beneath the pond. A light well at the western edge allows natural light to enter the sanctuary. (figure 16) Along the main approach to the main hall, heavy shadows dematerialize the walls; causing them to disappear as if they were part of the ‘nothing’ (figure 17). In the main hall (figure 18), lower light levels create a contemplative ambiance. Whether it is fellowship with God or the solitude of Zen, shadows enhance the experience of the spiritual.
In addition to memory and spiritual experience, shadows are a source of inspiration and creativity. Louis Kahn used his work to develop an understanding of the interaction between shadows and light. In his words:
25 Inspiration is the feeling of beginning at the threshold where Silence and Light
meet. Silence, the immeasurable, desire to be, desire to express, the source of
new need, meets Light, the measurable, giver of all presence by will, by law, the
measure of things already made, at a threshold which is inspiration, the
sanctuary of art, the Treasury of Shadow. (Kahn quoted in Millet 160, emphasis
added)
The silence he is referring to is shadows; making inspiration the point where shadows and light
meet. The mind drifts out of the defined world of light and into the vast mysteries of darkness.
Figure 19. Daylight Figure 20. West Portico Figure 21. South Center Gallery Reflector.
The Kimbell Art Museum is an excellent example of his concept of light and is, in many ways, creativity expressed in solid form. Commentaries focus on his use of light and the design of the central daylight reflectors (figure 19), but the subtle shadows he created are crucial to producing the atmosphere that makes the space so successful and well liked. The museum is a series of parallel barrel vaults with the daylight reflectors placed along the center of each vault.
Lunettes (thin arched windows) at the ends of each vault also allow natural light to enter. At the entrance portico, (figure 20) rich shadows offer protection from the harsh Texas sun and invite visitors to discover the mysteries within the shadows. In the gallery spaces, (figure 21) the light
26 reflectors are effective for general illumination but still allow soft shadows to pool around the display bases. It is appropriate that objects that are the result of creativity are associated with the source of creativity.
Figure 22. Jo-an Figure 23. Soseikan Tearoom. Teahouse.
Closely related to the concepts of inspiration and creativity, the Japanese tea ceremony expresses the spirit of Zen. “Various elements in the design of the traditional teahouse are intended to produce the effect of the ultimate essence of being” (Frampton 119, emphasis added).
In many ways, tea represents the inner core of a person’s being and the tea ceremony cultivates appreciation of aesthetic, often expressed in the form of calm contemplation (Okakura 2, Suzuki
284). “The general atmosphere of the tearoom tends to create this kind of gentleness all around—gentleness of touch, gentleness of odor, gentleness of light, and gentleness of sound”
(Suzuki 275). Teahouses deliberately celebrate this inner harmony, propriety, and gentleness, through carefully calculated construction. The intentional presence of shadow is a particularly noticeable trait in both traditional (Figure 22) and modern teahouses (Figure 23). Both teahouses use non-reflective materials, and mainly diffuse light, allowing dark corners. They are quiet, unpretentious spaces, but are also a wellspring of potential and a principle source of higher thought.
27 Shadows as Ornamentation
Having discussed shadows in terms of beauty and meaning, a relation can be drawn between shadows and ornamentation. (figure 24).
Beauty Shadows Ornamentation Meaning
Figure: 24 Shadows = Ornamentation.
As a form of ornamentation, shadows convey beauty and meaning through rhythm, progression, tracery, or a single motif. A comparison of physical ornamentation and examples of shadows show clearly that shadows demonstrate the same characteristics. Take some time to contemplate the following examples. The Mezquita in Córdoba, (figure 25) shows an example of regular rhythm. In figure 26, shadows clearly create regular rhythm through simple repetition. In the
Medici-Riccardi Palazzo by Michelozzo Di Bartolommeo (figure 27), the ornamentation begins with heavy, rusticated stone and is refined with each progressive story, culminating with the detailed cornice. In shadows (figure 28), gradation is a progression created by a smooth decrease of intensity due to increased distance form direct or indirect source. The progression begins with the light source and culminates when the last rays of light are lost into the inky darkness. The delicate lines of the Notre Dame rose window (figure 29) are very similar to the sinuous shadows that dance along the ground (figure 30). The motifs (figures 31 & 32) could be a single instance or repeated to create a pattern.
28 Regular Rhythm:
Figure 25. Physical. Figure 26. Shadow.
Progression:
Figure 27. Physical. Figure 28. Shadow.
29 Tracery:
Figure 29. Physical. Figure 30. Shadow.
Single motif:
Figure 31. Physical. Figure 32. Shadow.
30 Model Study
Part 1: Identify Possible Techniques
The established theoretical framework allows shadows to be discussed as ornamentation, but how can designers consciously recreate the experience of these spaces? An analysis of the case studies and examples reveals the physical conditions that created the shadow conditions in those applications. Some cases use more than one technique. The methods for creating shadows fall into three categories: reflection, diffusion, and interruption2. The definitions of these terms are:
Reflection: Light bouncing off a primary surface onto a secondary or tertiary
surface
Diffusion: direct light reduced by passing through a translucent material or a
series of closely arranged objects creating a texture or small-scale pattern.
Interruption: when a physical object blocks light from a direct source causing an
abrupt edge
In the analysis of data (figures 33-36), tags indicate which element of ornamentation are most strongly represented and identify which technique for controlling light was used. Take image 33.01 for example. The shadows around the periphery of the image have soft edges and create a progression through gradation from light to dark. The shoji screens create these shadows by diffusing the light. Tracery can be seen in the delicate shapes on the floor directly in front of the door. These shadows are created by light being interrupted by the leafy trees outside of the space.
2 These terms were developed during a conversation with Judy Theodorson, Director of the Integrated Design Lab.
31 Figure 33. Analysis of Case Studies and Examples. Characteristic of Technique ornamentation Type of Shadow Condition (Theodorson) (Bloomer)
CASE STUDIES Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 33.01
33.02
33.02
32
Characteristic of Type of Shadow Condition Technique ornamentation
CASE STUDIES Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 33.04
33.05
33.06
33
Characteristic of Type of Shadow Condition Technique ornamentation
CASE STUDIES Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 33.07
33.08
33.09
34
Characteristic of Type of Shadow Condition Technique ornamentation
CASE STUDIES Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 33.10
33.11
33.12
35
Characteristic of Type of Shadow Condition Technique ornamentation
CASE STUDIES Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 33.13
33.14
33.15
36
Characteristic of Type of Shadow Condition Technique ornamentation
CASE STUDIES Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 33.16
Part 2: Recreate Shadow Conditions
Results from the analysis of case studies and examples show the two types of overall
shadow conditions; shadow as negative space produced when an object blocks light and shadow
as a muted quality of light. These two types of shadows generate very different feelings when
created in a space. The hard edges of the negative space shadow create an energized feeling,
while the muted shadows creates a hushed atmosphere. A series of shadow conditions were
modeled and then sorted into two categories, energetic and hushed. This differentiation better equips designers to produce specific compositions. The top examples of each type are shown in the order increasing development.
37 Figure 34. Analysis of Energetic Shadows. Characteristic of Type of Shadow Condition Technique ornamentation
ENERGETIC Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 34.1
34.2
34.3
38
Characteristic of Type of Shadow Condition Technique ornamentation
ENERGETIC Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 34.4
34.5
34.6
39
Characteristic of Type of Shadow Condition Technique ornamentation
ENERGETIC Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 34.7
34.8
34.9
40 Figure 35. Analysis of Hushed Shadows. Characteristic of Type of Shadow Condition Technique ornamentation
HUSHED Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 35.1
35.2
35.3
41
Characteristic of Type of Shadow Condition Technique ornamentation
HUSHED Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 35.4
35.5
35.6
42
Characteristic of Type of Shadow Condition Technique ornamentation
HUSHED Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 35.7
35.8
35.9
43 Part 3: Development and Evaluation
The initial model study in figures 34 and 35 resulted in a correlation between technique and effect. The “interruption” technique usually created energetic shadows, while diffusion most often produces hushed shadows. For the next stage of models, different techniques were combined to create both energetic and hushed shadows simultaneously. These model results were far more aesthetically satisfying than the initial model study.
Figure 36, Analysis of Combination: Energetic and Hushed Characteristic of Type of Shadow Condition Technique ornamentation
COMBINATION: ENERGETIC/HUSHED Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 36.1
36.2
44
Characteristic of Type of Shadow Condition Technique ornamentation
COMBINATION: ENERGETIC/HUSHED Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 36.3
36.4
36.5
45
Characteristic of Type of Shadow Condition Technique ornamentation
COMBINATION: ENERGETIC/HUSHED Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 36.6
36.7
36.8
46
Characteristic of Type of Shadow Condition Technique ornamentation
COMBINATION: ENERGETIC/HUSHED Regular Rhythm Rhythm Regular Progression Tracery motif Single Reflection Diffusion Interruption 36.9
Having modeled various scenarios, shadows unquestionably fulfill the elements of ornamentation. They can be single complex compositions, or they can be a simple gesture that is repeated. They are delight to the eye and stimulate the mind.
Shadows have an established identity in the realm of ideas and philosophy, but the manufacture of shadows can only be achieved through the manipulation of light. Light must be controlled and limited and the resulting absence is shadow. In this way, shadows are the result of intention and careful artistry, but not a medium themselves. Specific techniques can be developed for creating and working with light to create shadows, such as reflection, diffusion, and interruption. What is established here is a framework for analyzing any project and a toolbox for creating future projects. Shadows represent a new set of options that have been made accessible to all designers.
47 CONCLUSION
While shadows are affected by light and hold many similarities to light, they are worth
looking at as a subject that is separate from light. Shadows are art and ornamentation. They
connect the viewer to culture, expression, and beauty. Most importantly, shadows are an
intentional part of design. They are a tool to create aesthetic value, through the unprecedented,
sacred, life-giving, and deliberation and philosophical value, through connection to
origin/memory, spiritual, creative and motivational. These aspects of shadows transcend the
usual divisions of culture, climate, materials, and ideas.
Shadows are able to communicate through the established language of ornamentation.
Rhythm, progression, tracery, and motif are clearly conveyed through shadows. Designers can analyze and recreate shadows by the categories of reflection, diffusion, and interruption.
Shadows contain a vast amount of untapped potential. Each individual aspect of shadows can be expanded and explored. Beauty, much like shadows, cannot be contained; it will always transcend the limits of works. Art and design can explore the complex weaving of shadow and beauty through captured images, textures, and form, endlessly exploring new ways to relate shadows to the world of physical realities. Through shadows, the world can connect to the emotional core of experience. The full richness of the atmosphere is felt as the symbolism becomes understood and recognized. This project has no end; it establishes a place to start.
48 Appendix
Heliodon
Additional Photos
49 Heliodon
50 Additional Photos
Alternatives:
Series Showing the Progression of Time:
51 Works Cited
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