Interior Design Thesis "Spatial Delusion"

Spatial Delusion

Hodjat Tavakoli

Interior Design Thesis - 2014 Corcoran College of Art+Design Instructors: Erin Miller - Alice Power

Contents

2 rch t 36 esea n R e s i m lop hes 44 Deve 01. T t p e c n n o i t o 72 02. C is Explora s e h g rin 74 03. T ende R l a in 76 04. F tion a t n e res 78 05. P raphy g o i l b i 06. B ages m I f o ist 07. L

Hodjat Tavakoli

01. Thesis Research Introduction Background Essay Substantive Essay Review Case Studies Inter views Conclusion

3 4 10 13 24 32

“What I need is perspective, the illusion of depth, created by a frame, the arrangement of shapes on a flat surface.

Perspective is necessary. Otherwise there are only two dimensions . . . Otherwise you live in the moment, which is not where I want to be.”

(Margaret Atwood, the Handmaid’s Tale)

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Interior Design Thesis

Introduction

Today, The living conditions are widely affected by population growth and economic situation. Consequently, interior spaces are decreasing in size. Contemporary man regularly lives inside a small box, but in a modern urban building with a magnificent exterior. “The builders of traditional societies shaped their buildings with their own bodies in the same way that a bird molds its nest by its body” (Holl, Pallasmaa, Gomez 34). But living in modern interior space requires something more - a new vision and a new perception of the space.

Thus, in addition to aesthetics and ergonomics, problematic size conditions of interior spaces become the biggest obligation of interior designers. They improve interior spaces to meet the needs and preferences of the inhabitants. The wide windows, foldable furniture, multitasking equipment, bright colors and artificial lights are all designers’ suggestions for expanding the spaces. But the box still is a box.

“Land is a vital resource. There is not a lot remaining, so we need to think about creative ways to use space”(Joyce web). Due to the limits of space in modern societies, the next stage of the interior design deliberation should focus more on the psychological aspects of depth perception through space. In this regard, manipulating an interior space through illusion, including the illusion of scale, distance, and anamorphosis (the creation of an artificial horizon), distorts the size, depth and scale of an interior environment and can expand small spaces, minimize large ones or simply create unexpected visual interest.

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Hodjat Tavakoli

Background Essay

The history of optical illusion goes back to human understanding of the science of optics and perspective.

“The philosophers of the Renaissance considered mathematical investigation integral to some of their theories. Such a combination of mathematics with natural philosophy was known as the ‘mixed sciences’, and this included the study of optics. Initially, it was believed that sight was due to the active emission of “eye beams”, but it was later discovered to be the reception of light by the eye” (Heng 3).

The flat appearance of the paintings became a reason to investigate the sense of distance in the scene. Consequently “art and science joined forces in Italy in the early 15th century, when artists such as Ghiberti, Alberti, Piero Della Francesca, Leonardo da Vinci, Durer . . . applied mathematical theories methodically and elaborated procedures for dealing with all possible forms. Perspective was the product of two disciplines - the study of optics and practical experimentation by painters” (Spiliotis 19).

Fig1– perspective Method - B. Alberti

The earliest effort in creation of naturalistic images with correct perspective refers to a written method for properly constructing tiled floors by Leon Battista Alberti in the fifteen century. However, before this development, the aim of art and painting was to express spiritual power through variation of size rather than its naturalistic representation (Heng 4-5). Albrecht Durer later enhanced this process by substituting “sight lines with string when he was constructing the image of a lute in perspective” (Heng 13).

Fig2– Foreshortening by Durer

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Interior Design Thesis Before the Renaissance period as early as the 4th century B.C, there were several architectural examples that used visual illusion. With the development of optical illusion in a formal way in the fifteenth century A.D, it is interesting to note its status at the time. Peter Thompson, in his research titled “The Origins of Entasis: Illusion, Aesthetics or Engineering” argues that a typical characteristic of columns in Doric temples is “entasis, the device whereby tapering columns are given a slight swelling about a third of the way up to counteract a tendency of the eye to see them as curving inwards from either side” (Thompson 531).

Fig 4 – Temple of Hera (Basilica) 550 B.C

Fig 3 – The Parthenon, Acropolis 447 - 438 B.C

Beside the Parthenon, which is one of the most well known Doric temples in Athens, “ best preserved are perhaps the three temples at Paestum (Poseidonia) on the Amalfi coast south of Naples. The oldest of these temples is the Temple of Hera, built in 550 B.C.” (Thompson 532).

Apart from the entasis technique, there are also many other refinements applied in Doric temples. These refinements “purposed departures from the supposedly geometrical regularity of the horizontal and perpendicular lines . . . and from the presumed mathematical equality of their apparently corresponding dimensions and spaces.

These usually include smaller gaps between the corner columns and the remaining columns (this supposedly stops the corner columns appearing isolated); all of the surfaces lean inwards as they rise; and the horizontal lines of the temple (the stylobate, or temple floor) also sometimes rise slightly in the middle and gently slope downwards towards the corners” (Thompson 532-533).

In conclusion, the research found “little evidence that the convexity of the columns counteracts and cancels some ‘optical’ illusion. Nor can we provide support for any aesthetic reason for the practice, though the aesthetics of Ancient Greece may have been very different from that of 21st Century Europe. We appear to be left with a purely engineering reason for entasis, namely, that the slightly bulging column will provide a greater strength-to-weight ratio than a parallel column” (Thompson 541).

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Hodjat Tavakoli Another architectural example prior to the Renaissance period that illusion of scale is seen is the Library of Celsus, circa 135 A.D, in the Roman city of Ephesus. In this historical structure “Pairs of columns on the two levels support pediments of curved and triangular form, though the central columns’ capitals and rafters are much larger than the others’, creating the illusion of increased space between the columns. Along with the sloping edges of the podiums, the size of the central doorway reinforces the illusion by being taller and wider than the adjacent ones” (Spiliotis 11).

During the Renaissance period, illusionary methods were used in different forms in the architecture and interiors of structures.

Fig 5 – Library of Celsus, Ephesos, (Asia Minor) 135-AD

Trompe l’oeil, which in French means “trick of the eye”, was one of the illusory methods, used to visually change the perception of space. It is “a prime example of illusionary art where the observer is lead to view an image of a false illustration and perceive it as reality, if only instantaneously” (Spiliotis, 21). This method was reintroduced during the Renaissance, becoming the principal method of ‘realistic visual representation’, and continued gaining popularity later in the Baroque era, until the invention of photography (Spiliotis, 21).

Villa Barbaro, was a structure “designed by the Roman architect Palladio, consists of a plethora of trompe l’oeil paintings, by Paolo Veronese, of statues, spaces, landscapes, and even life-size figures of people peeking through doorways” (Spiliotis, 21).

Fig 6 – Trompe L’oeil - Villa Barbaro

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Interior Design Thesis Another illusionary method used in Renaissance period was anamorphic painting, which is “a distorted image recognizable only when viewed with a special device, such as a cylindrical mirror, or by looking at the painting at an acute angle” (Gardner 634). The painting “French Ambassador”

by Holbein, completed in 1533, is the earliest example of anamorphic technique as an illusionary method. One of the features of “particular interest is the long gray shape that slashes diagonally across the picture plane and interrupts the stable, balanced, and serene composition” (Gardner 634).

This technique became a tool for many architects and designers to manipulate the viewer’s perceptions in the interiors of structures.

The church of San Satiro in Milan “features one of the first examples of anamorphic in architecture. Donato Bramante (1444-1514), one of the most influential architects of the Renaissance, demonstrated his command of proportion, perspective and trompe l’oeil with the creation of a prime example of anamorphic relief . . . When entering the church; one sees a long nave and an almost equally long apse behind the altar. Though while approaching the altar, the first impression seems to fade and the truth is revealed. The entire choir, including the arcades and the vault, diminishes to a stucco relief of only a meter (3’, 8”) deep” (Spiliotis, 45).

Fig 8 .1 – Church of San Satiro Milan – Floor Plan

Fig 7 – Holbein Ambassadors 1533 A.D

Fig 8 .2 – Church of San Satiro Milan

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Hodjat Tavakoli The potential of the anamorphic technique to resemble a deep three-dimensional vista for the shallow spaces makes it significant in theatrical performances. “Since the end of the 16th century, stage scenery artists have achieved extreme foreshortening of forms and spaces, producing the illusion of cities with long streets, or even vast fields with distance mountains, in a very limited space behind the main stage…

A renowned case of the early period is Andrea Palladio’s final piece of work, the ‘Teatro Olimpico’ in Vicenza…. The background of the stage is made up of five passageways, which lead through wooden streets to the ‘distant view’ (prospettiva). The streets appear much longer than they are in reality, as the floor gradually inclines upwards while the ceiling inversely does the same. The facades on both sides decrease in size, as they seem to converge towards the back of the scene” (Spiliotis 52).

Fig 9.2 – Teatro Olimpico Andrea Palladio

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Fig 9.1 – Teatro Olimpico Andrea Palladio – Floor Plan

Interior Design Thesis Another great example of using anamorphic illusion in the interiors of buildings during 16-18th century is the Palazzo Spada in Rome built in 1638 by Francesco Borromini. The structure is “an illuminating example of how perspective can be used to deceive the eyes. It appears as if the pathway is rather long, leading to a statue at the end. The statue is about three-quarters the height of the distant doorway. However, when a person who has the same height as the statue stands at the near doorway, we find that she is only about a quarter the height of the near doorway. This puzzling phenomenon can only be explained if one realizes that the two doorways are of vastly differing heights. However as the tunnel seems to be constructed in perfect perspective, we are tricked into believing that both doorways are of the same height” (Heng 25).

Fig 10 – Palazzo Spada, Rome 1638 A.D

All of the examples discussed show that illusionism has been a powerful technique used to manipulate the visual perception of the observers in regards to interior and exterior of buildings. For the purpose of this project, the illusionary methods can be categorized in illusion of distance, illusion of scale, and anamorphic to expand the physical perception of space.

Fig 11 – Palazzo Spada, Top - Side Views

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Hodjat Tavakoli

Substantive Essay Review

The main purpose of this review is to mention the distinction between different methods of trompe l’oeil and other illusionary techniques that were common during the Renaissance and Baroque periods. However the aim of Lois Parkinson Zamora the author of the article “Trompe L’oeil Tricks: Borges’ Baroque Illusionism” was a comparison between the style of Jorge Luis Borges in writing and method of trompe l’oeil. This assessment provides an opportunity to take look at different types of trompe l’oeil and its effect to deceive the perception of the viewer through the space. On the other hand she mentioned interconnection between the real and virtual spaces as a characteristic of the trompe l’oeil technique, which is a considerable point in this research.

In general trompe l’oeil is “a technique used by still life artists to trick the viewer into believing that the objects that he is looking at are real.... to give the impression of depth where there is none and to give the impression of volume where there is only area”(Conklin web). As Lois Parkinson Zamora noticed at the beginning of the article, “Trompe l’oeil paintings were known long before the Baroque period”. In fact, “this illusionistic technique has its roots in Antiquity…. where the ancient painter Zeuxis is praised for painting such realistic grapes that they attracted hungry birds. So impressed was fellow artist and rival Parrhasius, that in a few weeks he asked Zeuxis to come to his studio to see his painting. Zeuxis went to Parrhasius’ studio and there before him was the painting draped by a curtain. Zeuxis approached the painting and when he tried to pull back the curtain to reveal the painting, he found that the curtain had been painted. So enthralled by the anticipation of a painting “behind” the curtain, Zeuxis was fooled by his rival artist.

Trompe l’oeil is the most imitative and naturalistic form of realism” (Conklin web).

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Fig 12 - Zeuxis

Fig 13 - Parrhasius

Interior Design Thesis Based on this definition and historical background, some examples of interior mural paintings from the Renaissance and Baroque periods, in this article, were specific techniques for illusionistic ceiling paintings mostly based on one-point perspective and foreshortening methods. As an example, in the Church of San Ignacio at Rome “The ceiling is hemicylindrical in shape and is about 30 meters (115ft) off the floor. When one is at the correct viewing location, the painted architecture appears in three dimensions as an extension of the real architecture…. However, when one observes the ceiling well away from the correct viewing location, it becomes possible to detect the hemi-cylindrical nature of the ceiling”(Heng 28).

Fig 14 - Church of St. Ignazio - Side View

Here Zamora expresses an important factor “transparent window”, which is an invisible frame of the ceiling. On the ceiling of the church “It is impossible to determine where the ceiling surface actually is, much less distinguish the painted architecture from the real ones”(Heng 28). When our eye is not able to recognize the edge of the surface it cannot estimate the right placement of the surface. Thus it will be easily tricked with distorted directions.

Fig 15 - Staircase Group -Charles W. Peale

The “Staircase Group” by Charles Willson Peale would be a great example of using trompe l’oeil in expansion of a real space. “The painting, then entitled Whole Length-Portraits of Two of His Sons on a Staircase, was one of five portraits Charles Willson Peale displayed at the Columbianum, an exhibition mounted in the Pennsylvania State House”(Bellion 19). Peale, by using the frame of the painting as a doorway and adding a real step in display, interconnected the viewer’s space with the virtual backspace of the painting.

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Hodjat Tavakoli The Comparing interconnection of the viewers’ space and infinite space of the paintings in Church of San Ignacio, Church of Gesu and Villa Farnesina with connection between front and backspaces in paintings of the Raphalle Peal “After the Bath” or Rene Magritte “The Human Condition”, shows the significant role of the picture plane or framework of the painting in Trompe l’oeil to extend the actual physical space.

Fig 16 - After The Bath

Fig 17 - Church of St. Ignazio

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Interior Design Thesis

Case Studies

After a brief review of the history, development and use of illusion, collected in the background essay, I selected three modern interior projects related to illusion of space to acknowledge more recent practices of architects and interior designers. But before introducing the project, it is necessary to look at some new scientific knowledge around the visual perception or specifically “Depth Perception”.

“Depth perception can be defined in two different ways as absolute distance and relative distance. The distance from an observer to an object is called absolute distance. If the object distance is considered according to another, then it is called relative distance”(Atli 5).

But perception of depth or those distances requires sources of information, called “cues”. “These cues are studied under two broad categories of monocular and binocular depth cues . . . Monocular depth cues are the ones that can be controlled by a designer more than the binocular ones when shaping architectural spaces. This is because monocular cues concern mostly the environmental factors, where binocular depth cues are the ones, which are more physiological in spatial vision, and which are affected by the environmental factors”(Atli 6).

According to the research of Dr. Michael Kalloniatis and Charles Luu in perception of depth there are different cues to judge the depth such as; relative size, linear perspective, aerial perspective, interposition (occlusion), texture gradient, light and shade and color. (Kalloniatis Luu web) There is a noticeable point that knowledge of depth perception is a basic requirement for designers that are interested in illusionistic design.

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Hodjat Tavakoli

Trillusion

Trillusion is an interior space design project that by using illusionary methods explores possible relations between furniture and space. The three basic furniture elements; seating bench, table, desk and back wall are arranged in space and complemented with graphics on the floor and walls. The final feature of the space with a series of graphically geometric elements defines it either as furniture or extension of the space.

Fig 18 - Trillusion Salon Satellite

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Trillusion is a collaborative project between the students of the University of Applied Science, Darmstadt (Johanna Uhland, Christoph Stoll, Johannes Herud, Sina Mutschall, Anne Kielenz, Isabell Brandau, Lilia Moellmann and Jakob Spenst) under direction of Boris Banozic, a Frankfurt-based architect and scenographer. The project was displayed in 2012 at Milan Salone Satellite, which is a unique annual showcase for the most recent designed pieces of young designers from all over the world.

Interior Design Thesis The group project “Trillusion” basically can be considered a demonstration of Banozic’s ideology in interior design and architecture as he says: “Our ideas and works originate and develop in between architecture, the visual arts and object design. We are interested in exploring the potential of interactions between these fields to find individual and innovative solutions for the coherence of space and media.

Solutions that reach beyond the physical boundaries of its components and generate rich spatial, interactive and visual experiences, and extend our common perception of space” (Banzoic web).

Fig 19 - Trillusion Salon Satellite

But regarding the project “Trillusion”, Banzoic raised two basic questions. Does furniture define space or is it the extension of space? How can furniture adapt to space and vice versa? His questions show that he is trying to create a 2D view for a three dimensional space, and basically distracting the perception of observers.

Fig 20 - Trillusion Salon Satellite

Fig 21 - Trillusion Salon Satellite

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Hodjat Tavakoli The possibility of this transformation refers to the process of depth perception via monocular cues and binocular cues. “Throughout the normal process of the vision, we unconsciously evaluate the forms, shapes, distances, and colors of the vast number of objects around us” (Toutine 193).

Any object in space despite its individual size perception gives us some directional information about the depth of its surrounding space. This is called “stereopsis”, which is “ability to distinguish the relative distance of objects with an apparent physical displacement between the objects” (Kalloniatis Luu web).

Fig 22 - Trillusion Raw Plan

Students with a clear understanding of depth perception and by dividing all surfaces including walls, floor and surfaces of the furniture into a series of non-directional geometric shapes, manipulated the perception of the observer. By juxtaposing the graphic shapes, the edges of surfaces disappeared, which were the main directional guides for the estimation of depth. Thus, observers are not able to perceive the depth of space.

Fig 23 - Trillusion Process

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Fig 24 - Trillusion Process

Interior Design Thesis Use of color is another strategy used to manipulate depth perception. “The study of illusory color demonstrates that color processing in the brain occurs hand in hand with processing of other properties such as, shape and boundary”(Itoh 3551). Positioning of the geometric shapes in three different high-contrast colors (white, black, orange) side by side makes it hard to recognize the real edges of the surfaces. “This is particularly noticeable where a dark color butts against a lighter color, causing the edge of the lighter color to appear even paler”(Wilcox 221). The graphics are continuations of the furniture´s built lines and transform the surrounding two-dimensional planes into an optical illusion of spatial depth.

Fig 25 - Trillusion Exhibition - Salon Satellite

By using simple tools and wood as a material, students created a piece of sculptural graphics. Although trillusion was designed as an exhibition model, it becomes a reliable inspiration for more consideration around the perception of the existing surfaces in interiors. As Banozic states, “The synthesis between furniture and graphics blurs the boundaries between reality and illusion, surface becomes space, space becomes surface”.

Fig 26 - Trillusion Exhibition - Salon Satellite

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Hodjat Tavakoli

Folded Crib Apar tment

Folded Crib apartment is an unconventional interior space designed by architects Javier Garcia and Hector Ruiz-Velazquez for G&R Studio. The biggest advantage of this project is providing appropriate spaces for kitchen, bedroom, living, and bathroom all in 527.5 sq.ft . But more so than the proper use of space, the depth perception of this small apartment becomes the focus. The project shows how an irregular geometric structure could have an effect on perception of size in interior spaces.

Fig 27 - Folded Crib - Bedreoom

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Hector Ruiz-Velazquez has a degree in architecture from the University of Virginia, with studio professorships from Harvard University and Columbia University. Specifically in interior design, he widely practiced in “multiplying space� with the idea of providing space for new spatial sensations.

Javier Garcia-German studied architecture at the School of Architecture of Madrid, Oxford School of Architecture and Harvard University Graduate School of Design. He has edited several books linked to energy and sustainability.

Fig 28 - Folded Crib - Dining Area

Interior Design Thesis Unexpected extended geometric shapes of walls and interior elements used in “folded crib” suggest inspiration from the classic paper art of origami. “Exercises using origami help to develop a better sense of spatial perception”(Matsubara and Celani 5). Many architects throughout time have used this technique. For example “Joseph Albers used similar methods in the preparation class of the Bauhaus to make his students discover the relationship between materiality, geometry and structure”(Buri and Weinand 1). “Different origami paper shapes were sectioned and used in scale models of buildings as vaults, roofs, walls and slabs, in order to explore and confirm their possible applications in architecture”(Matsubara and Celani 3).

Fig 30 - Folded Crib - Kitchen

In Folded Crib space is also divided by positioning a nonsymmetrical stretched white wooden structure as a private bedroom in the center of the room that creates additional space for the kitchen and living room. This structure uses the advantage of the “fold as a structural edge, which gives rigidity without creating excessive weight”(Matsubara and Celani 5).

There is nothing ordinary about this interior space providing a unique composition of entwined geometric shapes and angles. “ As the fundamental science of forms and their order geometry contributes to the process of composition and designing in architecture, composition in architecture starts with elements and their relations. Geometry makes a contribution to this process by dealing with geometry figures and forms as elements as well as proportions, angles and transformations as relations between them” (Leopold 2).

Another approach to extend depth of the space was using an off-white color as a cool monotone scheme for the built structure. “ A cool monotone interior tends to feel more airy, atmospheric - light than a warm monotone interior”(Poore 73).

The Folded Crib is designed with diagonal white walls and black marble flooring for contrast, and presents a preview of what the future living space might look like.

Fig 29 - Folded Crib - Bedroom

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Hodjat Tavakoli

Spatial Inebriation

According to information provided by Foster Design Farm; “Spatial Inebriation is an investigation in the architectural experience of challenged perception - this experience being confusing, illusory, and optically ambiguous. It seeks to disorient, exhilarate and stupefy within an uncomfortable ambiguity between interior and exterior. These framing devices work with the unique characteristics of color, form, and patterns from each given exterior condition to provide this alternative experience�.

Fig 31 - Spatial Inebriation

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Carrie Ann Foster is an architectural designer with projects in Los Angeles, San Francisco, and New York. She presented her Master’s thesis at the Southern California Institute of Architecture in September 2011. Her interest in working with real conditions yet focusing on ideal visions provides relevant architecture for future landscapes.

Interior Design Thesis Spatial Inebriation as a simulated space design portrays a unique sample of an illusionary environment. Despite the exterior of the structure, in its interior spaces, arrangement of the geometric shapes and form of the elements distract the perception of the observer. This confusion can be analyzed by considering ways of depth perception under monocular and binocular cues.

Based on research “the eye judges” angles and lengths by the instinctual impression of the muscular effort it must exert to move from one point to another of the object, while incorporating the fact that some of the effort is expended in the transition from rest to motion and from motion to rest.

These changes in muscular sensations enable us to judge differences in extent” (Nicolas 565). With this knowledge, in Spatial Inebriation the overlapping of the created surfaces with different geometric shapes and angles makes it hard to identify the actual distances between the interior elements.

Fig 33 - Spatial Inebriation - Glass and Mirror

Fig 32 - Spatial Inebriation - In and Out Side

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Hodjat Tavakoli

Specifically, visual space perception is defined as the ability to perceive the three-dimensional layout of our environment through visual experiences. The three-dimensionality encloses the arrangement of individual particles, each in given size and location. The apparent location of each particle specifies its direction and distance from the point of view of the observing eye (Atli 5).

On the other hand, using mirror and glass in similar geometric shapes adds the misperception of the view.

Reflection and refraction of the light and images from mirrors and glass virtually adds to the existing shapes, which create additional confusion for the observer.

“Shade and shadows are also important cues for the appearance of three-dimensionality and solidity of the objects with regard to the degree of darkness of it as well as perception of depth”(Atli 10).

Highlights and shadows are additional monocular cues that can “provide information about an object’s dimensions and depth” (Kalloniatis Luu web). Juxtaposition of the entwined geometric shapes and elements by the window increased the instances of shade and shadow. On one hand, shadows appear as new geometric shapes and on the other hand they hide the reference edges of the surfaces.

The floor and ceiling of the space are divided into geometric shapes with muted colors. Using a range of gray value from white to black for interior elements is another trick to cover the existing edges of the floor and ceiling.

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Fig 34 - Spatial Inebriation - Glass and Mirror

Interior Design Thesis

The combination of these techniques together extends depth of the interior and provides a mixed perception of inner and outer environments.

Fig 35 - Spatial Inebriation

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Hodjat Tavakoli

Inter view with Carrie Ann Foster Date of interview: Oct, 2013 Carrie Ann Foster in an interview via e-mail, kindly answered questions regarding her project “Spatial inebriation”.

HT: How did you become interested in illusory design and what or who was your primary inspiration?

CF: Spatial Inebriation was pulled from a combination of an interest in navigation and legibility, a formal language of collage and layering, and the potential of optical and perspectival tactics in architecture. This project pulls from those interests to investigate liminal spaces and how they might be physically manifest. Precedents that I studied included works by: Robert Irwin (physical illusions), Carlo Scarpa (geometry and the beautiful bizarre), SANAA (lack of hierarchy/direction), Coy Howard (my thesis advisor - representations of sublime). There are many other relevant artists that deal with perception and architects that design op-arc (optical architecture) explicitly.

HT: There are three different approaches to manipulate the depth perception of the observer in the interior spaces of your project: using rectangular geometric shapes, angular geometric shapes, and organic forms. What was your experience in using each one, and which method provides stronger misperception?

CF: I would say these three views actually use the same approach to manipulate depth perception. This approach has to do with a tracing, mimicking and concealing certain parts of a view - all utilized simultaneously to confuse the view. This technique is not dissimilar to that of ‘borrowed landscapes’ found in traditional Japanese garden design, which references background information from that which is doing the framing in the foreground to collapse the perspective.

What is different between the three views is a sort of ‘styling’. These styles are based solely on what is beyond in the view - the exterior geometry, textures, planes, etc. There can (and should) be many more variations on what the style could be.

The information hidden and revealed, the shapes mimicked and emphasized, the sharpness or reflection - all contribute to blurring the inside and outside in different ways. It is true - some are more effective than others. The performance of each is tested by the associated side views, which reveal the optical apparatus in place for a given perspective.

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Interior Design Thesis

HT: There are not any hues or secondary colors in your color palette, in the interior spaces. Why did you choose gray value as the color for the interior elements such as flooring, ceiling, walls and angular surfaces?

CF:I think the lack of color heightens the abstraction - it takes an image of a streetscape and turns it more into a graphic. I am sure this is not the only way to achieve this elimination of information or if it is actually more distracting than helpful. Controlling where the colors and textures appear (even if they are existing and uncontrolled) is a part of the composition.

HT: The view of the outside and view of the inside are overlapped in your presented images. Normally this causes a perception of the depth between interior space and exterior environment. The result of your design is misperception of the depth! Why did you want this misperception of depth between interior and exterior and how did you achieve it?

CF: Typically, building design is conceived of from the outside-in starting with a large mass that gets developed into smaller individual spaces, among other things. However, it is interesting to me to design a space from the inside, to view out - as a sort of kaleidoscope, functioning to bring focus back to the existing city fabric. This reversal diminishes the importance of the exterior sculptural form of a building and heightens the importance of interior spatial and circulation qualities. These perception (or misperception) based installations are designed to provide such moments of rich interior sequencing to confront what is experienced of the street beyond.

HT: From your point of view, what are the benefits of illusory design in interior spaces, either aesthetically or psychologically?

CF: I think there is potential to use optical architecture, or illusory design, to heighten one’s experience of a space. With tens of thousands of nerves in the human eye (more than any other part of the body) - sight is our primary sense. With that understanding, there is a moment when something confuses our eye that makes us look harder. This place of being perpetually in-between something or lost is unsettling and, I think, a really provocative and beautiful place to be in.

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Hodjat Tavakoli

Inter view with Preston Scott Cohen Date of interview: Oct 30, 2013 Preston Scott Cohen designed the Tel Aviv Museum of Art, located in the center of the city’s cultural complex in 2011. As he mentions in his official website, the program for the Tel Aviv Museum posed an extraordinary architectural challenge: to resolve the tension between the tight, idiosyncratic triangular site and the museum’s need for a series of large, neutral rectangular galleries. The building represents an unusual synthesis of two opposing paradigms for the contemporary museum: the museum of neutral white boxes and the museum of architectural spectacle. Individual, rectangular galleries are organized around the “Light fall”, an eighty-seven foot tall spiraling atrium.

The chance of doing a phone interview with Preston Scott Cohen, Professor and Chair of the Department of Architecture at Harvard University Graduate School of Design provided an opportunity to identify the important elements and factors for the design of an effective interior atmosphere.

Fig 36 - Tel Aviv Museum of Art - Exterior

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Interior Design Thesis HT: What was your primary inspiration to create an unusual structure in both the interior and exterior of the Tel Aviv Museum of Art? PC: The main idea was to find a way to combine two different ideas of the museum that are very prevalent today.

One is a museum that is really devoted to inspiring the public as an architectural place. It is basically the architecture that makes the experience of a museum most of all, but is really a spectacular form. It is not necessarily so accommodating for art. It is not necessarily so accommodating for art. I mean there is art that can engage with it, but its main purpose is to be spectacle in itself. This is important idea for the museum is the public spectacle and that invites people by means of architecture.

Fig 37 - Tel Aviv Museum of Art - Interior

On the other hand, the museum is very natural space that allows the curators to make their own programs, and the architecture does not interfere. But how should make a museum that is both those of these ideas? How can one museum be both a spectacular public work of architecture and provide the natural flexible space for curators? That was the inspiration that brings those two models together.

HT: The interior of the Tel Aviv Museum of Art creates an arresting view for the observer. What is the importance of using an unexpected scene in interior spaces?

PC: I tried to create a very aesthetic experience. The aesthetic experience, which belongs only to the museum, is outside of everyday life and is absolutely distinguished and immerses people in it.

The particular way that happens is that it binds together all the levels of the building. I mean the building has many different planes that are piled up in relationship to each other, but in this one form binds them together. Something like a vortex, that gathers everything. It becomes a focal point for the entire experience that is an extraordinary event.

It really gives identity to the museum.

Fig 38 - Tel Aviv Museum of Art - Interior

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Hodjat Tavakoli HT: How do you distinguish between the “space” and “atmosphere” in interior environments? Is the interior of the museum defined as a space, atmosphere or both?

PC: I think by atmosphere you mean the effect, the mood and sensations that people would experience, a general flavor of the building.

You know it is very obviously a modern building. I mean that is not a building we could imagine is a rigid understanding of classical, the classical idiom, but rather something more experimental. We have some association that might have something to do with atmosphere, how it feels, the mood that it creates, the character that it has.

The space is more like a three dimensional promenade.

The experience of the movement, the organization, the way we understand rooms and the space in the middle, and how it fits in the city, and the actual three dimensionality of it. They are very different; I think the split conveys itself through its color, its character.

Fig 39 - Tel Aviv Museum of Art - Interior

But Tel Aviv museum is clearly a building which has a kind of immediacy, sense of contemporariness, contemporaneity. That would be its atmosphere. I think it is also something with the white, a very important color. It is kind of bluish, and it also warms the color light. It combines different colors of light. And I think that gives an atmosphere. That’s very unusual, very special.

HT: What are the roles of natural light and white space in your design?

PC: Well, there are points of attractions. They provide moments of release from the exhibition space, which is artificially lit. So there is always a contrast in a way between the architectural light and the exhibition space light. It goes back to the first point I made about the architectural spectacle and the curated gallery. I mean the lighting is actually alive; the natural light versus the artificial light helps to make that distinction between the space of the museum and the space of the architecture. You want to call the space of the museum that which is a curated, neutral gallery and the architecture that which is the essentially shaped. The light helps to articulate the distinction.

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Fig 40 - Tel Aviv Museum of Art - Light Fall

Interior Design Thesis HT: How do these elements effect the visual perception of interior space?

PC: I think the building shape and way the light moves also encourages people to move around the building, to move through it. It is something to do with sense of movement that, of course, when you see light hitting the curved forms and the fact that light is always changing, the natural light is different, constantly different. I think it encourages those parts of the building to engage the people to move and experience it as an active space. And then, galleries are much more dedicated to aesthetic art. There the curators will establish how people will move, because the pieces of art will stimulate people rather than architecture and the light.

HT: What is the importance of the irregular geometric forms in your design? And how do these forms effect the perception of depth in interior environments?

PC: I think these very special shapes create a sense of tension and sense of excitement. The sense that the building itself is rising, it’s thriving. In a way, it has some of the characteristics you would assume an animal or a person has . . .It is something like a body in motion, as I see it. It has a certain kind of solidity and coherence. It has movement, it seems like torch and it seems like an aesthetic struggle.

I like to create a sense of tension in the building. I like people to identify with it, imagining something with life in it, a life force in it.

Fig 41 - Tel Aviv Museum of Art - Interior

Fig 42 - Tel Aviv Museum of Art - Interior

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Hodjat Tavakoli HT: There is a perception of both rest and motion in the interior space of the Tel Aviv Museum of Art. How did you create both in this interior space of the building and why?

PC: There are lots of interesting elements of symmetry in this project. Usually diagonally opposite symmetry is established. I mean a kind of diagonally symmetry in the light fall. There are certain things that are more directly symmetrical like the two galleries on the top floor. There are directions that are very clearly established. It is something like an axis; they are not really symmetrical but there is very strong axis running through the building.

Fig 44 - Tel Aviv Museum of Art - Light Fall

Ultimately, though, things are joined together in a strong way and all are packed into a very simple form on the exterior, a very clear shape. When you are inside the building you understand the reference to the light fall and the sequence from one room to the next, you can understand the whole building. I would say it somehow makes it understandable, and makes it complex at the same time.

Fig 43 - Tel Aviv Museum of Art - Light Fall

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Interior Design Thesis The building has most of its idea from the interior. I think the most powerful concept is that we discovered that everything is connected by the central space and the movements through it is how you are moving all around it.

I designed my projects, most of the time, from the inside out. The interior architecture is by far the most important part of the architecture. There is no question about it. It’s what people live in the most. And it is what really shapes our experience. The outside is an object in a larger landscape.

This is something else, but ultimately it is the interior that the architecture is most concerned about.

Fig 45 - Tel Aviv Museum of Art - Interior

Fig 46 - Tel Aviv Museum of Art - Interior

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Conclusion

A few years ago when I was still in my hometown in Iran, an unusual doorway of a new building caught my attention.

The angled frame of the door hardly seemed possible to pass through. However, the main entrance was perfectly hidden in the grid of the frame. Undoubtedly this was the first time that I became familiar with misperception of reality. This was an interesting subject for me, and extensively influenced my behaviors as well as my passion for art.

Many years later in America, through studying art and design in college, I was introduced to the concept of “optical illusion�. Thus, illusion in interior design became an interesting topic to investigate from early in my college career.

There are different types of optical illusion such as, afterimage, ambiguous, color and shadow, facial, gestalt and anamorphosis, which have been used in graphic art, sculpture and painting. The illusory method for its attractiveness broadly has been used in graphic design and advertising. It also becomes a powerful technique for many artists to create an entwined vision of 2D and 3D forms such as, series of Active Objects by Willys de Castro, and also series of flat sculptures

by Roy Lichtenstein, representing three-dimensional objects.

Fig 47 - Active Objects Willys de Castro

But the research around the illusory methods in interior and architecture directed me in a broader stage to consider in the visual perception of spaces.

Fig 48 - Sculpture Interior - Roy Lichtenstein - 1996

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Interior Design Thesis

The study of historical architectures such as Doric temples in Greece indicates that visual perception was an important factor for architects in antiquity. But during the Renaissance period the mathematical and scientific studies in correct perspective and optic, opened a new door for the artists and architects to create an artificial horizon in interiors of structures. Trompe l’oeil, anamorphosis and illusion of distance are three examples of illusory methods, where has been created based on acknowledgments of perspective and visual perception in this era.

The aim of using illusory methods in historical architecture was mainly for the attractiveness and splendor of the structures such as, temples, churches or scenery stages.

So the idea arose that regarding the size limit of the interior spaces in Modern Age, those methods can be applied to deceive the visual perception of the actual dimensions of space.

Fig 49 - Scrim Veil by Robert Irwin

“The character of a space or place is not merely a visual quality as is usually assumed. The judgment of environmental character is a complex fusion of countless factors, which are immediately and synthetically grasped as an overall atmosphere, feeling, mood, or ambience”(Pallasmaa 1). In other words the “atmosphere traverses distinctions between peoples, things, and spaces”(Anderson web).

During the twentieth-century the interior design of buildings influenced by art movements, was limited to the setting of space rather than attention to the interior atmosphere. For example, through the Bauhaus style, the interiors of the buildings were mostly simple, and cubic in shape, to fit human scale. Even the form of the furniture was complementary of the shape of the space. The most innovations in the area of interior design in the last century were focused on the form of furnishing equipment, new construction materials, and also foldable and movable furniture.

Fig 50 - Kazimir Space Model by 2B2 Architecture

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Hodjat Tavakoli In the late twentieth-century many artists and architects criticized the tediousness and uniformity of the modern style. “This is well illustrated by Venturi’s adaptation of Mies’s famous maxim ‘Less is more’ to ‘Less is bore’”(Ramzy 9).

Andy Warhol as a modernist artist in critique of the common interior space also says; “People are sleeping in pyramidshape spaces a lot now, because they think it will keep them young and vital . . . However, my ideal too is the pyramid-look, because you don’t have to think about ceiling, so why not, let your walls also be your ceiling”(Warhol 156).

After the emergence of Postmodernism, architecture and interior design stepped up in a broader stage and irregular forms became common in use for both, the exterior or interior of buildings.

Almost in last three decades, different theories and ideas rose to connect interior and exterior environments. This concept practiced in different ways by many architects and designers such as, Rem Koolhaas and Joshua Ramus with multiple perspective points and fragmented geometric erections, and Zaha Hadid and Patrik Schomacher with tectonic system and curving forms of elongated structures.

Fig 52 - Beko Building Belgrade by Zaha-Hadid

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Fig 51 - Seattle Public Library - Rem Koolhaas / Joshua Ramus

Interior Design Thesis Today scholars are broadly studied in atmospheric aspect of the environments. The study shows “The immediate judgment of the character of space calls for our entire embodied and existential sense, and it is perceived in a diffuse and peripheral manner rather than through precise and conscious observation . .

As we enter a space, the space enters us, and the experience is essentially an exchange and fusion of the object and the subject�

(Pallasmaa 2).

Regarding this outlook, a new opportunity exists for interior designers: to design effective atmospheric, experiential, and interactive interior spaces rather than simply implementing an aesthetic direction and functional program. Applying irregular geometric shapes for interior elements such as walls, doors, windows, ceilings and corridors broadly effects the perception of physical space and provides a way to adapt both new and traditional interior spaces with requirements of modern life.

Fig 53 - Taiyuan Museum- China - Preston Scott Cohen

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02. Concept Development Eliminated Cube Spiral Illusion Misperception (Next 2014)

37 38 40

As it mentioned in research part, optical illusion mostly has been practiced in two-dimensional form. But in last three decades a number of artists and designers such as Roy Lichtenestain, Willys de Castro and James Turrell created many three dimensional and sculptural illusory objects and atmospheres.

Creating such a three dimensional illusory provide a better understanding of the interaction between the surfaces and applying the illusory techniques to manipulate the perception of the observer in interior environment.

Fig 56.1 - House I - Front View

by Roy Lichtenstein 1996/1998 National Gallery of Art, Washington

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Fig 56.2 - House I - side View

by Roy Lichtenstein 1996/1998 National Gallery of Art, Washington

Interior Design Thesis

Eliminated Cube

This three dimensional illusionary model represents how a simple cube via eliminating its primary segments still can be suggested as a cube. The model provides completely different forms and perceptions from different viewpoints.

Materials:

• Foam board • 1/8” - Wood dowel

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Hodjat Tavakoli

Spiral Illusion

Spiral Illusion is a suggested sketch up illusory model for the Corcoran Next 2014 exhibition. The installation includes two vertical hemispherical domes, facing each other with a pathway for the observer. Each dome is composed of ten circular, lightweight sheets in different sizes, with equal distance with each other. In essence, the goal is to present a three dimensional form of spiral illusion.

Suggested Material

• • • •

Plastic cardboard sheet Threaded Rod (small size) Plastic cover for Threaded Rod Metal bolt

Suggested Dimensions

• 4 feet length • 7 feet width ( 3 feet gape for pathway ) • 4 feet height Inspiring Images

Fig 55 - Empyrean Passage

by Dan Corson

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Fig 56 - Aten Reign

by James Turrell

Fig 57 - Guggenheim Museum

by Frank Lloyed Wright

Interior Design Thesis

Sketch up Drawing and Dimensions 2 .5˝

3΄

2΄

4΄

7΄

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Misperception

Next 2014 Senior Thesis Exhibition Corcoran Galler y of Ar t Reality is defined as the state of things as they actually exist, rather than the way they may appear or are imagined. But the specific angle of an observer’s view makes an individual perception of an object or scene.

“Misperception” is a study model representing the idea that the shape and form of the interior surfaces such as walls, floors and railings can modify the depth perception of interior environment.

The actual model creates three different forms of illusion. The perspective form looks inverted from specific distance and also creates a false perception of movement, when an observer moves from left to right.

On the other hand, the vertical stripes on both sides have equal width, while they look different sizes.

Inspiring Ar twork

Left Side View

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Fig 58 - Red, Yellow, Blue V - 1968

by Ellsworth Kelly

Right Side View

Interior Design Thesis

Sketch up drawing and dimensions

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Process Work

Materials

• • • • •

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Plywood Hardboard wood Pine wood Paint Threaded rod

Interior Design Thesis

Misperception Thesis Work Study for Next 2014

Left Side View

Front View

Right Side View

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03. Thesis Exploration Building Site Study User Requirements Design Development Construction Documents Interior Sketch up Models

45 48 50 56 64

The Martin Luther King Jr. Memorial Library is an iconic modernist structure and has been selected to explore the thesis idea for two reasons. First, the simple rectangular shapes of the interior spaces represent the popular cube form from the modernism period. Second, the D.C. government is considering usage and function of the library should change because of changes in technology.

The goal of this project is to create an interactive relationship between the surfaces of the interior elements such as walls, floors, ceiling and railings. In contrast with the simple cubic form of the existing interior structure, stretched irregular geometric shapes for the surfaces provide a way to control the depth perception from different points of view in space. The juxtaposition, reflection and refraction of the angular surfaces create kind of visual confusion and interest in interior environment.

Fig 59 - MLK Street View

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Fig 60 - Mies Van de Rohe

Interior Design Thesis

Building Site Study

MLK JR. MEMORIAL LIBRARY 901 G Street, NW Washington DC, 20001 The Martin Luther King Jr. library has been designed in the International style. The building was the last designed

by Mies Van de Rohe and his only work in Washington, D.C. The building was placed on the National Register of Historic places in 2007.

Fig 61 - MLK Site Map

Demographic and Communit y Information

• Access to Transit – two of the District’s busiest Metro stations within a short walk

• The city’s economic and cultural vitality is centered on downtown

• Two thirds of citywide economic activity is located in the downtown area

Existing Square Footage/Heights

• • • • •

Number of stories

4

Building height

65΄ - 10˝

Gross building area

403,026 Sq.ft.

First floor

48, 835 Sq.ft

First floor height

20΄ - 0˝

Fig 62 - MLK First Floor Orientation

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Existing Conditions

• • • •

Systems must be renovated (40 year old building) Strive for sustainable design Providing active space for public uses Main lobby, computer and reading rooms have rectangular footprint

• The main entrance opens in great lobby in south of the building in G Street.

• Windows running in broken horizontal rows around the building

• • • • •

Interior wall

Brick

Floor

Concrete / carpet

Ceiling

Acoustic tiles

Columns

Steel

Windows

High glass curtain wall

Fig 64 - MLK Main Lobby

Fig 65 - MLK Computer Room

Fig 63 - MLK Exterior View

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Fig 66 - MLK Reading Room

Interior Design Thesis

Fig 67 - MLK First Floor Existing Plan

Fig 68 - Existing MLK Main Lobby - North and Sought Elevations

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User Requirements

Age Groups

• Children • Young

4 - 12 12 - 19

• Adult

20 +

Required Space

• Public reading room • Meeting rooms • Computer center • Small auditorium • Small coffee shop • Seating area • Book return • Rest room • Reception • Children’s activity and entertainment center Square Footages

• Public reading room

15,000 sq-ft

• Meeting rooms

35,00

• Computer center

7,000 sq-ft

• Small auditorium

600 sq-ft

• Small coffee shop

300 sq-ft

• Security

100

sq-ft

• Reception

100

sq-ft

• Children center

48

sq-ft

2,000 sq-ft

Inspirational Images

Interior Design Thesis

Project Space and Dimensions The existing main lobby and its two side reading rooms are basically three huge rectangle halls, which are currently used for three purposes; reading room, computer room and meeting rooms. Regarding the size of space and suggested concept, the highlighted area can be used for additional purposes such as; open stage, seating stairs, cafe area, private and meeting rooms, child center, and media center.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

MLK project Work Area

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Design Development

Seating Stairs The seating stair is an adapted conceptual model for the actual interior of the main lobby. This structural stairs instead of connecting the main hall to the lofts in reading rooms provides a set of seats for the open stage in both sides. In addition, form of the stairs and its reflection on the floor delivers different depth perception from the middle of the hall and its two sides.

Main lobby stairs sketches

50

Interior Design Thesis

Fragmented Geometr y As opposed to the ordered rational forms of Modernism, fragmented geometry has been described in Deconstructivism as extension of interest in radical formalism. This type of design in addition to providing a multiple perspective view in space, represents a sense of freedom, which is the most memorable quote from Martin Luther King Jr.

Right Side View

Left Side View

Main Lobby Stairs Model

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Origami Models These series of origami (technique of folding paper) models represent different forms of walls for interior spaces. Fragmentation of the wall surface provides an opportunity to create visual interest in space via playing with light, shadow and reflection. Moreover this type of wall is a way to control the size of the space.

Origami Ceiling Sample

52

Interior Design Thesis

Origami Wall Samples for Child Center

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Basic Diagrams and Preliminar y Floor Plan

Basic Bubble Diagram

First Floor Perliminary plan

54

Basic Area Diagram

Interior Design Thesis

Base Level and Lof ts Program Diagram

Project Work Area and Dimensions

Child Area Suggested Perspective View

Reading Room Suggested View

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Hodjat Tavakoli PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Construction Documents

Preliminar y Floor Plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Lofts - Preliminary Plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

First Floor - Preliminary Plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Interior Design Thesis

Interior Elevations

Main Lobby North Wall Elevation

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Children Center Wall Elevation

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Main Lobby - Entrance Elevation PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Seating Stair Elevation/Plan View

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First Floor Section - Nor th View - A 100

1

2

1 Computer Room - Section

2 Computer Room - Section

3 Reading Room - Section 58

3

Interior Design Thesis

First Floor Section - Sought View - A 101

4

5

6

4 Reading Room - Section

5 Main Lobby Room - Section

6 Computer Room (Child Center) - Section 59

Hodjat Tavakoli

Flooring Finish Plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

First Floor - Finish Plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Lofts - Finish Plan

60

Interior Design Thesis

Flooring Materials

CP 1 - Carpet Tile - Atlas

CT 2 - Ceramic Tile - Armstrong

TZ 1 - Terrazzo - Existing Floor

GT 1 - Granite - Existing Floor

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FF&E plans

A 100 A 101

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

First Floor - FF&E Plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Lofts - FF&E Plan

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Interior Design Thesis

Sample Furniture

Fig 69 - Media Space 1 - Steelcase

Fig 71 - Media Space 2 - Steelcase

Fig 70 - Ripple - Coalesse

Fig 72 - Train Table / Kart Chair - Coalesse

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Interior Sketch up Models

The contour lines of the floor and ceiling, and angle of surfaces are important directional elements to estimate depth and dimensions in an interior space. Thus, adding new directional elements such as, angle beams and fragmented wall surfaces, vary from original orientation of the existing space distract perception of the observers.

The following images show various change of PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT perception from different viewpoints in selected spaces.

C2 D2

D1

E

C1 B

A

Selected Viewpoints in Space

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Interior Design Thesis

Viewpoint A Reading Room - Before and Af ter Design

Reading Room Existing Perspective Orientation

Reading Room After Design Perspective Orientation

Reading Room After Design

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Hodjat Tavakoli

Viewpoint B Main Lobby - Before and Af ter Design

Main Lobby Existing Perspective Orientation

Main Lobby After Design

66

Main Lobby After Design Perspective Orientation

Interior Design Thesis

Viewpoint C Seating Stair - Before and Af ter Design

C 1 . Seating Stair - Left View

C 2 . Seating Stair - Right View

Main Lobby Seating Stair

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Viewpoint D Reading Room - Before and Af ter Design

D 2 . Child Center Wall - Right View

Child Center Fragmented Wall

68

D 1 . Child Center Wall - Left View

Interior Design Thesis

Viewpoint E Main Lobby Fragmented Wall - Before and Af ter Design

Main Lobby Wall - Right View

Main Lobby Wall - Left View

Main Lobby Fragmented Wall

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Random Viewpoint

Reading Room Loft

Computer Room Loft

70

Interior Design Thesis

Random Viewpoint

Computer Room Under Loft

Main Lobby Under Seating Stair

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04. Final Rendering

Mar tin Luther King JR. Librar y Reading Room Final Rendering

72

Interior Design Thesis

Mar tin Luther King JR. Librar y Main Lobby Final Rendering

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05. Presentation

Open Exhibition Corcoran Design Depar tment Georgetown Campus

74

Interior Design Thesis

Next 2014 Senior Thesis Exhibition Corcoran Galler y of Ar t

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06. Bibliography

Anderson, Ben. “Affective Atmospheres”. Emotion, Space and Society. Elsevier.com. July 22, 2009. Web. Oct 8, 2013 Atlı, Deniz. “Effects Of Color And Colored Light On Depth Perception”. Bilkent University. Magazine. August, 2010. Print Banozic, Boris. Architect’s Profile. banozic.com. 2013. Web. Sep 20, 2013 Bellion, Wendy. “Illusion and Allusion: Charles Willson Peale’s “Staircase Group” at the Columbianum Exhibition”. American Art, Vol. 17, No. 2 (Summer, 2003), pp. 18-39. Print.

Binggeli, Corky. “Interior Graphic Standards”. Second edition. John Wiley & Sons. New Jersey. 2012. Print Board Meeting Presentation, “ MLK Jr. Memorial Library”, scribd.com. Web. Nov 15, 2013 Buri, Hani and Weinand. “Origami – Folded Plate Structures, Architecture”.

EPFL. Lausanne, Switzerland. 2013. Print Conklin, Eric L. “Trompe L’oeil”. ericconklin.com/index.asp, Nov, 2005. Web. Sep 28, 2013.

DC, Public Library. “Library Building Program”. dclibrary.org. Web 13, 2013 Heng Ser Guan, Kevin. “Perspective in Mathematics and Art.” National University of Singapore, 2002. Print.

Holl, Steven, Pallasmaa, Gomez. “Questions of Perception”. William Stout publishers, San Francisco. 2007. Print.

Joyce, Christopher. “As Population,Consumption Rise, Builder Goes Small”.

Npr.org. Nov 1, 2011. Web. Oct 5, 2013.

Kleiner, Fred S. “Gardner’s Art Through The Ages: A Global History (13thEdition). Boston: Wadsworth, 2011.Print Kalloniatis, Michael and Luu. “Perception of Depth”. Webvision.med.utah.edu.

Utah. March, 2011. Web. Sep 25, 2013

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Interior Design Thesis

Leopold, Cornelie. “Geometry Concepts in Architectural Design”. University of Kaiserslautern, Germany. Aug 2006, Print Library History. “The Martin Luther King Jr. Memorial”. dclibrary.org. Web.Nov 15, 2013 Matsubara, Juliana and Celani. “Origami: Symmetry And Applications In Architecture”. State university of campinas, Brezil. 2007. Print.

Nicolas, Serge. “Joseph Delboeuf on Visual Illusions: A Historical Sketch”,The American Journal of Psychology, Vol. 108, No. 4 , 1995. Print.

Pallasmaa, Juhani. “Space, Place And Atmosphere”. Ghost 13 International Architectural Conference. Nova Scotia. June 9, 2011. Print.

Poore, Jonathan. “Interior Color By Design”. Rockport Publishers. Massachusetts. 2005. Print Ramzy, Nelly Shafil. “From Modernism to Postmodernism: Philosophical Schools of Thought as Basis for Architectural Movements”. ASJEE. Vol 1.

Sep 2009. Print.

Spiliotis, Apollo. “Illusionism in Architecture.” University of Manchester. 2008.

Print.

Thompson, Peter, Georgia, Eleni. “The origins of entasis: illusion, aesthetics or engineering?”. University of York, York. UK. 5 Feb, 2007. Print Toutin, Thierry. “Qualitative Aspects of Chromo-Stereoscopy for Depth Perception”. Photogrammetric Engineering & Remote Sensing, Vol. 63, No. 2, February 1997, pp. 193-203. Print Warhol, Andy. “The philosophy of Andy Warhol”. Atmosphere. Harvest. First Edi. April 6, 1977. Print.

Wilcox, Michael. “Perfect Color Choices For The Home Decorator”. Publisher :Anne Gardner, U.S. Print.

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07. Image Source

Fig 1 – Perspective method by Alberti - math.nus.edu Fig 2 – Foreshortening by Durer - fp.optics.arizona.edu Fig 3 – The Parthenon, Acropolis, 447 - 438 B.C - wings.buffalo.edu Fig 4 – Temple of Hera (Basilica), 550 B.C - wings.buffalo.edu Fig 5 – Library of Celsus, Ephesos, - Asia Minor - 135-AD - grecotour.com Fig 6 – Trompe L’oeil Villa Barbaro – ookaboo.com Fig 7 – Holbein ambassadors, 1533 A.D - hilobrow.com Fig 8.1 – Church of San Satiro, Milan – image from Illusionism in Architecture Fig 8.2 – Church of San Satiro, Milan – image from Illusionism in Architecture Fig 9.1 – Teatro Olimpico - bed-breakfast-italy.com/olimpico.htm Fig 9.2 – Teatro Olimpico - bed-breakfast-italy.com/olimpico.htm Fig 10 – Palazzo Spada, Rome, 1638 A.D - math.nus.edu Fig 11 – Palazzo Spada, top and side plan views Fig 12 – Zeuxis art3idea.psu.edu Fig 13 – Parrhasius - ahistoryblog.com Fig 14 - St. Ignazio side view - image from flickr Fig 15 - Staircase Group – image from Illusion and Allusion by Wendy Bellion.

Fig 16 - After the Bath - uh.edu/~englmi/BorgesBaroqueIllusionism/ Fig 17 - St. Ignazio side view - image from flickr Fig 18 to 21 - Trillusion Salon Satellite - banozic.com/index.php?/trillusion/ Fig 22 to 24 - Trillusion - facebook.com/Trlllusion Fig 25 - Trillusion Salon Satellite - banozic.com/index.php?/trillusion/ Fig 26 - Trillusion Salon Satellite - banozic.com/index.php?/trillusion/

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Interior Design Thesis

Fig 27 to 30 - Folded Crib - freshome.com Fig 31 to 35 - Spatial Inebriation - fosterdesignfarm.com/spatial-inebriation Fig 36 to 46 - Tel Aviv museum of art Preston Scott Cohen - pscohen.com Fig 47 - Active Objects - The Work of Willys de Castro by Da Silva Fig 48 - Sculpture Interior, 1996 Roy – lichtensteinfoundation.org Fig 49 - Scrim Veil, Irwin artobserved.com Fig 50 - Kazimir Space Model, 2B2 Architecture Fig 51 - Seattle Public Library - places.designobserver.com Fig 52 - Beko building Belgrade - archdaily.com Fig 53 - Taiyuan Museum, Preston Scott Cohen - pscohen.com Fig 54.1 - House I, Roy Lichtenstein - National Gallery of Art Washinton D.C. Fig 54.2 - House I, Roy Lichtenstein - National Gallery of Art Washinton D.C. Fig 55 - Empyrean Passage, Dan Corson - dezeen.com Fig 56 - Aten Reign, James Turrell - disd.edu Fig 57 - Guggenheim Museum, Frank Lloyed Wright Fig 58 - Red, Yellow, Blue V, self photography Fig 59 to 62 - DC, Public Library - dclibrary.org Fig 63 to 66 - MLK timeline - facebook.com Fig 67 - MLK First floor renovation - Freelon Design X Technology Sep 12, 2012. Print Fig 68 - MLK First floor renovation - Freelon Design X Technology Sep 12, 2012. Print Fig 69 - Media Space 1 - steelcase.com Fig 70 - Ripple - Coalesse.com Fig 71 - Media Space 2 - steelcase.com Fig 72 - Train Table / Kart Chair - Coalesse.com

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