Research about shadows

letnik1 SPERMININCAIRC

Analiza in obdelava prejšnjih vaj



Žana Korenjak

Usingvotceacbhunliacrayl 8.1 I Path I Idea of green space
8.2 I Contemplating room I Contrast in the shadows
The concept of this project was to built an extroverted
and introverted space that includes a tea room and a
gallery (img. 2.). A place where people and especially
architects could meet and discuss ideas.
I pushed the building to the corner of the street so
I could use the space more efficiently and with that
use the roof to cover the sidewalk where pedestrians
would walk by. With that the architecture would interact
with people and provide them cover from the weather.
In my opinion if architecture would interact more with
our paths it could establish a bigger interest of people
to explore the space around. There are two entrances
on both corners so people can enter from both sides.
The path (img.1) is different from the sidewalk which
is exposed with concrete and does not bring any
pleasure. On the opposite side you step through a
threshold surrounded by trees. You can feel in touch
with nature, closed off from city structures provided
with a space where you can clear your thoughts. The
structure (img.3) is tectonic, built from two horizontal
panels connected with vertical pillars that supports the
building, it feels like it is floating and takes up minimum
ground space. The 1st floor is very intimate, surrounded
with vertical shadows that repeat thus creating rhythm.
The room focuses on the bridge and the church. The
distance between vertical lines increases where these
important objects are located and decreases where we
can’t see them anymore. Because of the daylight, the
atmosphere in the space changes constantly. The 2nd
floor is very open, we are exposed to the sun without
any shading or shelter around. This area gives us a
view of everything without any obstacle around the
platform and makes us feels private.



Folding shadows

I used an image created by László Moholy-Nagy
as an inspiration for my model. I studied the
composition of his work and tried to deconstruct
the image to understand what would be the primary
secondary and tertiary elements in his composition.
I used negative triangular space that surrounded
my image to create primary structure (img.4). I used
this space as as a base for my further assembly.
I noticed a blue line that stood out from the image,
then used it as a threshold between my introverted
and extraverted space. The image consisted out of
lots of lines so I used them as a guide to create a
path throughout my model (img.5).
The path consisted out of walls that would define
the space more precisely in the introverted and
extraverted space.
I wanted to put more detail in to my base structure
so I started thinking how would the structure of this
model look like if I peel off the skin so I added extra
lines that would imply where and how the framework
would continue and look.
By doing that new shadows appeared and made
the introverted space more unique and defined the
area.

4 | Trianglar space I Light

8.5 I Path I Accompanied by shadow

Coding architecture

Case Study Houses are experimental residential
structures that were inexpensive and efficient to
build. It pushed architecture in a new direction
away from excessive decor. With this Americans
tried to solve a residential housing boom caused
by the end of World War II and the return of millions
of soldiers.
Case study house 8: The Eames house (img.6)
is one of the most recognizable houses of the
program with a very unique facade. This home is
all about details in tiny shadows that form because
of the facade’s texture. Different colors spreaded
through the facade work like focal points that
want to tell us something about the structure like
for example a red rectangle is painted next to the
entrance. The glass door would be very hard to
notice but because of the red ractangle you could
always spot where the they are.
I tried to redraw (img.7) some of the details of the
home in scale 1:100. First I found an object in the
original drawing for which I knew approximately the
dimensions already and then rescaled the image
according to the 1:100 scale. With the help of that
I decoded all the important information about the
dimensions of the structure. I then tried to redraw
two facades, two sections and all ground plans.
Image rights owned by Danae Santibañez

8.6 I Eames house I Depicting

8.7 I Redrawn home I Composition system

a fieldCcoomnpsotrsuincgt 8.8 I 1st. Diagonal composition I
8. 9 I 2 nd verical composition I Main Area treshold
When creating this collages I wanted to create
it with mostly lines going only in one direction
(img.8,9). I don’t think my compositions need to
be oriented. Here are three images of my proces
where every collage is a bit different. The following
text describes my final collage (img.10).
I used lighter colors to create a background that then
moves forward to the center point. The composition
is dynamic because dark lines that dominate other
lines create a more complex composition with a
rectangle that is off centered. Without black lines
the composition wouldn’t be as strong because the
contrast would be too big between dark and light
stripes, there would be no transitioning to connect
in between.
The whole composition is based on a grid that
helped as a guide to my composition. We could also
imply that lines could represent spaces. The lighter
colors represent less important or more private
space that is not in our interest and the dark thinner
lines are as a guide to the public area. When dark
lines connect with the rectangle, we would step
through a threshold in to an open area they are
the only lines that are touching the rectangle. Or
we could say dark lines work as borders between
spaces because of character traits that they claim
in this image.
If we would start decreasing opacity on this image,
we could see witch elements are primary secondary
and tertiary. At the end we would be left with only
dark lines and a rectangle which by shape is the
most important.

8. 10 I Final composition I Borders and paths

Theisthinaedroawrys 8.11 I Digaonal intersection I Game with shadows 8.12 I Grid I Texture

This exercise was all about exploring shadows. 8.13 I Density I New layer 8.14 I Main area I Focal view
I created multiple layers (img.19,20) that are
connected with a path. I was inspired by Maurits 8.15 I Diagonal movment I Conecting path 8.16 I Main area I Depth
Cornelis Escher and his work. My path is not defined
by gravity. Model is made so that you can rotate it
on any side and you will have a path (img.16).
I connected my layers with vertical stick that project
shadows that rise or drop to another layer (img.14,
15, 17) creating a path.
Through the model we can see that shadows get
denser in some spaces than other (img.11,13) this
mass because of the contrast creates borders that
define a new space.
There are two things that were important for me I
wanted to make walls or borders that are materially
represented and then making space for where
I wanted their shadows to be casted. Shadows
represented new spaces and borders that did not
exist before.
Through the process I noticed that a mass of
linear shadows casted on one spot create a bigger
contrast and an impact on us then just defining
borders with creating lines around (img.18) so the
more dense they are the bigger contrast exists
between two surfaces that are onthe same level.

8.17 I Model from the side I Telling a bigger 8.18 I Contrast in shadow and ligt I Borders
stroy

8.19 I Armature I Shadows path



Ana Kosnima

Usingvotceacbhunliacrayl

1. I Entrace I One axial

Examination exercise takes place at intersection passage of nearby buildings and old Trnovska church.
between Emonska path (which is path from Trnovska Furthermore my teahouse is bordered with low wall
church to Kongresni square) and Erjavčeva street. For which is an example taken from Plečnik in Križanke. My
my intervention I decided to use asymmetric form in letter gallery is standing in the corner of the plot in order to not
V, of which both axials have a metaphorical meaning stand out and to be more connected to the context of
(img.1.). First axial presents Emonska path and the the old buildings. At the same time it is communicating
second axial presents river Gradaščica which is parallel with green surroundings because even in the house
to the building the examination exercise is about. Both itself we can find elements and details of nature. With
axes are joint together in an open green atrium. Gallery its geometric form, which explores emptiness through
has two entrances. Entrances to gallery are connecting threshold, the building does not represent a typical
both streets (img.2.). An open extroverted space is house. Moreover, in gallery walls intertwine in a way that
located in the middle of the surface. It can serve as leads visitors like in a maze. Nevertheless my gallery
a teahouse and it is a social and alive place where does not have a lot of surface, there still is a lot of space
people can socialize, debate and have meetings. My for exhibition due to symmetric walls. Another important
object on the south side has boundary made of my aspect of my vision is lighting. The side windows of the
architectural house and on north side with synthesis building create indirect lightning in order to make better
edge. This edge is made of trees which soften the atmosphere for exploration of exhibitions.

2. I Whole building I Area view

Folding shadows 3. I First model I Vertcal path
4. I Model I
For our first exercise every one of our group got an
image of constructive painter Maholy Nagy. With
this image we made a model which was presenting
space that has to include a way to move through
it. (img. 3.) I started making my model with folding
and uplifting my main element, a black bold line
that shows main path through my space (img. 4.).
With this previous intervention I created triangular
surface on which I started adding my cut elements.
I made my composition limited with a triangular
wall opposite to the black line (img. 5.). In this wall I
also cut out a blue cross which projects shadow to
surface. Moreover, at surface I also cut out a cross
so shadow can travel through my space under my
model. Another wall/tunnel stands on the other
end of the triangle and metaphorically represents
impossible exit from the space, due to the path
that runs out to my tunnel. Nevertheless, my path
also has a boundary made of two lines. One line is
lifted from the base and the other line is glued to
surface. Another important role at my image play
two thin lines which cross at the center of red circle.
Because of that I created repetition of this element
at the top of my ‘’walls’’. The second model I
made at first thought was much better because of
morphed shapes. Main element at model are lines
of different thicknesses. With this lines I create
two spaces with thresholds inside. Furthermore,
these two spaces are blending to red circle which
is presenting open atrium. I personally believe that
my first model is much better (even at first thought
different) because second model contains curved
lines. I think I have put too much effort in my first
model on shadows and not enough on developing
paths through my space so that I need to improve
in my first model.



Coding architecture

In this exercise we had to draw a floor plan of one
house in the group of Case Study Houses. I chose
house of Raphael Soriano with an interesting
name Ravioli Drive (img. 6.). All the Case Study
Houses were designed as prototypes of modern
and functional homes for the post-war middle class
American family. Not only the design but also the
building materials had to accomplish this goal. The
use of steel framing for the structure for the Case
Study House 1950, shows how much Raphael
Soriano was interested in applying this concept
adopting new technologies to the building process
(img. 7.). Raphael Soriano designed the terrace
as it emerged from the living area within by the
extension of the flat steel roof around its perimeter
and the shared wall of brick with the adjacent living
room.

6. I Redrawn house I Floor plan

7. I Photography I Real house

a fieldCcoomnpsotrsuincgt 8. I Final composition I Main path

For our forth exercise we had to make a collage
with orthogonal composition, made out of the
initial selected artwork and the plans of the house
selected from the Case Study Houses program.
We had to take these materials as simple graphical
compositions of shadows, combining them freely
and finding balance. I started developing my
concept by researching connection between
individual elements. At first I started to make a
path through the space with elements from a
painting and elements from house plan (img. 9.).
That way my idea and path was made of light and
dark elements however in my opinion it was not
clear what I wanted to present because there was
no rules between elements. In my next collage I
tried to be more persistent with making clear what
is path and what not. This way I pointed out some
rules: my black color from painting presents path
and lighter colors are thresholds. This way I think
I already made quite good collage with main cross
in high right side. But I was already not satisfied
with my work. I wanted to do something even
better. As Ludwig Mies van der Rohe said ‘’less is
more’’ I made new model which was simpler and
more clearly presented my main idea of path and
thresholds (img. 8.).

9. I First tries of college I

Theisthinaedroawrys 10 | First model l Composition 11 | First model l shadow path

We had to make a model based on collage from exercise 12 | Second model l Focus view 13 | Second model l Composition
4. I tried to make my third and final model on the basis
of first (img. 10.)(img. 11.) and second (img. 12.)(img. 14 | Final model l Main path 15 | Final model l Joint of paths
13.) one but with improvements I have been given at
korekture. At first I focused to understand my collage 16 | Final model l Shadow path 17 | Final model l Projection of scattered light
while I was trying to imagine it in 3D perspective. Like if
the collage is my floorplan of model. This way I decided
that my main path will be the same in groundfloor and in
space of model. (If you look my model from the top it is
very similar to my collage.)(img. 14.). Besides the main
path that is under big shadow of black cross and side
path which are below tinier lines which are intertwining
through the space(img. 15.). In my model shadow is
presenting where path is continuing. I also decided that
my interweaving smaller paths look the same way but
they are made of shadows(img. 16.). This way my main
element CROSS appears through the whole model and
leads path with shadows from through opened spaces
and covered spaces. Beginning to the end (my path is
going through opened and covered spaces.) In my basis
is an opening in shape of my main element. Through
this opening light can illuminate my model from different
perspective and create projection of scattered light(img.
17.). All my walls are taken from my floorplan which is
made on grid with 9x9 composition. Because of that,
all my spaces length are built with multiple of number
9 and this way in reality my model is also the numerical
sequence of number 9 and their multiples. When I build
my path I wanted to arouse curiosity by going across
thresholds and while you are traveling through you can
reveal new spaces along the path(img. 18.). The biggest
reason for this is that my path and spaces have location
in 3 different floors which intertwine with each other.
In my model I also tried to add a rule of contrast. This
way there are parts where I made centers of action and
centers of dilution(img. 19.).





Eva Kržnarić

Usingvotceacbhunliacrayl img 1 l model l geometry

This project is located in Ljubljana on Erjavceva
cesta 15, above very important archeology. This
archeology is main reason for this architecture, it is
its concept, a public place, where people can view
the history below it. It is design to cover it as little as
possible and make important parts more accessible.
Whole building is concrete. The structure is based
on the geometry of archeology, as seen in image 1.
Composition is dynamic, including different levels,
walls, paths, roofs. This asymmetry is forming curve-
linear shape. Walls separate space into smaller
voids, each offering a different point of view.
The main threshold is the first one we enter. From it
we can view only a part of archeology, this attracts
us to move along to view the rest of it. The next
threshold is uncovered and higher, opening a wide
point of view, look at image 2. Then path leads us
two ways: to exit the site, or to continue towards the
most important part of remains - baptistery. This part
is the most intimate space, covered and surrounded
by four walls, forcing you to look down. Behind
the building I planned bigger trees, which would
make the boundary with Presidental palaceless
obvious and faded. Tress also create nice greener
environment to be in.



Folding shadows img 3 l manipulated picture l composition
img 4 l thresholds l space
I used Moholy-Nagy picture and reshaped it into
a model. I manipulated that picture by folding and
cutting, based on its geometry. From old composition
I made a new, also asymmetric, as seen in image 3.
While deciding how to balance the model I was
careful with different colours, since darker ones are
heavier and more obvious than lighter. By folding
paper, I made thresholds, neither of which is fully
closed, to make a path keep going around.
The most introverted is the middle of a model
(image 4) and as we move out of it, it becomes
more extraverted into continuous planes. Also, in
the middle the composition is denser than on the
edges.
Structure is softly merged with background,
allowing it to be even in the middle of the model.
Relationship with background was very important to
me. The model is emerging from it and would not
be the same without it, the composition would fall
apart (image 5).

img 5 l manipulated picture l dark and light

Coding architecture img 6 l CSH#6 model l outside appearance

The Case Study House program (1945-1966) was
an experimental, innovative event in the history of
American architecture, which concentrated on the
Los Angeles area and oversaw the design of 36
prototype homes. The goal was to make available
plans for modern residences that could be easily
and cheaply constructed during the postwar
building boom.
Case Study House number 6 (image 6), by Richard
Neutra in 1945, was never really built. It is also
known as the Omega House. It is a family house
turned inside out, effectively bringing the outdoors
in. The plan allowed to express splits between
public and private, adult and child, day and night,
activity and rest.
I redraw the Omega House floor plan, facade
and section in scale 1:100 - image 7. To show the
inside in the best way, I used shifted section. To
give facade more depth I draw shadows and now
looking back at it I realized there is a mistake (a bit
right from the middle should have been a shadow
from the wall too and not just from the roof). Maybe
to get more of the wanted depth with shadows, I
should have drawn them a bit darker.

img 7 l CSH#6 l redrawing

a fieldCcoomnpsotrsuincgt

Using a photo of Moholy-Nagy and Case Study
House drawing print (image 7). I created new
composition. I cut photos and made a collage
(image 9).
Using 9x9 grid proportion as hidden base I placed
cut elements - rectangles, while trying to find the
best balance. I used orthogonal composition.
First, I freely placed the case study house pieces
and then by following pieces I tried to balance
them. The most weight to the balance contributed
colour, so I was careful where to put each colour,
especially the darker tints, which I placed second,
sticking to the case study house prints. Then I
worked with lighter tones and added them sticking
to darker ones (image 8).
I did not cover all the paper, because background
is also very important and contributes to the final
composition. The background is presented in white
colour.

img 8 l black and white collage l contrast

img 9 l collage l composition

Theisthinaedroawrys img 10 l projected shadow l imagination facade
img 11 l projected shadow l layers, voids facade

For this project I used work from previous exercises img 12 l projected shadow l layers
and built on it. I used 2D composition (exercise 4)
as a base from which I emerged structures. My goal img 13l projected shadow l layers
was to make model look like a 3D view of previous
2D composition. img 14 l projected shadow l layers
Main path is going straight, also suggested by
the longer horizontal wooden sticks, look image img 15 l projected shadow l layers
19. There are around 5 side paths that flow into
the main one. They are suggested by the smaller img 16 l projected shadow l layers
horizontal stick, which crosses longer one. Main
threshold is the middle black »box«, through which
runs the main path. Also, there are 4 other groups
of thresholds. They are crossed by side paths,
which connects them with main path, threshold.
Thresholds have parts with open roofs through
which light shines in. Inside the thresholds is seen an
interesting combination of dark, black material and
light.Very interesting are also projected shadows
that model creates. By projecting shadows, I
made some photos playing with imagination. For
example, in image 18 where shadows bellow model
really confuse what is a part of model and what
is not. That is because I made multiple levels and
used different colors. And for example, in image 20
model is continued and collided into its shadow.
In images 10 - 17 I played with projections of the
shadows, creating some interesting 2D layered
looking photos.

img 17 l projected shadow l layers facade

img 18 l model l game of shadows
img 19 l model l dynamic



Luka Korošec

Usingvotceacbhunliacrayl

My intervention for an exam exercise for AO1 is based on
2 volumes in the shape of letter L, which anticipate a void
between them. In order to respond to the requirements
of the exercise, especially in terms of programme –
the aim was to create a house of architecture with 2
spaces, an extroverted cafe and an introverted gallery –
I decided to ascribe each of them to one L volume. The
volume that was closer to Eipprova and Karunova ulica
created a border between the streets and the building.
For the purpose of enhancing the connection between
the passers-by and the interior of the ediffice, I lifted
this volume which then overlapped with the bottom one.
Consequently, the ground floor became much more
exposed to the environment around it, making it more
of an exterior than an interior space, while still retaining
the composition of an initial idea. The aformentioned
void between the volumes creates an atrium with a tree
that can be used for architectural debates or events,
especially in the warmer months of the year. It serves
as a linker between the threshold on the northern side
of the building and the cafe’s veranda and garden on
the southern side, allowing the space to freely flow
through it. The upper volume – a gallery – is much
more introverted, connected to the ground floor with
two gently sloping ramps, allowing for a circular path.
The upper volume is partially divided into 3 spaces.
The middle one is enveloped by walls, allowing the light
to reach its interior only through small openings in its
ceiling, thus being quite dark. The other two volumes
are slightly more open to the surrounding landscape, the
light coming into them through floor-to-ceiling windows.
The positioning of these windows is intentional, as
they respond to the architectural interventions of Jože
Plecnik in the vicinity of the location – one is directed
towards Plecnikova hiša, two to Gradašcica stream and
the biggest one, contracting the corner of the upper
volume, turning one’s view towards Trnovski most. With
my concept, I tried to respond to the context in which
the task was placed while at the same time trying to
create a unique experience of the place with the use
of basic architectural elements and concepts, such as
an entrance, a void/atrium, a path and windows placed
along it.



Folding shadows

Our task was to create a space using one image of
László Moholy-Nagy, a well known constructivist artist.
The main idea was to analyse the geometrical shapes
in the chosen image and how they relate to each other.
After that, using two simple operations (cutting and
folding) to conceive a space.
Initially, I carefully analysed the image and tried to
establish a hierarchy between all elements. Square, the
largest element, was undoubtedly the most important, as
it served as an anchor point for all remaining rectangles.
However, having used the square as a core of my design
in the first attempt turned out to be a bad idea, because
the resulting space lacked articulation and was clustered
with too many insignificant elements. For the second
attempt, I decided to approach the image in a completely
different way, this time using long rectangles as a ‘’path’’
around which the rest of the space was to be constructed.
I used two long rectangle shapes attached to the sides
of the path to articulate it. Although very abstract, the
extruded shapes imply a transparent threshold and
anticipate a continuation of space. Secondly, I used
the aformentioned square and some parts of the image
around it to create an introverted space with which
the path would then intersect. The planes envelope a
triangle-shaped space which has two openings in the
bottom part to allow the path to pass through it. There is
an aperture in the upper part, shielded by three triangles.
This opening allows the light to reach the interior of the
space, creating a play of shadows inside it. I think that
this model was more successful in trying to capture a
space, mainly because the thoughts and intentions
behind it were much more clear. Using only a path and
and introverted space along it resulted in a model which
is much less ambigous and complex, but its main idea is
immediately visible and way more efficient in comparison
with the first one.



Coding architecture

In this exercise the primary goal was to achieve
‘‘architectural literacy’’ - we learned how to read different
architectural plans, the importance of choosing the right
scale for the project and finally, we had to draw a floor
plan and two sections of a chosen project from the Case
Study Houses series. I decided to work with number 22
- Stahl House. This iconic building of the 20th century
American architecture was conceived by Pierre Koenig
and is located in the Holywood Hills with a beautiful view
on Los Angeles. The house is in the shape of the letter
L and except for the bedroom and utility, the interior is
enclosed by large floor-to-ceiling windows that allow it
to blend with the surrounding landscape.
Before we started drawing the plans, we had
accumulated as much material in connection with the
chosen project as possible. Because the images and
plans were of different sizes, we used an architectural
scale ruler to calculate the right dimensions of the house
which we were to draw in scale 1:100. The A2 paper
had to contain a floor plan, a section and a view, which
had to be in a logical relationship with each other while
at the same time forming an appealing composition.



a fieldCcoomnpsotrsuincgt

In the fourth exercise our task was to create a collage/
field construct, using the material from the previous two
exercises – a Moholy-Nagy painting and our drawing of
the chosen house from the Case Study Houses series.
Although the construct was primarily meant to give an
impression of an artwork with focus on figure, ground
and casting shadows, I developed mine with an abstract
floor plan in mind, to prepare a good basis for the next
exercise.
Initially, I divided the background (carton) into eight
squares which then helped me to establish a geometry
behind the construct. I used parts of Stahl House floor
plan and black paper to create the most important and
strongest parts of the construct – figure. Afterwards, I
decided to establish a path, using parts of Moholy-Nagy
painting to define its boundaries by sides. This path cuts
through the composition as a strong vertical element
while at the same time connecting all strong figures
except one. I constructed another path, which is not
as strongly implied as the main vertical one, however,
its meandering between one of the black squares and
parts of the painting makes it much more interesting
and ambigous. In the upper-right part of the collage,
I decided to leave the space untouched – a void, an
empty space can be just as meaningful as something
that is built up.

Theisthinaedroawrys



Petra Kovačić

Usingvotceacbhunliacrayl

2nd exercise: voids
Idea: I first concentrated on negative form and
composition of void. It helped me to drawn it in
cartesian system to better balanced negative
masses and successfully jointed them together.
After that I inserted void into object. I tried to make
unpredictable, asymmetrical, empty parts in 3D
grid and not stick only on one or two planes but
make it on multiple levels. Some parts of void
stayed inside the object when the others came all
the way to surface.
Concept: I started tectonically building my object,
using wooden sticks. By crossing them I reached
construction and 3D grid from which I then take
away sticks where voids were going to be implied.
This part was more stereotomic. With taken sticks
the negative form of voids was made.
Result: result was half transparent, wood
construction with unpredictable voids which didn’t
follow any logical or mathematical paths. The
construction was in some way like frame for voids
which encouraged viewer to explore where the
empty parts might be.