Research about shadows

Folding shadows

Task: Analyze one of Moholy-Nagy painting.
Establish a hierarchy between elements on
painting. Create space by folding and cutting the
painting.
First model: I focused on geometric shapes and
concept of the Moholy-Nagy’s painting. I copied
shapes and explore relationship between them
but also tried to come around with new one as
if painting was space. Some of them I double to
create half open space, some of then I used in
same amount to create details and some of then
I completely abandon. Furthermore, I explore the
shadow of the new structure from different angles
and how to catch it in interesting shape.
Second model: I put blank paper aside and try to
transform art into space from painting itself. This
way of work made me think about background as
well so I started to imagine the main composition
as if it was a path and background as landscape.
In some way this made sense to me; we can
not abandon landscape when we thinking about
architecture, it is there and it bring some sort of
quality to architecture itself. So I start to cut and
fold background into shapes similar to rocks and
hills. To establish the main point of the path, I
somehow made fence out of imaginary rocks and
where I want to imply on entrance, the two rock
were brought very close to each other to create the
strait.

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Coding architecture

For this exercise I decided to draw plans of Case
study house 20A which was made by Richard
Neutra. When choosing I was looking for houses
that were built so I would have more material
available. I printed different plans founded on
internet and decided to draw plan without later
extension. CSH 20A is one-floor house, made for
3 to 4 member family, with a big garden behind it.



a fieldCcoomnpsotrsuincgt

First attempt: I have just dived in and explored the
relationship between Moholy-Nagy painting and
CSH plans. The painting tends to dominate over
black and white drawings so I decided to compose
sort of a new composition out of painting’s parts
and use plans sketches as a complement to it. I did
not think too much and just followed my intuition
and I had similar approach in second attempt.
Second attempt: Following the similar work
thinking, I started to fill blank space with only SCH
plans in different scales. I put bigger parts on top
and slowly passing to smaller and smaller parts all
the way to the bottom of paper. When field area
was full, I turned to painting. I cut it into stripes and
rectangles and complement lines and spaces of
CSH composition.



Theisthinaedroawrys

Every line I made follows line on the prepared
base. The white half spaces are fencing coloured
parts of collage, parts taken out of Moholy Nagy’s
painting, except for his lines; those are there to
imply directions of path. The path is quite branched
out, there are many crosspaths and there is no
dominated path. Maybe the middle one is the main
one because all the others connect with that one.
I mostly emphasize with wooden sticks. I put them
where walls are drawn on the basis. They have
two jobs; they fence the paths and they support
spaces that are lifted up from floor. For spaces I
used black kappa and drawings from past exercise.
Walls, wodden sticks and spaces’s dimensions are
escalating far from entrance and reach the highest
point at the exit.





Tilen Kos

Usingvotceacbhunliacrayl First excercise of AO1
Second excercise of AO1
First Assignment: Edges
The first assignment was to create an area using
just one basic geometric element: points, lines,
planes or volumes – I was assigned lines. My
inspiration came from the outer structure of a
poem – I simplified the shape and extruded the
lines upwards, making all of them parallel. The
spaces between the “verses” were narrow and
claustrophobic and uninviting to a bystander, but
still passable. The left, seemingly random implied
shape created a path with the right rectangular
cluster of lines, squeezing the pedestrian until
opening up, while still guiding and pushing them
outwards
Second Assignment: Emptiness (Positive/Negative
Space) The second assignment urged us to create
a relationship between mass and emptiness and
visualise the emptiness using structure or volume.
Using structure I intertwined components to create
a stable, but brittle-looking construction, closing off
certain areas with three simple planes (one of them
being curved) squeezing and opening in different
areas. I created the Positive without thinking about
making the Negative model (I had emptiness in
mind, but not the execution) so I created a dense
3D grid surrounding the skeletal mass, which took
significantly more time than the positive.



Folding shadows

First attempt: I focused first on transforming my
chosen Moholy-Nagy painting into space based
on shape and concept of the art piece. I took the
concept of the object-shadow relationship supported
by basic geometry and copied the shadow element
several times the way a perfect shadow would be
cast, making the shadow-casting object and basic
geometric plane the structure holding the shadow.
I personally like parallel elements because their
cast shadows with an infinitely distant light source
also appear parallel. The model is not structurally
sound – it sometimes tips on its own, and I could
try to break the perfectly parallel shadows up with
added, removed or tilted elements to create a more
interesting and compelling result.
Second Attempt: This time I dove into the painting
itself. I rotated the object and its shadow upwards,
exploring the possibilities of bending and folding the
existing objects and emphasised the red line, that
held my first model up, when I transformed it into a
plane. The surrounding landscape of the model is
very plain, while the model itself is very broken up,
which creates a somewhat eerie contrast, which I
could break up by bending the painting into simple
geometric rock formations around the model.
The model to me looks random viewed from my
perspective as a builder but creates an interesting
guiding path and shelter when I lower myself to the
ground. I could explore more to find the definitive
elements and possibly simplify the model before
further building on it.

The Base for this excercise: A Mohogy-Nagy painting



Coding architecture

In this excercise we tackled the very important task
of drawing coherent technical drawings by hand
and interpreting others’ drawings. We chose one
of the many Case Study Houses, looked up all the
documentation we could find and drew it ourselves
in the scale of 1:100 on A3/A2 drawing paper.
My Choice was the never realised 1945 Ralph
Rapson’s Greenbelt (CSH#4).
The task of drawing quickly showed itself to be
quite tricky as we first had to determine the scale
of the existing drawings by using any sort of clues
– door height, closets, people et cetera. I was
lucky enough to have people drawn on the facade
sections for scale, but the case did not seem to
have any sort of plans. I drew the facade and
outline of the section first and then tackled the plan
through photos of the model. I managed to find the
original plan, which was in a completely different
scale all together, but it made things a lot easier.
When the drawings were complete, we moved
onto different parts of the drawing such as foliage,
shading and close-proximity environment.
Unfortunately I did not manage to scan the drawing
before the lockdown and the drawing remains at
the faculty, so the only bit left is the original plans.
Part of my drawing are in the next excercise: the
collage.

The Base for this excercise: Case Study House N°4



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This assignment tasked us with creating a planar
composition (that implies space) out of the
shadow-themed painting we chose at the start of
the semester and the technical drawing we had just
completed. We could scale, stretch, cut, drag and
rotate.
In my first attempt (on the next page) I did not quite
know what I was doing. I placed down two red lines
virtually crossing on the edge of the page. I added
some black and light elements. Afterwards I tried
to fill in the empty space in a desperate attempt to
balance the composition.
In my second attempt I went in a bit more calmly. I
took more time, I thought my objects through more
thoroughly and decided in advance where the
focus needs to be. I signified the focal point with
two parallel red lines and vertical black shapes,
dragging the eyes to the top of the composition.
Then I faced the same issue I did with my first
attempt – filling the empty space. And there was a
lot of it. I was struggling a bit, dragging my lighter,
thinner lines across the paper, making intersections,
parallels, grids ...
I talked about my compositions with our mentor.
About the mistakes I’d made with the first and the
advice for the next.
What came out of that is the image on this page.
I added the first attempt to bring the composition
into space on the next page.

Second attempt

First attempt

Theisthinaedroawrys The under- and over-pass The threshold before the under-over pass

A spatial composition is arguably harder than a Open threshold into a tight entrance Levels
planar one. Mathematically a 10cm wide cube has
900 more cubic centimeters than a 10cm wide Duplicating Shadows Repetition
square has square centimeters. Similarly adding
a dimention to our composition from the previous
week makes the task much tougher. We had to
avoid extruction, because that results in a copy
of the last excercise; we had to work with levels
(both built and terrain) and we had to create and
materialise shadows.
My course of plan was to take most inspiration
from my composition as a section. I extruded the
big paralelogram shadow and suspended it on
wooden pillars that followed a strict 3 cm grid. I
then elevated a bit to create a terrace and added
an open box on the top. I expanded lenght-wise and
created another grid of wooden pillars – 3×3cm,
but varying in height. I inserted a smaller replica of
the big shadow element into the grid; out of bounds
of the rules of the grid, creating a bit of tension. I
took the shadow the smaller paralelogram cast and
extruded it as a low, black wall underneath, copying
its casting object and narrowing the path through
the space in a strong manner; as strong as black is.
I connected both ends via partially covered overpass
that created a sort of tunnel on the ground.
Lastly I elevated the platform on which the model
was built so I could punch a hole through it below
the overpass adding to the intensity, the height and
the shadows marking the main threshold of the
model.



Vsebina 2
4
Žana Korenjak 6
Using technical vocabulary 8
Folding shadows 10
Coding arhitecture 12
Composing a field construct 14
The shadows itinerary 16
Ana Kosmina 18
Using technical vocabulary 20
Folding shadows 22
Coding arhitecture 24
Composing a field construct 26
The shadows itinerary 28
Eva Kržnarić 30
Using technical vocabulary 32
Folding shadows 34
Coding arhitecture 36
Composing a field construct 38
The shadows itinerary 40
Luka Korošec 42
Using technical vocabulary 44
Folding shadows 46
Coding arhitecture 47
Composing a field construct 48
The shadows itinerary 50
Petra Kovačić 52
Using technical vocabulary 54
Folding shadows 56
Coding arhitecture 58
Composing a field construct 60
The shadows itinerary 62
Tilen Kos 64
Using technical vocabulary 66
Foldnig shadows 68
Coding arhitecture 70
Composing a field construct
The shadows itinerary



Avtorji besedil

Žana Korenjak
Ana Kosmina
Eva Kržnarić
Luka Korošec
Petra Kovačić
Tilen Kos

Avtorji ilustracij in fotografij

Žana Korenjak
Ana Kosmina
Eva Kržnarić
Luka Korošec
Petra Kovačić
Tilen Kos

Grafično oblikovanje in uredništvo

Mia Konjikušić

Lektoriranje

Maruša Kovač

Mentorji

Izr. prof. mag. Alessio Princic
asist. Paulo Barbaresi
teh.sod. Matjaž Marinič
demonstrator Mia Konjikušić
demonstrator Maruša Kovač
demonstrator Sandi Naglič

Izjava o avtorskih pravicah. Slikovno gradivo je rezu-
ltat dela študentov študijskega procesa na Fakulteti

za arhitekturo v Ljubljani. Gradivo pridobljeno s
svetovnega spleta ima pravice pridžane pri njihovih
avtorjih. Publikacija je v celoti namenjena izključno
z namene raziskovalne dejavnosti v okviru študija

Univerze v Ljubljani.

FAKULUTnEivTeArzZaAvALRjuHbITljEanKiTURO
Seminar Prinčič

2019/2020