Emphatic Absence

Emphatic Absence.MAY 27 2020
MAY 27 2020
I N V E S T I G A T I N G T H E E M O T I O N A L R E S P O N S E T O C O N T R A S T
B y m e a n s o f C H I A R O S C U R O
Course Responsible - Isabel Dominguez
ALL RIGHTS RESERVED
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.
MARIA PAPAPANAGIOTOU
* DiVeceArquitectos _ Contrast In Balance
M E T R O P O L I S • A l a n S c h a l l e r © • 2 0 1 9
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
43
Discussion
it can bring privacy,
it can bring silence
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.
07
Investigating
Darkness
9 7 8
According to the records of human evolution, from the campfires of our cave-dwelling
ancestors to the spirit lamps still used where there is no electricity,³ we seem to be
comfortable with the existence of high contrast ratios in the lighting levels of space, a relative
atmosphere of darkness and different illumination levels, especially when it comes to our
residencies. After the industrial revolution and the irrational use of artificial lighting, it seems
that we have lost somehow the original contact with the design and usage of this so important
design principle of contrast. Driven by beliefs and ideas that go far back in time and basically
have to do with religious and existential concerns, we continue to condemn the darkness,
keeping it still intertwined with negative concepts and approaches. This retrograde
conception of darkness, along with the existing legislation regarding the lighting design of a
space - where functionality stands mostly for uniform and big amounts of light in a space – I
believe that leads to an insufficient use of contrast in the architectural lighting design, A
general appreciation of more 'calming'' and ''flat'' lighting schemes is seemingly being
preferred by most of the people. Existing research has produced conflicting results regarding
the magnitude of preferred contrast and luminance variability in architecture: while some
studies have found a relationship between increased luminance diversity and positive
preference, others have found that while some variation in luminance creates a stimulating
08
“I consider this work, if you permit me, to be rather good and (something) which will get better over time. I have tried to put some poetic imagination into it, though not in order to create poetic architecture but to make a certain kind of architecture that could emanate a sense of formal poetry.”
- Carlo Scarpa
on his design for Brion Tomb.
A fine example of architecture, where contrast in lighting design –in terms with a minimalistic approach on textures and materials so as to reinforce the dominance of light & darkness play- has a significant role in creating mood and feelings
09
techniques incorporate a threshold luminance value, where exceeding values are likely to cause occupant discomfort.
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?
A mixed approach of qualitative and quantitative
findings; background research/survey
is mainly associated with uneasy-uncomfortable
feelings
emotional response to high contrasted
environments & views? →
• Questionnaires answers; diagrams and
investigate other opinions & responses.
R E F E R E N C E S
.
Historical development of the term
“ 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
painters. It is the light, vaporous, veiled, discreet; it lends its charm
to the hidden things, invites curiosities, adds an attraction to moral
beauties, gives grace to the speculations of conscience.
Finally, it participates in feeling, emotion, uncertainty, the undefined
and the infinite, the dream and the ideal.”
The historical development of the term derives as old as back to 5th
century BC, when Apollodorus Skiagraphos (Greek: πολλδωρος
σκιαγρφος) 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”.
The word chiaroscuro is oxymoronic; it comes from the contrasting
Italian words for "clear, light" (chiaro) and "obscure, dark" (oscuro).
It describes the striking use of the light and darkness contrast in
painting, drawing or print. A skillful use of light and dark, a bold
contrast, a style of shading that dominates tone (brightness) more
than color. Through the grading of color tones and dividing the
bright and shady areas of the painting's representation, artists are
able to attribute the desirable three-dimensional character to the
figures depicted. The light seems to come from a specific source and
all this play of light and shadow helps the painters build the
narratives and pass on the messages they want to the public.
Anthony Zielonka, in his study book of two of the greater masters of
this technique, Eugène Fromentin and Rembrandt, gives a complete
definition of the term and the reason of its use by artists:
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.
The anatomy of light & shadow in sketching; depicting realism
Chiaroscuro as a tool; The anatomy of light & shadow:
The very basic principle of chiaroscuro states that, by illuminating
around a normal flat scene with a single light source, the object and
the background are separated by light & dark areas; in that way
smaller details that were not visible when the light was directly in
front of the object, are now becoming more prominent giving
dimensional depth. (see Appendix for definitions and explanatory
terms). Chiaroscuro's basic characteristics –which will consequently
be used to its interpretation into architecture and lighting design –
can formed as follows:
• Harsh and strong shadows
• Spotlight effect
• Contrast being used to attributing realism, form and emotion to a
visual stimuli .
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.
www.naturalism.com
15
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.” ¹
6 0 3
16
17
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/
R E F E R E N C E S
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
light & darkness is the fact that In paintings, chiaroscuro has
the role and the effect of giving three-dimensional form
though, in architecture, it can create strong images of spaces
referring to that of an image, a painting when seeing in clear
view. But this will only last for a while since, unlike the
paintings, in the architectural chiaroscuro, and basically when
referring to natural light, the bold contrast does not last long.
This is also a key difference. Here, in the three-dimensional
world, the shadows are dynamic and different kinds of contrast
can be achieved throughout the day, proportional to the time
and movement of the sun.
The power of contrast was depicted firstly and mostly in
architecture through the surveillance and the majestic sacred
architecture; a practice where form, light, and textures of a
building consciously trigger our unconscious. As is mentioned
in the previous chapter, the significance religion played in the
sub-categorization of darkness -and consequently sharp
contrasts - is absolute and unquestionable. But there is a logical
reason behind this prevalence; the fear of the primordial instict
of survival against an invisible enemy. Anything we can't see is
a threat, and we tend to intensify situations we don't
21
...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
Architectural Chiaroscuro
The implementation of chiaroscuro in three -dimensional form
That been said, it is by no luck that when speaking about contrasts in the
lighting design - and especially those of a higher ratio- we can find examples
mostly in the architecture of churches, synagogues, temples, or spaces in
general where mystery and spiritualism prevails. And the feelings
associated through a pure visual drama, are usually the same; a strange
sentience of awe and wonder. However, the sense of these feelings is
basically of a positive or negative tone? Here comes the matter of
subjectivity, formulated by factors such as the location, as being the more
significant one.
countries regarding their relation to light, shadows, and contrast in
architectural and lighting design. As Catholicism and the Church promoted
the chiaroscuro technique in the paintings, the "deus ex machina" of using
contrast in architecture and lighting design, was the predominance of
Eastern philosophy and thought.
understand fully.On the contrary comes light and brightness, which finally
prevails, as it satisfies the insecurity that occupies us when we are in a
place where our vision is disturbed as well as our corresponding familiarity
with the environment
Cathédrale Notre-Dame de Paris , 1163. Harsh shadows, intense contrasts and light coming
from above; typical lighting design in sacred architecture PHOTO : Personal archive
22
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.
Apse in the Chapel of Notre-Dame-du-Haut at Ronchamps, Le Corbusier 1954. Same
characteristics regarding lighting design, in modern sacred architecture where again,
contrast is used to create emotional interest and mystery. PHOTO : experiencingarchitecture.com
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,
and Louis Kahn, embracing the aforementioned Asian aesthetic
culture of shadow and contrast, were increasingly intrigued with
the immaterial aspects of buildings, and the way in which Light -
and Darkness- can be part of building itself. 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.
No space exists without shadows.
A room filled with shadows…