02 Ljudska Figura u Savremenoj Arhitektonskoj Prezentaciji - e n g l i s h+Izmena (1)

7/28/2019 02 Ljudska Figura u Savremenoj Arhitektonskoj Prezentaciji - e n g l i s h+Izmena (1)

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HUMAN FIGURE IN CONTEMPORARYARCHITECTONIC PRESENTATION

Vladan Nikoli1

Olivera Nikoli2

Biserka Markovi3

Abstract

Analyzing numerous contemporary examples of architectonic

presentations, but also characteristic historical examples, one may observe thespecifics of presentation of human figures in those presentations. Every style inarchiteture is accompanied by certain characteristics of architectonicpresentation. Human figure is a significant secondary component ofpresentation and contributes to the quality of description of atmosphere in thepresented scene. It also allows dimensioning of presented structures in thecontext of applied materials and dimensions. A classification of the mostfrequently used ways of displaying human figure, and of the visual effectapplied facilitates a simple analysis and assessment of development ofcontemporary architectonic presentation.

Key words: human figure, architectonic presentation

1. INTRODUCTION

Presentation of architectonic structures or architectonic presentation (AP)is a set of visual attributes describing all relevant basic (shape and form) andcomplex (texture and color) visual properties of presented structures and othervisual elements, which define the context in which the displayed structures arelocated. Architectonic presentation does not have the role to display thestructures in as realistic manner as possible, but primarily to describe the

prevailing atmosphere in and around those structures, a Genius loci.If the elements of AP are divided into primary, those elements of the verystructures being presented, and secondary, the elements providing additionaldescription of the atmosphere, then the human figure belongs to thesecondary elements of AP. There is no prominent AP without implementedhuman figure. It can be a part of the 3D display, but also an element in thetechnical drawings, parts of AP. As AP is personification of the spirit of aplace, human figure assumes various visual forms and manifestations with thesame goal. Human figure should create a viewable form of AP fromdimensioning analysis to the psychological perception.

1

Assistant, PhD student, Faculty of Architecture and Civil Engineering, Ni, Serbia2 PhD student, Faculty of Architecture and Civil Engineering, Ni, Serbia3 PhD, full professor, Faculty of Architecture and Civil Engineering, Ni


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According to the method of realization of architectonic presentation, twoimportant periods can be observed, before and after intensive usage ofcomputers in architecture. The former period became the history of AP, whilethe contemporary architectonic presentation almost completely relies on usageof computers.

Human figure which is a part of AP can be observed in the context of theprevious statements. In the latter period the good quality AP is a result of greatcreative impetus of architects and designers in terms of ideas implemented inthe work, and facilitated by new and increasing potential of computerapplication. In the large number of existing principles of contemporaryarchitectonic presentations, some specific principles and characteristics ofpresentation of human figure can be distinguished. It is also possible to classifythem according to the manner of usage and presentation of humane figure in tothe desired visual and psychological effect of such presentation method.

2. HISTORICAL BACKGROUNDIn historical perspective, it is evident that human figure was a part of

every AP. In this context can be viewed not only architectonic drawings, but alarge number of drawings, fresco paintings and reliefs, comprising presentationof architectonic structures within scenes comprising human figures. All of thispresents a historical background which is a basis for almost any ofcontemporary concepts about presentation of human figures within APs.

Leonardos Vitruvian man from 15th century, was drawn after the worksof Vitruvius and represents a benchmark of ancient ideal human figure. TheCorbusiers Modulor and its various derivatives were the models for variousways of human figure stylization, i.e. silhouettes in the period of the Moderne,

and the similar principles can be seen in contemporary architectonicpresentations.

figure 1. Vitruvian man figure 2. Modulor / Le Corbusier

One of the common ways of inserting of human figures into anarchitectonic presentation, in the period prior to the mass usage of computers inarchitecture, was usage of Letraset4 sheets. Letraset sheets, despite their

4Letraset is a British company primarily know by the sheets for transfer of ready-made

graphic elements and typefaces into architectonic and designing drawings. Application ofLetraset in architecture and esign was particularly pronounced in 60s, 70s and 80s of the 20th

century until computers became mass used in almost all areas. The name was often genericallyused for all other transfer sheets of other manufacturers.


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diversity, limited architectonic presentation to predefined figures which used torepeat in a large number of presentations, and therefore made them typified.

figure 3. Letraset sheets

Alternative to such method of presentation was production of collageusing cut-out human photographs. An example of this are the photographs doneby Ron Harron from the Archigram group. One of his presentations is displayedin figure 4. Simulation of such method of presentation was very much utilized inlater contemporary, computer generated architectonic presentations. Most oftenthose human figures were set with no shadows or transparency so that theycould truly simulate the original way of production.

figure 4. Tuned Suburb /Ron Herron / 1968.


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Realistic presentation of human figures is applied in the realisticpresentation of the entirescene, but it can be applied in any other AP creating acontrast in the method of presentation of certain elements of the scene. Suchapproach inclines to hyper-realism, and the obtained image is difficult to

distinguish from a photograph. Human figures in such AP are given with alldetails, and fitted in the scene by shadows and coloration. Realisticpresentation of human figures in AP is facilitated through accelerateddevelopment of the software for visualization of 3D models and processing ofbitmaps. Time required for realization of such presentations is shortened andthe production method is maximally simplified. This resulted in numerous highquality presentations, and the level of realism is permanently increased byintroduction of more advanced algorithms for simulation of textures andcharacteristics of materials, as well as for analysis of lighting and generation ofshadows. An example of a realistic presentation of human figures is given in thefigure 7.

figure 7. Swedish Media Library Competition / ADEPT and Sou Fujimoto architects

Presentation of human figures simulating the collage technique isfrequently applied in contemporary architectonic presentations. Most frequently,

human figures are embedded in technically contemporary visualization ofstructures as cut-out photographs. The collage effect is achieved by omission ofhuman figures shadows, their different coloration, usage of black and whiteimages in a colored scene and vice versa. Such method of presentation is acombination of contemporary technologies and visual characteristics ofarchitectonic visualizations of the 70s of 20 th century. Implementation of retro-styles is very present in all the forms of design and represents a recycling andfurther elaboration of ideas which were not fully explored, regardless of the timein which they were created. Examples are given in figures 8 and 9.


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figure 8. Continuum Uncovered / Fusionarchitects

figure 9. Fake Plastic Trees in Hollywood

/ Patterns

Presentation of human figures in the form of silhouettes and panelsis interesting for several reasons. Primarily, a scene is disencumbered ofexcess details and colors, and a good quality and harmonic presentation isobtained. Such presentation is easier to manage in esthetic terms, and use it as part of a wider presentation. By applying some of visual effects mentionedfurther in the text it is possible to generate various variations of human figurepresented in the form of a silhouette. Adding a third dimension to the humansilhouettes generates panels, which open up a possibility to provide a goodquality views from different perspectives, without having to reorient the panelstowards the observer viewpoints. Examples are given in figures 10 and 11.

figure 10. Beej Proposal /afreestudio

figure 11. High Line Design Proposal / Zaha Hadid

Atypical manners of presentation of human figures in AP comprise apresentation of human figure in an esthetically innovative and unique way. Alarge number of variations facilitates an original creative expression andprovides to the AP a strong artistic component, which extracts it from thecontext of exclusively utilitarian graphic form. There are examples in figures 12

and 13. Such presentations became artifacts in their own right and posses aspecial esthetic and artistic value.


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figure 12. Reactor /alltag.org figure 13. House Casanova / BatemanArchitects

3.2. Visual effects applied in presentation of human figure in AP

Irrespective of the way in which human figures are presented, a numberof effects is applied, adding characteristics to architectonic presentation. In thenext classification, only the most frequently used visual effects are listed:

Transparency

Blur

Grayscale

Localization Shadow omission

Atypical visual effects

Transparency, is the most used visual effect displaying human figures inAP. Transparency is used as effect in any method of visual presentation ofhuman figure. There are two most frequently applied principles whenimplementing transparency.

The first principle is to provide transparency to the figures in theforeground, which appear larger in the perspective. In this way, the eye of theobserver is prevented from focusing on those figures, since they are secondary

elements of AP. With such approach, it is possible to embed human figures veryclose to the position of the imaginary observer, without compromising the mainpurpose of AP, which is presentation of architectonic structures.

The second principle is apply transparency, or higher degree oftransparency, to the human figures positioned farther away from an observer,so as to stress the effect of depth in the picture. This principle does not excludethe first one, as transparency for any figure can be adjusted differently. Thereare examples in the figures 14 and 15.


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figure 14. ProCredit Bank /Vladan Nikoli

figure 15. Polish Pavilion, World Expo, Shanghai /M. Mostafa, N. Paszkowska and W. Kakowski

Blur effect in virtual architectonic scenes is a counterpart to a longexposition in photography. It is accomplished in various ways, simulatingmovement and motion. In this manner is created only stationary appearance ofa scene, but also an activity taking place in the represented scene. Theexamples are in figures 16 and 17.

figure 16. Blur effect figure 17. High Line Design Proposal /Zaha Hadid

Grayscale is an effect whereby human figures are presented in theshades of gray, inside a colored or partially colored scene. The reason for suchapproach to processing of human figure is similar as in presentation of figuresas silhouettes, to disencumber the figure in terms of esthetics and coloration.Such effect is not always desirable, especially in case when the stress is onconjuring up the high frequency and vividness of the location presented. It isusually the case with shopping malls, markets sport events halls etc. However,if the structures in question are those with prevailing harmonic and peacefulmood, such effect is highly applicable. Also, it is possible to reduce the intensity

of color of human figures, which only emphasizes the grayscale effect. Thereare examples in figures 18 and 19.


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figure 18. Library in Pagegiai figure 19. Competition design / afreestudio

Localization comprises embedding of the human figures in AP whichare characteristic for the climate and location where the presented structure islocated. This entails considering prevailing skin coloration, dressing habits,population customs etc. Localization can be considered a visual effect regardingthat it is applicable to any manner of human figure presentation. Localization, asan effect, is particularly important for the future users acceptance of proposedarchitectonic designs. There are examples in figures 20 and 21.

figure 20. Masdar / Norman Foster figure 21. School in rural Tanzania /Students work

Shadow omission of human figures in AP accomplishes an abstracteffect of scene fluidity. It is most frequently used in simulation of collages incontemporary AP. This effect can be used with any method of human figurepresentation.

figure 22. Waterloo History Museum / Moriyama + Teshima Architects


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4. CONCLUSION

Based on the proposed classification and listed visual effects, it ispossible to draw conclusions which facilitate analysis and research of AP andcan represent guidelines for their successful production, regarding theirfunction. Each architectonic presentation is a graphic artifact in its own right,and its successful reading requires certain experiences and knowledge.

The level of visual realism of AP can vary, and liable to combiningsegments of diverse visual realism of AP. This also holds for human figure as apart of AP, whose visual characteristics can be the same, similar or completelydifferent than the rest of AP.

The number of human figures evokes the frequency of a location, a largenumber of colors is suitable for places intended for entertainment and shopping,black and white figures of reduced colors for the cultural facilities, silhouettescan be used universally and variations of these features can describe a precisecharacter of structures and environment. The applied visual effects can evoke

certain dynamics, suggesting motions, blur effects. By applying transparencythe presentation is freed of excess details and better analysis of primaryelements of AP and better focus on it is enabled. By presenting human figureswith the local features, it is possible to definitely describe the area in which thepresented structure is located. By recycling ideas from the historically significantexamples, it is possible to create a good quality and modern AP. These are onlysome of the important conclusions, and regarding the abstractness of the issue,every reader of the paper can draw their own conclusions.

5. REFERENCES

1. Architectural Design Vol. 79, No. 6, November / December 2009.2. Ching, F.: Architectural Graphics, Van Nostrand Reinhold, New York, 1975.3. Chudley, J.: Letraset: A Lesson in Growth, Century, 1974.4. Fischer, J.: 1000x European Architecture, Verlagshaus Braun, 2007.5. Farrelly, L.: Representational Techniques, AVA Publishing, 2007.6. Interiors: Perspectives in Architectural Design, Graphic-sha Publishing, Tokyo,

1995.7. Le Corbusier: The Modulor, Birkhuser GmbH, 2000.8. Lin, W.M.: Architectural Rendering Techniques: A Color Reference, Wiley, 1985.9. Sadler, S.: Archigram - Architecture without architecture, The MIT Press

Cambridge, Massachusetts London, 2005.10. White, E.: A Graphic Vocabulary for Architectural Presentation, Architectural

Media, 1972.11. Whyte, J.: Virtual Reality and the Built Environment, Architectural Press, 2002.

Web sites:1. archdaily.com (03/2012)2. archinect.com (11/2011)3. b-samra1013-whatisgood.blogspot.com/2011/08/concept-letraset_4969.html

(01/2012)4. en.wikipedia.org/wiki/Letraset (01/2012)5. worldarchitecture.org (04/2012)6. worldarchitecturenews.com (11/2011)

02 Ljudska Figura u Savremenoj Arhitektonskoj Prezentaciji - e n g l i s h+Izmena (1)

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