3.0 VISUAL RELATIONSHIP BETWEEN PHOTOGRAPHY AND ARCHITECTURE

3.1 Axial Relationship

Axis is the most common way along which form and space are organises in architecture. It is always established between two points in a space. Forms were arranged in regular and irregular manner between these two points. These axial lines are imaginary not visible to eyes but only to mind’s eye. People love to move along these axis in urban areas where public used it for different activities. From visual point of perspective, it has great significance in urban areas to attract people and also to settle different functions along it. From photography point of perspective people love to click photographs of such axial streets due to its symmetry and balance. Viewers induced or envelop themselves into such kind of axial street photography.

Figure 29: Delhi Central Vista (© Flashpacker Travelguide / Flickr)

Source: (b70f8e35-c6da-4c8c-9824-9d79756d95d2.jpg (2048×1538) (telegraphindia.com))

3.2 Visual Balance Relationship

We use the term balance and symmetry both in architecture and in photography. In architecture we achieved balance and symmetry by repeating certain elements in the facade of the building and photographs taken on that façade appears to be aesthetic due to balance by symmetry. Therefore Balance and Symmetry are quite similar terms. Fenestration, mass and void also play an important role in achieving balance and symmetry in architecture. The visual relation between the architecture and photography is that, the photographer positioned themselves at a certain place or point and then clicks the photograph of the building. Rule of third also play an important role here as well as the subject.

Figure 30: Radial Symmetry

Figure 31: Rose window (©Notre Dame,Paris)

Source: (https://gharpedia.com/blog/the-symmetry-in-architecture/)

3.3 Relationship between leading line and continuity

Without repetition and continuity architecture remains incomplete. Repetition of a window or repetition of any single element of building creates a sense of complete or continuity. We can find repetition of shapes and form in every natural element that exists. Some studies say also shows that repetition of a particular element in the façade of the building rather than using multiple elements reduced the cost of the building and it looks esthetically good also.

Figure 32: Used of repetition in the façade of the building. (© Josef F. Stuefer/Getty Images)

Source: gett_repetition-56af95c45f9b58b7d01ad580.jpg (768×576) (thoughtco.com)

As, seen it figure 32 below the leading lines when articulated with the repetition of beam and columns creating a depth in the imagery and emphasis is put on the central dome in The great Chaitya. In this way the both leading lines and repetition works hand in hand to create interesting visual lines when looked at whole and can really enhance the imagery perceived even in smaller architectural elements such as staircase.

Figure 33: Leading lines with repetition of elements in the great Chaity, Maharashtra (© Kevin Standage, 2017) and spiral staircase.

Source: (https://en.wikipedia.org/wiki/Ancient_Indian_architecture#/media/File:Karla_caves_Chaitya.jpg)

4.0 CASE STUDY

Focusing points in case study: • To understand the principles acting behind better image perception with help of images • To study and formulate the visual language of architecture for Iconographic architecture in Indian Context.

4.1 Visual Analysis of Taj-Mahal, Agra

Figure 34: Analysis of Taj Mahal Agra (© E. de Gracia Camara 2008)

Source: (https://whc.unesco.org/en/list/252/gallery/)

Architect- Ustad Ahmed Lahouri, Ustad Isa

Year- 1632

Venue – Agra, India

Taj-Mahal is an immense mausoleum constructed using white marble built in Agra by the order of “Mughal Emperor Shah Jahan” in the memory of his beloved wife “Mumtaz Mahal” as the one of finest jewel of Muslim art in India and is universally admired in seven wonders of the world (UNESCO, n.d.) .

The points marked in the plan makes a position in the space. In plan below its marking the intersection of two lines. The points found here are stable and the rest of organizing elements dominating its field around itself. The points connected are formed as base plane for tomb in all directions

The visuals perceptions in the Figure 30 have following notions behind the formation of aesthetic imagery of Taj-Mahal:

The Red line that divides the frame into two equal halves justifies the symmetry practiced in the architectural structure. In Taj Mahal both bilateral symmetry practiced along the axis and radial symmetry are reflected in the tomb

The Blue line justifies the structural placement practiced on the rule of thirds which makes the visual perception balanced and comfortable to watch giving a strong base to highlight all the features of the creation.

The Yellow line represents the repetition of columns as the vertical linear minarets in the Taj Mahal are defining transparent volume of spaces. In figure 31 below the four minarets outline the spatial field from where dome raises shows use of different wall planes as well as creating volumetric elements.

Figure 35: Volumetric analysis and spatial field outline of Taj Mahal

Emphasis: The emphasis is bought to the structure by placing the onion dome above the main entrance gateway of Taj Mahal. Other signs used to bought in emphasize the visual field are the lotus decoration above onion dome. The size of main entrance arch is larger than the others to emphasize visual lines entering the Taj Mahal.

Golden section rule – Framing and Composition of the iconographic architecture is based on golden ratio rule. If we talk about the proportions and scale of the building, it follows the

golden ratio as all rectangles used in the tomb and its main building are golden rectangle with height to width ratio equal to 0.618

Scale - Use of different scales can be seen in the architecture elements with human proportions giving the architecture a monumental scale and perceiving a bold imagery of perception shown in figure 32. Where 1x represents the human scale and 36x represents the scale of a minar, which justifies the monumental scale of the architecture building to make the visual perception of important and more grandeur.

Figure 36: Monumental Scale representation of Taj Mahal with respect to human scale.

Leading Visual lines - The concept of serial vision is also followed by using the concept of leading lines to perceive the image and forward human attention to the main structure. These serial visions are created along the axis, which is created by the linear planning of the water body from entrance gateway to the tomb shown in figure 33 below:

Figure 37: Leading Visual Lines in Taj Mahal

4.2 Visual Analysis of Jama Masjid, New Delhi

Figure 38: Analysis of Jama Masjid, New Delhi

Year - 1656

Venue - New Delhi, India

The Masjid-i Jehan Numa "Mosque of the Celestial Sphere" commonly known as the Jama Masjid of Delhi, is one of the largest mosques in India.

After studying briefly by implementing the laws of visual perceptions in architecture we would know all the elements combined to its architecture are directly linked to the photographic aspect of eye and how the imagery of Jama Masjid is formed as whole, making the form dynamic and creating interest making the form and user experience at the place more interesting sited on a high plinth atop a natural hillock. The white line balances height of different elements of building using the proportions of rule of thirds as shown above representing the grid and architectural feature dome placed on the intersection points. The red line represents the symmetric form of the monumental structure, and an interesting focus is created as the entrance for whole, such that the design entrance acts as a strong entity to the building structure. The green line represents composition of the building made by the repetition of highlighting architectural components i.e. minar which are placed on the both sides. Playing with the size of arch design as medium for light and ventilation openings and identical minarets placed on the both side of frame.

The framing of the mosque is done by separating it from nearby roads and the dense city fabric by open lawns of about thirty meters in depth. Elevated approx. ten meters from the level of the city, the mosque contains a square courtyard (ca. 115 meters/side). The main prayer hall (70 meters north-south by 25 meters east-west) is located along the western side of the courtyard. The property of size equals power is also subjected in architectural design to emphasize the central entrance of building in blue as the entrance takes a large amount of visual frame perceiving the overall image element as big and important and small mass like minars used to make it dominate in center of frame.

Figure 39: Framing of leading lines, Surface Ornamantention, Monumental Scale of Jama Masjid, New Delhi

Source: (https://neja.kurat.li/portfolio/ornaments-in-the-jama-masjid/)

4.3 Visual Analysis of Hawa Mahal, Jaipur

Figure 40: Hawa Mahal, Jaipur (©Author, 2018)

Architect- Lal Chand Usta

Year- 1799

Venue- Jaipur, India

Symmetry- The imagery perceived by the image seen in figure35 of Hawal Mahal, in Jaipur is aesthetic in nature because of it creates visual perception of symmetry. This aesthetic imagery feature of Hawa Mahal which attracts the audience around the world is contributed by its divine architectural beauty as captured by me as photographer. The Mughal architecture giving it special appearance and elegance contributed by Rajput architecture make the photographers from corners of the world to get best out of their works, hence we can derive that the major attraction for the monuments is just not its prestige or history but the architecture which contributes to aesthetic imagery.

Leading Lines- The interiors of the palace consist of pillared chambers and minimally ornamented corridors that reach up to the top floor which are supported by the property of leading visual lines that are framed by the arches to experience space and passage leading the viewer gaze directly into the particular direction in a aesthetically pleasing way. These leading lines in Hawa Mahal Jaipur are used to create unusual depth or shallowness as they contain the property to tend the visual flow to the image.

Figure 41: Leading line Hawa Mahal, Jaipur (©Author, 2018)

Repetition of Jharokhas – The Hawa Mahal is five storied structure that rises up to a height of 50 feet. In front façade of the palace there are 953 windows featured which give the building a honeycombed hive look (Taheem, 2019). It is because of the exceptional lattice work on these windows, the palace experiences a cooling effect as the breeze blows in through them along with delicately designed hanging cornices are another attractive aspect to enhance the visuals of Hawa Mahal’s architecture. These recurring elements of Repetition in windows form a harmonious outer facade. The rhythm in the building façade can be characterised by motifs and carvings designed on the walls of Hawa Mahal which makes the surface articulating, symmetric and enhancing its visual perceptions.

Figure 42: Repetition of Jharokhas Hawa Mahal, Jaipur (©Author, 2018)

Emphasis by Contrast- As, we know the honeycombed hive repetition of jharokhas is the main element of this architectural form. So, the emphasis is being provided to it by change in colour to appear it in focus making it dominant part of frame in visual perception shown in figure 38 below:

Figure 43: Emphasis by Contrast in Hawa Mahal, Jaipur (©Author, 2018)

Play of Light and shadow- The play of light and shadow can be experienced in Hawa Mahal Jaipur all time of the, The diffused light coming in through the canopy and large arches articulates the interior of Mahal. A more dynamic appearance is created with the shadows inside the Mahal, casted by the natural light through a colourful mesh as the sun moves giving life to the space changing visual perceptions.

Figure 44: Light entering Hawa Mahal through a colourful mesh (©Author, 2018)

5.0 COMPARITIVE ANALYSIS

Why some monuments are on the wish list of travelers, to be photographed and why there are certain monuments which are just not recognized? Architecture plays a very important role behind the aesthetics of a venue, its degree of attractiveness and definitely the count of tourists. Let's study all these parameters by exploring some comparative analysis between the following:

5.1 Bibi ka Maqbara and Taj Mahal

Bibi ka maqbara also known as “The Tomb of the lady” was built by price “Azam Shah” between 1651-1661 A.D, in the memory of his mother, “Dilras Banu Begum”in Aurangabad, Maharashtra (Patowary, 2014)

Bibi ka Maqbara is also known as another Taj Mahal but its visual impression on human user is not as popular to that of Taj Mahal. Considering the statement and data of foot fall of tourists per year collected in the survey found that tourist gathering at Taj Mahal is much more than that recorded in Bibi ka Maqbara. The comparative ananlysis based on laws and features supporting visual perception are based below:

Characteristics

(Visual Parameters) Taj Mahal Bibi ka Maqbara

Scale Monumental scale Architectural scale

Shape and Structure The structure is octagonal in shape The structure in cuboidal in shape

Leading Lines A large variety of leading lines are formed due to monumental scale of building and with respect to its surroundings. Not much leading lines due to the less area covered.

Framing More precise framing techniques are implemented in taj to adorn the creation No such framing techniques used.

Ornamentations Very detailed &precised carvings are practised. Not much detailed as compared to Taj

Color The white appears to be bright due to finest quality of marble used. The walls are little dusky by contrast.

Material All Structure is made using Pure white Marble Plaster Polished to give marble look

Figure 45: Taj Mahal at left and Bibi ka Maqbara at right

Source: (https://www.amusingplanet.com/2014/11/bibi-ka-maqbara-other-taj-mahal.html)

Figure 46: Detailing in Taj Mahal at left and Bibi ka Maqbara at right

Source: (https://www.culturalindia.net/monuments/taj-mahal.html)

Figure 47: Dome of Taj Mahal at left and Bibi ka Maqbara on right

5.2 Qutub Minar and Hastal Minar

Now, talking about two minars - Qutub Minar and Hastsal Minar, both situated in Delhi, both contributing to the history of India but one being very popular for its aesthetics and its degree of tourist count, beside the other one which comes under the category of least popular monuments in Delhi.

When the comparative study of both the monuments is been done, we find that architecture plays a major role in their varying degrees of aesthetics and hence, the degree of photographic beauty which could attract tourists around the world.

Characteristics Qutub Minar Hastal Minar

Scale Bigger in size Smaller in size

Shape and Structure Curved Cylendrical base with 72.5 m tall structural height Octagonal Base with 16.87mts overall structural height

Leading Lines Pleasent leading lines leads the visuals due to massice height of minar. Leading lines are not aesthecially pleasing due to low height due to breakage of structure.

Framing Much of reference frames are included around the site to embrace the beauty of structure No such reference frames were added when making the structure .

Articulation Intrinsic Articulation done on all the surfaces of minar Mostly the surfaces are plain with basic articulation

Material Pale red sandstone Bricks cladded with red sandstone

Figure 48: Qutub Minar on left and Hastal Minar on right

Source: (https://en.wikipedia.org/wiki/Qutb_Minar#/media/File:Qutb_Minar_2011.jpg)

Source: (https://en.wikipedia.org/wiki/Mini_Qutub_Minar#/media/File:Hashtsal_Minar_10.jpg)

Figure 49: Use of arches to provide visual framing for magnificent structure

6.0 DESIGN CONSIDERATIONS

6.1 Scale and Proportions

Use of right Scale and Proportions are the most important design consideration to enhance architecture visuals of any space. The proportions of the space should be in respect to its function and the scale of the space with respect to its design elements and users are very important. The active Greek and Roman mythology from ancient times explain how expression for scale and proportions carve aesthetic. In every aspect human dimensions should be considered.

6.2 Elements of Contrast

Practising the elements of contrast in architectural design contains the ability to hold the eye of sight in a frame to a particular area in building design or the whole and emphasize the structure. It can be also used to define the difference between two or more elements in composition, more the number in element of contrast, the greater they become easy to be compared and comprehend (Garg, 2020). It gives rise to the pre attentive processing and accumulation of information gets started from compositions that occur in early vision. It is like reading a poster, unknowingly at the first glance. The element that stands out the most is seen first and that is the element with high contrast as in this process, our eye movement is not determined by tradition from reading left to right, bottom or start but is driven by primitive feature of elements.

6.3 The Right Colour Pallet

Colour is very effective tool for communicating as it directly effects an experience, feeling or emotion and therefore becomes critical when comes in engaging visual communication (Bartram et al., 2017). As, each colour has its own properties of lightness, Chroma and hue it influence and defines the mood changing the overall perception of space image. Light colour used reflects light making the space perception feel exposed and bigger than the actual size while the Dark colours absorb light giving the sense of visual confinement of eye within space. The selection of colour pallet is also done as a means to bled in the architecture with its background or more often to make it stand out.

6.4 Emphasize Leading Lines

Human vision have natural tendency to travel along the leading lines. The leading lines are also useful in creating the sense of depth in imagery perceived. Putting emphasis on leading line will help to create the aesthetic in perspectives of design. The leading lines can be subjected to articulation using patters and rhythm in elements. Mostly seen in ancient architecture the leading lines are articulated by ornamented beams and columns. The texture and colour variation is also implemented in creating good visual lines. This immediately captures the human attention and adds on to the visual weight as the visual lines convey balance, motion, scale and perspective.

7.0 CONCLUSION

The main objective of this dissertation work is to review and understand the importance of visuals in architecture and how the visual perceptions are framed and changed by implementing the above overall design parameters to understand and justify the notion of imagery lines perceived behind sub-conscious mind of observer. Through studies it has been proved and concluded that the visual realm in architecture contains its depth from the ancient times and is still present to the modern times. The knowledge about visualization not only help in increasing building aesthetic but helps perceiving notions of human mind. There are different factors like symmetry, contrast, emphasis, leading lines, framing and frame articulation etc. which work hand in hand to make imagery perceptions aesthetic in photographic and architectural language are same and relates to each other. Visuals have a great role to play when it comes to the buildings and architectural visuals itself affords to encounter threats like visual degradation,

So, studying and practicing all the above principles we have reached to a final conclusion that only Aesthetic buildings emits aesthetic imageries and there is always a room of improvement and change we could provide from our end to human eye from the visual realm.

8.0 REFERENCES

Bartram, L., Patra, A., & Stone, M. (2017). Affective color in visualization. Conference on

Human Factors in Computing Systems - Proceedings, 2017-May, 1364–1374. https://doi.org/10.1145/3025453.3026041

Chapman, H. E. (2006). Photography in Architecture : The Transformation of Reality.

D.K.Ching, F. (2018). Form, Space and Order. In e-conversion - Proposal for a Cluster of

Excellence.

Foy, R. (2004). Architecture of Change: Design Adjusts to the Age of Flux -

DesignIntelligence. https://www.di.net/articles/architecture-of-change-design-adjusts-tothe-age-of-flux/

Garcia, N. (2014). id2126nicoleg [licensed for non-commercial use only] / Rhythm

Architecture. http://id2126nicoleg.pbworks.com/w/page/69375812/Rhythm Architecture

Garg, C. (2020). Principles of Design: the application of contrast and similarity | by Charchit

Garg | UX Collective. https://uxdesign.cc/principles-of-design-the-application-ofcontrast-and-similarity-d87f261fb84f

Hotle, J. (2018). Relationships 101: Photography and Architecture — Streamline Architects.

Streamline Architects. https://streamlinearchitects.com/blog/2018/1/9/relationships-101photography-and-architecture

Kulkarni, R. (2017). Compositions used in architectural photography – Architecture & more by Square One. http://squareone.blog/compositions-used-in-architectural-photography/

Patowary, K. (2014). Bibi Ka Maqbara: The Other Taj Mahal | Amusing Planet. https://www.amusingplanet.com/2014/11/bibi-ka-maqbara-other-taj-mahal.html

Rushika. (2018). ARCHITECTURE AND THE SENSES. ―The hand wants to see, the eyes want… | by Rushika H.P. | Medium. https://medium.com/@holos.design/architecture-andthe-senses-35b7dc1c0a82

Taheem, M. (2019). Hawa Mahal, Jaipur: Information, History, Architecture, Entry Fee,

Timings. https://www.fabhotels.com/blog/hawa-mahal-jaipur/

UNESCO. (n.d.). Taj Mahal - UNESCO World Heritage Centre. Retrieved December 15, 2020, from https://whc.unesco.org/en/list/252/