Emphatic Absence

Absence Emphatic KTH | MSc Architectural Lighting Design | 2020 | Sweden May AF270X

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MAY 27 2020

INVESTIGATING THE EMOTIONAL RESPONSE TO CONTRAST By m e a n s of CHIAROSCURO

MAY 27 2020

naturalis 3 m

Preface

Common ground in Architecture is the pursuit of balance through the use of contrasts. The formation, order, and materiality of an idea reverberate in space like bordering echoes in search of balance. Contrast is the unbreakable relationship between figure and background, The mimesis of form is the whisper of contrast. Figure and background in harmony transcend their materiality beyond the rational perception of space.* Through light and darkness interplay, we can create something beautiful out of something so unbelievably mundane and regular and so, as much as daylight is an important factor, the opposite is as important to a storytelling piece of art or architecture; to this feeling like you are in a kind of zones of a recluse, where you feel alone and you feel contented; That sort of contrast that is so much more powerful, that can definitely lead to a complete metamorphosis of a space, a feeling, a painting. Being always ''a lover of the obscure'', i remember myself finding consolation in spaces with luminance diversity and high contrasts. Maybe my background affection towards theater and dramatic composition of paintings drove me towards this direction.

We all love Light. I learned to love and appreciate it through darkness.

MARIA PAPAPANAGIOTOU Interior Architect & Designer MSc Architectural Lighting Design

* DiVeceArquitectos _ Contrast In Balance

METROPOLIS• Alan Schaller © • 2019 Abstract

Personal preference to darkmospheres , light corners & generally high contrasted views and spaces, as well as a curiosity of investigating other opinions & responses, were the driving force for conducting this survey. Regarding my subjective perception and since, after all, the matter of taste and subjectivity is quite strong in this kind of investigations, I’ve always found solace in environments that were staged with different segments of light and darkness; whenever I was in a room, I would immediately turn off the general lighting and turn on different and multiple other light sources, trying to combine atmospheres and, of course, keep some intact dark corners. And that was always a matter of arguing between myself and most of my acquaintances. Also, as an art lover, the absolute drawing technique of contrast, chiaroscuro, is also my favorite one. These characteristics of sharp shadows-strong contrasts and the theatrical, spotlight effect, can dramatically provoke feelings, but of which kind? What is the general perception and emotional response to high contrasted environments & views? My belief, despite my personal taste, is that the effect of high contrast lighting environments is mainly associated with feelings that have a negative aesthetic tone, and thus, this significant design value is not used as much; Based on these assumptions, the purpose of this research is to investigate whether perceptions of contrasts in the lighting design of space are related to subjective preference ratings deriving from negative or uneasy feelings. A mixed approach of qualitative and quantitative findings, combining background research along with a survey was held, and, in general, it demonstrates a distinct correlation between levels of contrast as stimuli and feelings aroused. Although contrast does play a significant role in arousing strong feelings, by increasing and stimulating our perception, albeit we are probably negatively attracted to it. Given images of high contrasted –in terms of lighting quality- environments were associated mostly with feelings of anxiety and tension by the participants of the survey; thus, a balance between coherence and valence factors and complexity/arousal feelings is a prerequisite, in order to positively approve a new environment. Contrast as a design value, is characterized by contrasting feelings and, that is its most powerful value; it's an influential design tool and the essential force within the articulation of both style and communication. It, therefore, deserves a wider use and appreciation.

07 Introduction 13 Chiaroscuro 21 Architectural Chiaroscuro

Cont ents 27 Methodology 32 Analysis – The psychology of contrast 43 Discussion 47 Conclusion 49 Bibliography

Introduction 07

Investigating Darkness

Darkness can bring us certain things, it can bring privacy, it can bring silence it can bring qualities of intimacy. Concealment is not always a bad thing; we have as much of a right to be concealed as we do to be seen.

- Dark city : Mark Major at TEDx Sydney 2014

Light and darkness inevitably coexist in an endless battle for dominance, but at the same time in a relationship of mutual support; there can be no one without the existence of the other. Usually, when this coexistence is strongly unified through the use of intense shadows and contrasts, the three-dimensional display is overemphasized and our visual perception stimulated.¹ Light loses its strength without its opposite and only in the presence of shadows and darkness does it become clear and can, therefore, be appreciated.² Speaking about light, sight is a prerequisite and involves the realization of the 3-dimensional world that surrounds us as well as the 2d magical one of Art, through paintings, renderings, photographs. And, when referring to Art, we know that it is, in general, a variety of human activities in the development of visual, sound-related, or performing artifacts reflecting the imaginative of the author, a range that goes as far back as to our very own existence. Since the first attempts to immortalize the natural world from prehistoric times to the various kinds of modernism in painting, man has always resorted to painting as a means of expressing and rendering impressions and emotions. Initially using simple lines, forms were depicted with a completely simple and flat performance, retaining only their basic features. Then the effort evolved with the use of shadows and contrasts, with the ultimate goal of attributing realism in the designs. The apogee of use and absolute familiarity with the management of shadows and contrasts in the depiction of reality through paintings, comes with the dissemination and use of the ultimate painting technique of chiaroscuro, starting from approximately the late 15th century A.C. Starting from the art of paintings, where contrast in lighting plays an absolute significant role, the technique of chiaroscuro is used in this research, as the basis referring to the intense correlation of light & darkness, both in paintings & architecture. preference, studies the preferred general believe space conception keeping have design that residencies atmosphere comfortable ancestors According

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environment, excessive variability tends to create uncomfortable spaces.⁵ Recent studies with luminance mapping techniques incorporate a threshold luminance value, where exceeding values are likely to cause occupant discomfort.⁶ Actually motivated by the lack of frequent use of luminous diversity in spaces, my thesis attempts to investigate our perception of contrasts, that is often disregarded by the dominance of brightness; Is our perception of contrasts in the lighting design of a space, related to subjective preference ratings deriving from negative or uneasy feelings?

What is our subjective perception and emotional response to high contrasted → environments & views?

. Investigating contrast in paintings; chiaroscuro → . Light and contrast in Architecture

A mixed approach of qualitative and quantitative → findings; background research/survey

the effect of high contrast lighting environments is mainly associated with uneasy-uncomfortable → feelings

• Grounded theory – previous studies examination • Questionnaires answers; diagrams and → percentages

• Analysis of the findings • Discussion → • Conclusion • Further research

Personal preference to dark atmospheres & high contrasted views and spaces – curiosity to investigate other opinions & responses.

Figure 1 : diagram showing the process of the thesis REFERENCES

1. The magic of shadow in fun with architecture. (2016). 2. TECHNICAL TRANSACTIONS - PDF Free Download, Docplayer.net, 2015 3. International Year of Light. A Brief History of Light (2015) 4. Andrew Jones. (2012) 5. Rockcastle, Siobhan & Andersen, Marilyne. (2013). 6. Kevin van den Wymelenberg, Mehlika Inanici.(2009)

Background 13

Historical development of the term The historical development of the term derives as old as back to 5th century BC, when Apollodorus Skiagraphos (Greek: Ἀπολλόδωρος ὁ σκιαγράφος) was the painter thought to have been the first to graduate light and colour, that is, to shade his paintings. For this reason, he was known, in his own day, as “Sciagraphos,” or “Shadow Painter.” Roman philosopher Pliny called him the “first to give his figures the appearance of reality”.⁶ The word chiaroscuro is oxymoronic; it comes from the contrasting The anatomy of light & shadow in sketching; depicting realism

Italian words for "clear, light" (chiaro) and "obscure, dark" (oscuro).⁸ It describes the striking use of the light and darkness contrast in Chiaroscuro as a tool; The anatomy of light & shadow: painting, drawing or print. A skillful use of light and dark, a bold contrast, a style of shading that dominates tone (brightness) more The very basic principle of chiaroscuro states that, by illuminating than color. Through the grading of color tones and dividing the around a normal flat scene with a single light source, the object and bright and shady areas of the painting's representation, artists are the background are separated by light & dark areas; in that way able to attribute the desirable three-dimensional character to the smaller details that were not visible when the light was directly in figures depicted. The light seems to come from a specific source and front of the object, are now becoming more prominent giving all this play of light and shadow helps the painters build the dimensional depth. (see Appendix for definitions and explanatory narratives and pass on the messages they want to the public. terms). Chiaroscuro's basic characteristics –which will consequently Anthony Zielonka, in his study book of two of the greater masters of be used to its interpretation into architecture and lighting design – this technique, Eugène Fromentin and Rembrandt, gives a complete can formed as follows: definition of the term and the reason of its use by artists: • An intense and dramatic use of contrast “ It is the play of light and form [...] the most elliptical, the richest in innuendo and surprises, that there is in the picturesque language of • Harsh and strong shadows painters. It is the light, vaporous, veiled, discreet; it lends its charm • Spotlight effect to the hidden things, invites curiosities, adds an attraction to moral • Contrast being used to attributing realism, form and emotion to a beauties, gives grace to the speculations of conscience. visual stimuli . Finally, it participates in feeling, emotion, uncertainty, the undefined and the infinite, the dream and the ideal.”⁹

Johannes Vermeer, Girl with a Pearl Earring, 1665 . The painter, a master of light & shadow, here gracefully depicts his incompetence in the softness of the girl’s face and the glimmers of light on her moist lips. And of course, the shining pearl.

Caravaggio, The Seven Works of Mercy, 1606 [detail] incredible use of light and color to sculpt the forms that seem to emerge from the darkness. Caravaggio was one of the pioneers of this method where a spotlight effect creates visual drama and depth in his paintings.

These two catalytic periods of art that lasted a total of more than four centuries, centuries of upheaval and reform, insanity and exaggeration, stand out for the creation of works of art that excel for their intense dramatic and emotional element. It is no coincidence that then is the beginning of the creation and the widespread use of the chiaroscuro technique, with the great Leonardo da Vinci (also believed to be, most likely, the first artist to use the technique, back in 1481) Raphael, Caravaggio, Rembrand and many others as pioneers. The purpose of the paintings of these periods is primarily to impress and elevate man through his passions and emotions. The Catholic Church, which used widely the dramatic style and light/shadow interplay both in paintings as well as architecture, played a prominent role in the predominance and dissemination of this technique, aiming to provoke the viewer's emotional involvement; for this reason, most of them representations depict scenes of biblical and religious content, but with a brilliance that is much more 'dark', special, intense and realistic, quite different from those of the past. It is worth noting the following explanation of the technique by Clara Weisman, back from 1903:

“Each object must have its due proportion to light and shade […] No matter how much an artist may love light, he always off-sets it by certain quantities of shade. It is unity of illuminating that produces an artistic lighting. All true shadows are true contrasts to their lights.” ¹⁰

www.naturalism.com Giovanni Baglione, Sacred and Profane Love [ 2nd version ], 1602-1603 – a typical example of the use of chiaroscuro in depicting religious themes.

Today, the term chiaroscuro is frequently applied to a wide array of dramatic lighting effects and it is used as a technical word linked to many mediums and kinds of art (photography, cinematography, architecture, comics etc), also related to literally any form of expression that possesses something dark and moody with strong slashes of shadow that emphasize the dramatic effect. 18

Edward Hopper, Morning Sun, 1952. Hopper (1882-1967) spent a lifetime pursuing light in his thoughtful and emotionally resonant paintings. Contrast in various ways –light & darkness/ indoor-outdoor/ crowd-loneliness)- was obvious in almost all of his works, sending powerful emotions through its use. PHOTO: https://www.flickr.com/

REFERENCES

7. https://www.britannica.com/biography/Apollodorus 8. https://www.merriam-webster.com/words-at-play/art-terms- techniques-vocabulary/chiaroscuro 9. Anthony Zielonka (2008) 10. Weisman, Clara, (1903) p.123

Architectural Chiaroscuro

...I sense Light as the giver of all presences, and material as spent Light. What is made by Light casts a shadow, and the shadow belongs to Light.

- Louis Kahn

Darkness & Creation; fear of the dark Cathédrale Notre-Dame de Paris , 1163. Harsh shadows, intense contrasts and light coming from above; typical lighting design in sacred architecture PHOTO : Personal archive One of the magical things directly derived from the play of light & darkness is the fact that In paintings, chiaroscuro has understand fully.On the contrary comes light and brightness, which finally the role and the effect of giving three-dimensional form prevails, as it satisfies the insecurity that occupies us when we are in a though, in architecture, it can create strong images of spaces place where our vision is disturbed as well as our corresponding familiarity referring to that of an image, a painting when seeing in clear with the environment view. But this will only last for a while since, unlike the The implementation of chiaroscuro in three -dimensional paintings, in the architectural chiaroscuro, and basically when form referring to natural light, the bold contrast does not last long. That been said, it is by no luck that when speaking about contrasts in the This is also a key difference. Here, in the three-dimensional lighting design - and especially those of a higher ratio- we can find examples world, the shadows are dynamic and different kinds of contrast mostly in the architecture of churches, synagogues, temples, or spaces in can be achieved throughout the day, proportional to the time general where mystery and spiritualism prevails. And the feelings and movement of the sun. associated through a pure visual drama, are usually the same; a strange The power of contrast was depicted firstly and mostly in sentience of awe and wonder. However, the sense of these feelings is architecture through the surveillance and the majestic sacred basically of a positive or negative tone? Here comes the matter of architecture ; a practice where form, light, and textures of a subjectivity, formulated by factors such as the location, as being the more building consciously trigger our unconscious. As is mentioned significant one. in the previous chapter, the significance religion played in the More specifically, the strong difference between Eastern and Western ―sub-categorization‖ of darkness -and consequently sharp countries regarding their relation to light, shadows, and contrast in contrasts - is absolute and unquestionable. But there is a logical architectural and lighting design. As Catholicism and the Church promoted reason behind this prevalence; the fear of the primordial instict the chiaroscuro technique in the paintings, the "deus ex machina" of using of survival against an invisible enemy. Anything we can't see is contrast in architecture and lighting design, was the predominance of a threat, and we tend to intensify situations we don't Eastern philosophy and thought.

The East developed a completely different aesthetic from that of the Western world. Indeed, we observe that Zen Buddhist philosophy directly influences the concept of space, which is believed to be created at the point where material things begin to disappear. According to Zen's logic, space is not autonomous nor clearly defined but results from a gradual passage of light into the shadow, from a sequence of shadows that underlies the meaning of space rather than space itself. …Mystery and manifestations Arise from the same source. This source is called darkness. Darkness within Darkness. The getaway to all understanding… - Lao Tzu, Tao Te Ching

By contrast, for as living in West, Light inspires us security and

allows us to have the right data before we take a stand on

something. We find, therefore, that beauty in the Western world is always projected in all its splendor when illuminated intensively and completely. Nonetheless, major pioneering architects of modernism, such as Alvar Alto, Frank Loyd Wright, Le Corbusier,

Apse in the Chapel of Notre-Dame-du-Haut at Ronchamps, Le Corbusier 1954. Same and Louis Kahn, embracing the aforementioned Asian aesthetic characteristics regarding lighting design, in modern sacred architecture where again, culture of shadow and contrast, were increasingly intrigued with contrast is used to create emotional interest and mystery. PHOTO : experiencingarchitecture.com the immaterial aspects of buildings, and the way in which Light - and Darkness- can be part of building itself.⁹ Although my personal belief is that it still takes effort to make a more systematic use of contrasts in the design process, fortunately a large number of architects, designers, artists in general, continue to glorify light, through the use of darkness. Kaoru Mende, a typical example of an admirable architectural lighting designer who has transformed all this philosophy into his work (being Japanese himself), in his Ten Thoughts on Architectural Lighting, equals Light with the design of shadow (were shadow can relate here to the use of contrast-being both direct creations from the light&darkness interplay); “Shadow design is now being called for on the lighting scene. When spreading a white drawing of architectural design, we must reverse the colors in our minds and picture a blackened drawing. We must start from darkness-as opposed to the concept, ''In the beginning there was light''- and carefully add the figures of light to space. This is the correct attitude towards lighting design. To design shadow is to design light. Zen tea-room of Koto-in Temple, Kyoto, Japan, 1603. A typical example of Eastern Japanese sacred architecture; again light and darkness correspond accordingly, but here No space exists without shadows. darkness is embraced and is used for comfort rather that depicting the ‘’bad’’ energy and A room filled with shadows is never empty.”¹⁰ drama. PHOTO:https://fineartamerica.com/ 23

Architecture & spatial perception The design value of contrast

As was mentioned in previous chapters, from these historical light & darkness rendering techniques in the field of painting, to the abstraction of functional elements in the modern movement-mostly in architecture, contrast has played a vital role in our evolving aesthetic preferences regarding spatial definition.¹¹ Spatial definition in architecture depends on the balance between light and dark, the capacity of the eye to understand these differences, and the ability of the brain to extract that information in order to understand the depth and the complexity of our environment.¹² Just as Chiaroscuro in paintings and sculptures creates vitality , the play of light and darkness brings life to buildings.¹³

So like light, darkness is not just about quantity but also perception. It is about the psychological as well as the physiological, about illusion as well as reality. Darkness is not just the negative. It has its own presence and purpose. It can conceal and contain, create privacy and silence. And thus in darkness, like light, we find not just purpose, but a certain quiet beauty.

- Designing in the Dark By Mark Major* Mosque–Cathedral of Córdoba,. 16th century, Andalusia, Spain. PHOTO : Personal archive

Light and darkness again come to a theatrical play, spotlighting what needs to be seen and obscuring the unwanted details- pretty much as in paintings- by creating a visual interest, while the designer absolutely controls the point of emphasis. That might be the reason why instead of sacred spaces, contrast also comes hand in hand with the major field of stage lighting – another world where magic happens and intense brightness along with darkness contribute a lot to that. As theatre designer Richard Pilbrow quotes: "It‖s not where you put the light, but where you don't put the light“. And that is exactly the design value of contrast.

* https://www.archlighting.com/projects/designing-in-the-dark_o

REFERENCES

11. Plummer,(2009) 12. Kaoru Mende + Lighting Planners Associates Inc. (2000) 13. Marilyne Andersen and Siobhan Rockcastle (2013) 14. Liljefors,A. (1997) 15. Sullivan, (1947)

Methodology 27

• Aims

A combination of light and darkness for me is the ultimate perception, also supposing the reason why it is used. By using different form of Art; either we use this relationship in depicting contrast levels in Lighting design, we can ―setup‖ space in different realism through a canvas medium, or using it to enfold a fragments, just like chiaroscuro technique have been doing bi- subject on a space, contrast is always the key. Through my dimensionally for all these years; background analysis, I tried to transform my favorite “The art of chiaroscuro is a skill of the master architect too. In great sketching technique of chiaroscuro into a three-dimensional architectural spaces, there is a constant, deep breathing of shadow and form, through architectural examples where contrast plays a light; shadow inhales and illumination exhales light”.¹⁵ The initial significant role in stimulating our emotions and our visual purpose of conducting this research, was my personal preference and a deep interest in contrast as a design medium, mainly due to the intense emotional response it causes to us through its use in Arts & Architecture; though this exact emotional response is not clear whether it indicates a pleasant or a rather unpleasant feeling. Through my research methodology I tried to investigate the following questions: What is the meaning of the use of contrasts in the design process ? Is contrast being used or mostly preferred as a design element? What is our subjective perception and emotional response to high contrasted environments & views?

• Research methods

- A Phenomenological mixed approach to an empirical social research

My study will be carried out using a mixed approach, with both qualitative (interviews + literature review/background research) and quantitative (survey) research methods, trying in that way to conclude in as much as more personalized but also measurable findings.

• Explanation of research methods chosen

Qualititative method - Literature review As a design element As a starting point, literature review and background research were used as secondary data to explain and investigate the chiaroscuro technique, as well as contrast as a basic design principle both in paintings and architecture. The research focused upon primary pieces of art being done with the method of chiaroscuro, trying afterward to implement this method in architectural terms. Gathered and selected material was ranging from grounded theory books to articles subjectively criticizing the aesthetic and emotional aspects of light, darkness, and contrast. Continuing with the collection of the primary data, in order to gain a more in-depth understanding of the topic, a quantitative research method of survey was followed.

Figure 2: Schematic illustration showing the basic structure of the background research and fields of study of the thesis. 28

Quantitative method - Survey

OBJECTIVE : To explore the basic feelings aroused when being/seeing high contrasted views (in terms of lighting design)- Assumptions and associations regarding our emotional response towards contrast as a visual stimulator. Sample : a non-probability, voluntary response (by responding to a public online survey) sample. Individuals were selected based on non- random criteria; their place of origin : only people born and raised in Scandinavian or Northern Europe countries were chosen, as well as their level of particular knowledge being identified as non-experts.

Questionnaires were consisted of questions combined with images of both paintings and architectural spaces, that were subjected to three different categories of high/medium and low environments. High contrast images were chosen based on the attributing characteristics of chiaroscuro where, as previously described, contrast is being used to attributing realism, form and emotion to a visual stimuli; 1) intense and dramatic use of contrasts 2) Harsh and strong shadows 3) Spotlight effect . (figure 4)

One painting and one specific architecture example will be used in Figure 4 : ‘’’chiaroscuro’’ identified images used in survey each category which were asked by respondents to evaluate in terms of lighting assessments/subjective perception (using Jan arousal, and dominance associated with a person's affective Ejhed's V/P Theory) and emotional response (using a personalized reaction to a wide variety of stimuli. version of the SAM / Self-Assessment Manikin scale). The range of emotions will be evaluated with a semantic - V/P theory will be used for the lighting evaluation of the images, deferential scale, using opposite terms to determine the with the following evaluation criteria : LEVEL OF LIGHT – LIGHT subjects attitudes or opinions along a continuum. DISTRIBUTION – COLOR OF LIGHT – SHADOWS – REFLECTIONS (scales such as —“pleasant” versus “unpleasant” —“public” – APPEARANCE OF SURFACE COLOURS versus “private” —“spacious” versus “confined”—“relaxed” - SAM / Self-Assessment Manikin will be used as a non-verbal versus “tense” —“interesting” versus “ monotonous” – pictorial assessment technique, that directly measures the pleasure, ''sedating'' versus ''stimulating'')

• Data analysis & references

Literture review Conducting the literature review research, which was used basically as a theoretical foundation for the proposed study, selected journal papers and thesis chapters, as well as a relatively new bibliography were used in order to substantiate the presence of the research hypothesis.

Survey

Questionnaires were conducted using the Google forms online platform, with a combination of multiple choice and linear likert scale questions/12 to each section and 2 more at the last section providing age and gender information.(see Appendix). Diagrams and percentages were gathered from the ―responses‖ section of Google forms, as well as some of them were generated by the author using Excel Tools. Before analysis the gathered data was prepared and the dataset was checked for missing data and outliers. REFERENCES

15. O’Sullivan, R. (1947).

Analysis 10 naturalism

Antonio Canova, Psyche Revived by Cupid’s Kiss, Paris, Musée du Louvre PHOTO : Personal archive 32

• Literature review

coherence, legibility, complexity, and mystery for predicting preference in a new environment.²⁰ An internal model and mental structure called cognitive map, is our way to succeed in the above. First of all, the Void came into being. Sight is the ultimate sense for this purpose and Light the premium medium. Therefore, on the basis of a psycho-cognitive approach, Out of Void came Darkness and black Night, contrast can be recognized as a device that helps the viewer reconstruct and classify the environmental reality ²¹. The and out of Night came Light and Day. preference matrix tool can be used, in my opinion, in a very suitable way in the field of lighting design; Through this analysis, the variables of coherence and complexity were used far most, as a - Hesiod, Theogony different meaning of the valence and arousal feelings used for emotional response metrics in the survey tool.

How do we feel inside the shadow? Or do we choose to sit under the light?

It is undeniable how much light is important for our life and well- beingness; it has always played a catalytic role on our personal growth and fulfillment and will always do. But what about darkness and the in between?

Through time, experts in the lighting design industry have shown through their insights that Light has a profound effect on people's perception, emotional response and experience of a ↓ space¹⁶ -not to mention the numerous studies indicating its beneficial biological affections. The way, though, in which a THE NEED TO establish a cognitive match in our lighting concept can affect its one of us, it's, as aforestated, a memory, in order to interpret and understand matter of subjectivity based on our cultural sensitivities, our surroundings; contrast as an environmental individual taste, and past experiences.¹⁶ In order to investigate how can humans be affected by different kinds of lighting, it's cognitive map – link to the VALENCE state inevitable to get linked to the emotional theory of human emotion response to a new environment. A positive human response to an environment is the outcome of a balanced and adequate level between coherence and complexity of the space;¹⁷ (see figure 3) - both of them can be affected by contrast in the lighting design of a space, specifically using direct lighting; It is, either way, a fact that the skillful use of lights and shadows can give the effect of positive emotions while looking at the illuminated objects, since the sense of sight is contrast sensitive. If it comes to too aligned illumination, where the object and all the details are equally clear and ―flat‖ at the same time, it is described as unaesthetic.¹⁹

The Preference Matrix of Kaplan & Kaplan ↓ The preference matrix is a theoretical tool based on principles of evolutionary psychology. A construct of Stephen and Rachel THE DESIRE TO explore and engage with our Kaplan, it basically states again the three characteristics a human surroundings; contrast as an important must acquire, in order to survive : 1) the ability to recognize component of scenic quality - Link to the objects in the environment 2) to make predictions and 3) to AROUSAL state emotion evaluate the consequences, through four informational variables: Figure 5 : Kaplan & Kaplan identified variables that control preference of a space, linked with the fundamental dimensions of SAM scale: feelings of VALENCE & AROUSAL respectively 33

• Survey

Questionnaires were used, as being and convenient and easy way -sible and practical measurement, where the individual can be to select a certain group of participants, to investigate the aware of an emotional state provided by a stimulus, and can subjective perception of respondents about contrast as an communicate it through a rich lexicon. There are some element of lighting design in space and to examine the hypothesis fundamental dimensions that organize emotional responses to that high-contrast environments are not preferred, as they are dimensional models²¹. These dimensions, which are also associated with strong emotions, mainly of a negative sense. measured with SAM scale that is used in this survey, are the Looking for answers and preferences that are not guided by some degree of VALENCE( degree of pleasure), AROUSAL (degree of academic experience, respondents who do not belong to the field intensity of the senses) and DOMINANCE (degree of control of of architecture or lighting design were preferred. Since the the senses) scale, of which we will refer here to the first two. location is an important aspect that contributes to our perception (through our previous experiences), the sample was also chosen to be uniform in its general origin: the 35 (22 females & 13 males) respondents came from Scandinavian countries and Northern. European countries, which means places that are dominated mainly by a blurred uniformity, in terms of daylight. Images used for the questionnaire were shown in a bi-dimensional mode through the computer screen(see matrix below).

Subjective perception

Will be evaluated by asking the respondents to proceed in lighting assessment of the spaces through the use of the VP theory by Jan Ejhed.

Emotional response

There is no fixed way in which people correspond emotionally when being triggered by stimuli; each one responds in various ways so a typical method of measuring emotions can not be applied. Our emotional response is categorized into 3 main components: experiential, normal, and behavioral response. This research is about the experiential response, as it is a more acces- Figure 6: The 2D valence-arousal emotion space by Russell [1980]

Carl Holsøe - A Girl Sewing in an Interior

Figure 6 : The matrix used for the questionnaire 34

1. V/P THEORY

Individuals were asked firstly to assess the lighting qualities of each space, in an in an effort to assess the extent to which a site with strong shadows and contrasts can affect a person's perception, and explore common points or differences in evaluations. Taking here into account four of the seven general factors of the V/P theory (see appendix for further diagrams and information) that are most related to the existence contrast in space, a mostly common view was observed.

Diagram 1: In the factor Level of light, Diagram 2: Same approach is observed on the answers are mainly in the middle values - subject of the light distribution, with the between 3 and 4 - for the first two spaces in impression that the characterization of space 1 question, whilst in the third place there is as being uniform in lighting distribution (based clear evaluation of space as being „very dark‟. on author‟s point of view), was not particularly used.

Diagram 4: In the field of Shadows factor, we Diagram 3: Color of light was characterized as similarly see views of particular agreement on rather „cold‟ in space 1, towards „warm‟ and the first and last space, while again on the generally average prices referring to space 2 and second space, options range almost equally mostly „cold‟ in space 3, however, several fairly between the first four choices - a fact that high values were observed that demonstrate the may indicate some kind of confusion, opposite view. misinterpretation or just subjectivity.

In the field of subjective perception of space, a question was added regarding the impression that each space gives to the viewer regarding its spaciousness, wanting to explore the extent to which this field can be affected by the presence of contrasts.

Diagram 5: Prices of the first two spaces are relatively similar, while the third space of the most intense contrasts, was characterized by the largest mass as the most „confined‟, even though all three spaces in question where relatively open and with uniformity in terms of their building materials, so that the space is emphasized and not its individual parts.

2. SAM SCALE

The hypothesis was tested by means of a regression analysis that used emotional response as the dependent variable and levels of contrast in lighting design as the independent variable. Using keywords directly related to the feelings of valance & arousal respectively, results are showed through the diagrams below:

15%

Diagrams 7, 8: Prices for each space, referred to arousal feelings, using keywords of positive/negative appraisal.

Diagram 6: Valence prices of each space derived from a scale 1-5, rating the pleasantness of each space, along with the percentages of each choice

In the following pages, there is an extensive list of emotions involved in each space, along with keyword phrases from the respondents about the space they have chosen as their favorite. In addition, separate charts are provided as well as the times that each site was selected by the participants, with information about their gender. 36

1. Naked House by Shigeru Ban

LOW CONTRAST : Indirect/diffused lighting that eliminates striking shadow patterns

• “Good lighting, not too bright” • “Less dramatic lighting, feels brighter and warmer” • “aesthetically pleasing” • “I like that there are no shadows” • “Spacious & relaxing” • “light makes me feel calm and sleepy”

2. House on the Coast by Sean Godsell Architects

MEDIUM CONTRAST : Partially or selectively direct/indirect lighting

• “Natural shadows and warm environment” • “better and more natural lighting” • “a calming and pleasant environment” • “I feel I have more control of the lighting” • “tranquil “ , “balanced”, “cozy” • “warmer light & interesting contrast”

3. Koshino House by Tadao Ando

HIGH CONTRAST : direct, exaggerated, dramatic level of contrast

• “interesting shadows and contrast” • “dark space feels comfortable- I would be curious to explore where the light is coming from” • “mysterious” , “theatrical” “warmer, cozier light” • “feels comfortable and friendly environment” • “I like the low level of light; not so stark or obnoxious , so eyes won’t be irritated.”

3. Association with paintings

In an attempt to connect architectural spaces with interior depicted in paintings, (as in any case there was no possibility of evaluating the places differently), relevant images were selected with different levels of contrast, where the participants were asked to choose their favorite, in terms of lighting qualities.

“Peacefulness”, “Harmonious” “Tranquil”, “mysterious”, “peace” “mysterious”,“peacefull”, “Warmth”, “Calm”, “Quiet”, “inspiration” “life”,“joy” “comfort” “rejuvenated”, dramatic” “Expectation”, “relax”

Diagram 9: diagram showing the most chosen Diagram 10: the available paintings in combination with the keywords one of the three paintings in disposal. provided in each one by the participants.

REFERENCES

16. STUDIES : Jefferson JW.(1991) / Milosavljevic, N. (2019) / Markus et all.. (2013). 17. Vincent Laganier, Jasmine van der Pol. (2012) 18. Kaplan, Stephen & Kaplan, Rachel. (1989) 19. Żagan, Wojciech. (2017). 20. J Paxton, (2006) 21. Tomassoni, R., Galetta, G., & Treglia, E. (2015) 22. Myung Eun Cho & Mi Jeong Kim (2017)

Discussion 43

1. Subjective perception

Even though the matter of subjectivity is an undebatable fact when referring to one's perception, the first part of the quantitative research showed a general agreement on people‖s point of view. Space 1, even though being rather uniform in terms of lighting, was not perceived clearly as such by the respondents, who basically chose approximately the same values for spaces 1 and 2. Regarding the 'color of light' factor, the diffused uniform lighting in save 1 was perceived almost clearly as cold - probably because there is no direct visual contact with the sun's rays. The same happened with the third space, where perhaps the extremely high level of contrasts creates a "cold" atmosphere and is probably the first consideration that indicates the correlation between contrast and emotion. But interesting is the fact that many of the respondents chose the opposite opinion - the light was considered warm and it is no coincidence that they themselves chose this place as their favorite. Here, the contrast makes a positive impression on the space and creates many atmospheres within it. Perhaps, for this reason, the intense levels of contrasts in space can create the impression of space as being confined, in terms of spaciousness, as diagram 5 shows.

2. Emotional response

While reading the amazing book “The eyes of the skin: Architecture and the senses” I couldn‖t agree more with the following statements of the author, J. Pallasmaa : “Deep shadows and darkness are necessary because they reduce the sharpness of vision, make the depth and distance blurred, and invite unconscious peripheral vision and tactile imagination.” ²³ These words, in my opinion, describe perfectly the relationship between contrast and architecture. My personal preference to dark atmospheres & high contrasted views and spaces , as well as my curiosity to investigate other opinions & responses, were the initial driving forces in order for this study to be conducted. Even though identifying the emotional response is a complex procedure that includes “biochemical and electrical reactions in the body that alter its physical state – pupil dilation (eye tracking), skin conductance (EDA/GSR), brain activity (EEG, fMRI), heart rate (ECG), and facial expressions- ²⁴, in this study an attempt was made to analyze the feelings aroused when seeing the images that were used as the emotional stimuli (feelings and emotions are basically considered as the two sides of a coin-While emotions are associated with bodily reactions that are activated through neurotransmitters and hormones released by the brain, feelings are the conscious experience of emotional reactions²⁴). As foresaid in Methodology section, a way of measuring feelings that was used in analyzing the results, was through a non-verbal pictorial assessment technique, the Self-Assessment Manikin (SAM) of Bradley & Lang, measuring the VALENCE scale ranging from pleasant to unpleasant (ultimately this ascertains if the feeling evoked by the image is positive or negative) and the AROUSAL scale, ranging from calm to excited (refers to the intensity of the emotion experienced in response to the image- It captures information about whether the material is calming or exciting.)²⁵ The study in general demonstrates a distinct correlation between levels of contrast as stimuli and feelings aroused. In line with the hypothesis that the effect of high contrast lighting environments is mainly associated with uneasy-uncomfortable feelings, most of the respondents associated Space 3 ( chiaroscuro space/high contrast) with the feelings of anxiety and tense. (diagrams 7&8) Valence scale was rated basically low (diagram 6) but, in terms of arousal, levels were high referring to the feelings of inspiration. (diagram 8). Simply by stimulating so many emotions and with the complexity/ arousal index clearly high, contrast does play a significant role in this field. In particular, the second space with the middle levels of contrast was clearly distinguished as the most pleasant and was chosen by most people as the most beloved (18 of the 35 total respondents). The former had the highest average prices and was distinguished as the most monotonous, while it was chosen less often. This fact proves the importance of the contrast in the emergence of a space and confirms the theory of Kaplan and Kaplan regarding the balance between coherence/valence and complexity/arousal, in order to positively approve a new environment. Feeling intense and nervous, but also inspired and with a high score as interest, space 3 confirms that contrast increases and stimulates our perception, albeit in a rather negative way. This may suggest that, although we do find attractive an environment with lighting contrast, we are probably negatively attracted to it, perhaps not ordinary enough to feel comfortable in. It is interesting to note that most male participants chose the third place as the most favorite, while respectively having the fewest choices from women. Possibly linking the intense light-dark sequence to the ideal state of illumination to establish the primordial sense of security, perhaps men, who have inwardly possessed the feeling of the hunter-protector, to resort to this option, while for a woman the security is likely to be established with high levels of lighting. In relation to the selected paintings, it was observed that the vast majority (57%) chose as their favorite the one that corresponded to the high contrast (Edward Hopper – Morning Sun). So it is clear that the contrast is significant and interconnected with art and generally makes a painting stand out. 44

-Limitations

The basic difficulty of this research lied in the fact of being a study of subjective emotional response; Stating Pallasmaa‖s words regarding the use of images in an emotional response research, “Photographed architectural images are centralized images of focused gestalt; yet the quality of an architectural reality seems to depend fundamentally on the nature of peripheral vision, which enfolds the subject in the space.”²³. For that reason, It is beyond the scope of this study to investigate correctly the emotional response; contrast and its impact on a spatial environment, in terms of our visual and emotional perception, were explored in a more philosophical and general way. In that way, and since the evaluation of the views was not an immersive experience, this research functions more like a preliminary study, laying the groundwork for further research and evaluation. Since there is a really difficult situation we are all facing at the moment, unanticipated obstacles emerged during the research process. in relation with the nowadays social-distancing measure; the difficulty to keep up with further research methods (such us interviews with experts of the field), the limited access to libraries, as well as the inevitable use of the internet as the only way of conducting my research are the most important. Another limitation for my study was the short time available to further and deeply investigate my subject, as well as the attempt to shrink the amount of upcoming information and exportable conclusions. That is a fact that made me focus on conducting the quantitative research and the interviews only based in the geographical region of Sweden, instead of broadening it into my birthplace as well. Climato-logical impact of the natural light as well as technical aspects of light, including definitions and quantifiable items like Lux, Lumens, Illuminance, etc. did not take part in the investigation.

In this postgraduate research, I do not aim for statistical analysis and results, but for a first attempt to obtain some information on the subject, to satisfy basically my own need for answers and comments, based on the experiences of the participants, the exploration of the background research as long as the recording and personal interpretation of the results derived from the quantitative research method.

REFERENCES

23. Pallasmaa, J. (2005). p.13 24. Bryn Farnsworth, (2020) 25. Bradley MM, Lang PJ. (1994)

23.) 24. Conclusions 47

LIGHT CORNERS & DARKMOSPHERES; GOING BEYOND THE OBVIOUS

Background research during this study, maintained some facts regarding the use and meaning of contrast in the design procedure-both in Arts & Architecture: • it's an influential design tool, the essential force within the articulation of style and communication • could be a powerful means that of expression within the structuring of integrative unity and within the intensification of meanings • It is additionally a crucial keyword of our ability to sense subtly and specific unexpected variations in our immediate environment; thus, it functions as a vital feature of our biological survival kit.²⁶ We know, though I think we underestimate the power of contrast as a design element; deep down we are totally attracted by the dynamic relationship of light & darkness, but still, we deny ourselves from bringing the magic of ' the emphatic absence of light' by creating more intense, luminous diverse and theatrical 'light corners― and ―darkmospheres‖.

So, what is our emotional response to contrast? What are the feelings aroused when being in high-contrasted spaces?

While choosing from scratch to deal with a matter of subjectivity, I chose to intrigued with, as I really wanted to investigate further options and opinions, a way of trying to interpretate my choices and my personal belief that, when being in a environment which can give you intense sensory input, feelings can suddenly become overwhelmed and, the most important fact, by choice . My personal belief is that the effect of high contrast lighting environments is mainly associated with feelings that have a negative aesthetic tone; This research clearly illustrates that, for most of the respondents, the high-contrasted image in terms of architecture, was particularly identified with negative emotions (nervous/tense), but was identified as the most interesting one. In paintings, contrast was the reason of choice for most of the participants. Contrast as a design value, is characterized then by contrasted feelings and, for me, that is its value. To better understand the implications of these results, future studies need to move beyond visibility and visual discomfort to areas where lighting operates on mood and behavior; due to the limitations of this particular study, studies with participants from total different cultural backgrounds, as well as an enlighting discussion with experts of the field (architects, painters, designers), will be more that interesting.

Bibliography 49

- REFERENCES

1. Małgorzata Bartnicka, (2015). The magic of shadow in fun with architecture. Technical Transactions, Architecture Issue 9-A 2015, 27–32. PDF Free Download [Online]. Available at: file:///C:/Users/Maria/Downloads/BartnickaM_MagicShadow%20(1).pdf [Accessed: 21- Apr- 2020] 2. Technical Transactions,(2015) Defying the architectural space; games and plays of architecture Architecture series PDF Free Download, Docplayer.net, 2015. [Online]. Available at: https://docplayer.net/46271909-Technical-transactions.html. [Accessed: 21- Apr- 2020] 3. International Year of Light. A Brief History of Light (2015) [Online]. http://www.light2015.org/Home/ScienceStories/A-Brief- History-of-Light.htmlRockcastle, Siobhan & Andersen, Marilyne. (2013). Celebrating Contrast and Daylight Variability in Contemporary Architectural Design: A Typological Approach 4. Andrew Jones. (2012) Prehistoric Materialities: Becoming Material in Prehistoric Britain and Ireland. Oxford University Press, United Kingdom. 5. Rockcastle, Siobhan & Andersen, Marilyne. (2013). Celebrating Contrast and Daylight Variability in Contemporary Architectural Design: A Typological Approach 6. Kevin van den Wymelenberg, Mehlika Inanici. (2009) A Study of Luminance Distribution Patterns and Occupant Preference in Daylit Offices. 7. https://www.merriam-webster.com/words-at-play/art-terms-techniques-vocabulary/chiaroscuro 8. Anthony Zielonka (2008) Eugène Fromentin and Rembrandt's Painterly Language of Light, Romance Quarterly, 55:3, 231-240, DOI: 10.3200/RQTR.55.3.231-240 9. https://www.britannica.com/biography/Apollodorus 10. Weisman, Clara. (1903) A Complete Treatise On Artistic Retouching, Modeling, Etching, Art And Nature, Art And Photography, Character, Chiaroscuro, Composition, Style And Individuality. Saint Louis: H.A. Hyatt,. p.123 11. Henry Plummer (2009) The Architecture of Natural Light , The Monacelli Press,U.S. 12. Kaoru Mende + Lighting Planners Associates Inc. (2000) Designing With Light and Shadow , Images Publishing, Australia 13. Marilyne Andersen and Siobhan Rockcastle (2013) Annual Dynamics of Daylight Variability and Contrast: A Simulation-Based Approach to Quantifying Visual Effects in Architecture, Springer, London 14. Anders Liljefors (1997) Vision and Light Radiation. Manual for laboratory studies as a basis for understanding visual illumination quality, KTH 1997/ Reports: 1983-2002 KTH Lighting theory 15. O’Sullivan, R. (1947). Introduction to Utopia. The Downside Review. [Online]. Available at: https://doi.org/10.1177/001258064706500119 [Accessed: 05- May- 2020] 16. SEE STUDIES SECTION 17. Vincent Laganier, Jasmine van der Pol, (2012). Exploring lighting cultures - Beyond light and emotions. Ambiances in action / Ambiances en acte(s) - International Congress on Ambiances, Montreal, Sep 2012, Montreal, Canada. pp.721-724. 18. Kaplan, Stephen & Kaplan, Rachel. (1989). The Experience of Nature : A psychological Perspective. Cambridge University Press, U.S.A. 19. Zagan, Wojciech,(2017). The aesthetics of lighting. PRZEGLĄD ELEKTROTECHNICZNY. 1. 146-149. 10.15199/48.2017.07.32.[Online]. Available at: http://pe.org.pl/articles/2017/7/32.pdf 20. J Paxton, (2006) The Preference Matrix As A Course Design Tool Montana State University , USA https://www.cs.montana.edu/paxton/presentations/koli2006.pdf 21. Tomassoni, R., Galetta, G., & Treglia, E. (2015). Psychology of Light: How Light Influences the Health and Psyche. Psychology, 6, 1216-1222. [Online]. Available at: http://dx.doi.org/10.4236/psych.2015.610119 22. Myung Eun Cho & Mi Jeong Kim (2017) Measurement of User Emotion and Experience in Interaction with Space, Journal of Asian Architecture and Building Engineering, 16:1,99-10. [Online]. Available at: https://doi.org/10.3130/jaabe.16.99 23. Pallasmaa, J. (2005). The eyes of the skin: Architecture and the senses. Chichester: Wiley-Academy. p: 46 and 47 24. Bryn Farnsworth, (2020). How to Measure Emotions and Feelings (And the Difference Between Them), imotions blog, [Online]. Available at: https://imotions.com/blog/difference-feelings-emotions/ 25. Bradley MM, Lang PJ. (1994). Measuring emotion: the self-assessment manikin and the semantic differential. Journal of Behavior Therapy and Experimental Psychiatry 25(1):4959 [Online]. Available at: DOI 10.1016/0005-7916(94)90063-9. 26. Porter , T. (2004). Archispeak: An Illustrated Guide to Architectural Terms, Ingram Digital E-books (T&F), 2008-2014 Routledge, page32

- BIBLIOGRAPHY

• Knez, Igor. (1995). Effects of indoor lighting on mood and cognition. Journal of Environmental Psychology - J ENVIRON PSYCHOL. 15. 39-51. 10.1016/0272-4944(95)90013-6. • Kaplan, Stephen & Kaplan, Rachel. (2010). The Visual Environment: Public Participation in Design and Planning. Journal of Social Issues. 45. 59 - 86. 10.1111/j.1540-4560.1989.tb01533.x • Rockcastle, Siobhan. (2011). Daylight Variability and Contrast-Driven Architectural Effect. • Edensor, Tim. (2015). Light design and atmosphere. Visual Communication. 14. 331-350. 10.1177/1470357215579975. • Tanizaki, J. (1977). In praise of shadows. New Haven, Conn: Leete's Island Books. • Plummer, H., (1995). Light in Japanese architecture. a+u Publishing • Chris Lowe and Philip Rafael ,(2013).The Dark Art Manifesto. PLDC Copenhagen 2013 [Online]. Available at: http://www.thedarkart.org/PLD%2091_E_Dark%20Art_web.pdf [Accessed: 05- May- 2020] • Lowe C., Rafael P., (2013) The Dark Art Manifesto [Online]. Available at: http://www.thedarkart.org/manifesto.html

- STUDIES

• Jefferson JW.(1991) Biological Rhythms, Mood Disorders, Light Therapy, and the Pineal Gland. JAMA. 1991;265(11):1463. [Online]. Available at: doi:10.1001/jama.1991.03460110129041

• Lieverse R, Van Someren EJW, Nielen MMA, Uitdehaag BMJ, Smit JH, Hoogendijk WJG. (2011). Bright Light Treatment in Elderly Patients With Nonseasonal Major Depressive Disorder: A Randomized Placebo-Controlled Trial. Arch Gen Psychiatry. 2011;68(1):61–70. [Online]. Available at: doi:10.1001/archgenpsychiatry.2010.183

• Milosavljevic, N. (2019) How Does Light Regulate Mood and Behavioral State? Clocks & Sleep 2019, 1, 319-331. [Online]. Available at: doi.org/10.3390/clockssleep1030027 [Accessed: 10- May- 2020]

• Knez, Igor. (1995). Effects of indoor lighting on mood and cognition. Journal of Environmental Psychology - J ENVIRON PSYCHOL. 15. 39-51. 10.1016/0272-4944(95)90013-6.

• Canazei, Markus & Weiss, Elisabeth. (2013). The influence of light on mood and emotion. In book: Handbook of psychology of emotions, Chapter: 17, Publisher: Nova Science Publishers, Inc., Editors: Changiz Mohiyeddini, Michael Eysenck, Stephanie Bauer, pp.297- 306https://www.researchgate.net/publication/258120919_The_influence_of_light_on_mood_and_emotion

• Galetta, G. (2014). AN INTRODUCTION TO THE AESTHETIC PRECOGNITION: THREAT OR OPPORTUNITY FOR CONTEMPORARY ART? Universal Journal of Psychology, 2(8), 248–254. https://doi.org/10.13189/ujp.2014.020802

- VIDEOS

• https://www.youtube.com/watch?v=OdQgHuCqtEw DiVeceArquitectos - Contrast In Balance • https://www.youtube.com/watch?v=5VyzgxbZhDM Aaron's Design Class - Design Principles: Contrast • https://www.youtube.com/watch?v=qKmuMQT5E6Y TEDx Talks - Rogier van der Heide: Why light needs darkness • http://www.agi-architects.com/blog/en/the-importance-of-light-in-our-architecture/ RCR – Isaki Lacuesta / HIC Arch • https://www.youtube.com/watch?v=p_NLxbZhJWc Signify - Creative lighting design / part 3 Designing shadows • https://www.youtube.com/watch?v=0o2hzb2oyo4&t=81s Signify - Creative lighting design / part 6 Contrast • https://www.youtube.com/watch?v=7Fh2kKT1QXI TEDx Talks - Dark city: Mark Major at TEDxSydney 2014

- LIST OF IMAGES

C O V E R PAGE • Fan Ho / Approaching Shadow / 1 9 5 4 © Images courtesy of Blue Lotus Gallery. Retrieved from: https://www.artsy.net/

INTRODUCTION • Carlo Scarpa / Brion Cemetery / 1969 - 1978 Retrieved from: https://www.thefutureperfect.com/present_tense/articles/carlo-scarpa

CHIAROSCURO • G i o v a n n i B a g l i o n e / Sacred and Profane Love / 1603 Retrieved from: http://godsandfoolishgrandeur.blogspot.com/2014/06/sacred-and-profane-love-two-versions-by.html • Johannes Vermeer / Girl with a Pearl Earring / 1665 Retrieved from: https://en.wikipedia.org/wiki/Girl_with_a_Pearl_Earring • Ball sketch Retrieved from: pinterest.com • Caravaggio / The Seven Works of Mercy / 1606 Retrieved from: wikipedia.org • Edward Hopper / Morning Sun /1952 Retrieved from: https://www.flickr.com

ARCHITECTURAL CHIAROSCURO • C a t h é d r a l e N o t r e - Dame de Paris / 1 1 6 3 (personal archive) • N o t r e - D a m e - du- H a u t at R o n c h a m p s / Le Corbusier / 1954 Retrieved from: experiencingarchitecture.com • Z e n t e a - room of Koto - in Temple/ Kyoto, J a p a n / 1603 Retrieved from: https://fineartamerica.com • M o s q u e – Cathedral of Córdoba / 16th century / Andalusia,Spain . (personal archive)

ANALYSIS • Antonio Canova / Psyche Revived by Cupid’s Kiss / M u s é e du Louvre / 1787 (personal archive)

F i g u r e 6 : Image taken from: Yang, yi-hsuan & Chen, Homer. (2012). Machine Recognition of Music Emotion: A Review. ACM Transactions on Intelligent Systems and Technology (TIST). 3. 10.1145/2168752.2168754.

* Charts, diagrams and rest of the figures were made by the author

Appendix 53

Definitions & explanatory terms

As shown in the picture below, without the use of shadows and shades we distinguish a simple outline of a circular shape. Always taking into account the origin and direction of the light source, shadows are used accordingly along with the light reflected areas and are distinguished as following :

2 1 3

4 5

6 * Sketch by author

1. Highlight: The area reflecting the most light within the light area. 2. Light area : Where the light hits the surface of the object. 3. Mid tone: The area on the light side of the object that is receiving the least amount of light. This area is the transition area from light into shadow. 4. Core shadow: The area of the form shadow that is least affected by the reflective light. This area will appear darkest within the shadow. 5. Form Shadow: The shadow side of the body of and object, this area is hidden from the light source by the other surfaces of the object. 6. Cast Shadow: The shadow area created on the surface behind the object block the path of the light

Reflected light: The light that is hitting the object but does not come from the initial light source. Rather it has bounced off of another surface back into the object. Form: The three dimensional representation of both the shape and volume of the object. Shape: The dimensions of the object in two dimensions.

The anatomy of a cast shadow

The umbra, penumbra and antumbra are three distinct parts of a shadow, created by any light source after impinging on an opaque object.

The UMBRA (Latin for “shadow”) is the fully shaded inner region of a shadow cast by an opaque object. It is the innermost & darkest part of the cast shadow. The PENUMBRA (from the word “paene,” Latin for “almost, nearly”) is the partially shaded outer region of the shadow cast by an opaque object. It is the region in which some of the light source is leaking back in, due to reflected light. The ANTUMBRA (from the word “ant” Latin for “opposing”) is the region from which the occluding body appears entirely within the disc of the light source. It is the lightest region of the cast shadow and has the softest edges of all three zones.

Definitions and right image retrieved from : http://www.theartverve.com/2019/01/the-anatomy-of-shadows.html 54

Interview questions 55 56 57

Questionnaire 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74