3 - 3 ARCHITECTURAL PHOTOGRAPHY PHOTOGRAPHY, AS A METHOD OF APPRECIATION OF THREE DIMENSIONAL ARCHITECTURAL PHENOMINA BY TWO DIMENSIONAL VISUAL LANGUAGE. .ViG.iAYtlW/-.. A DISSERTATION SUBMITTED TO THE FACULTY OF ARCHITECTURE UNIVERSITY OF MORATUWA FOR THE FINAL EXAMINATION IN M.Sc. (ARCHITECTURE) University of Moratuwa * 78186 j UM TbeS'S coll. RATHNAMALALA R.M.B.S.C.K. 13196 DEPARTMENT OF ARCHITECTURE UNIVERSITY OF MORATUWA. SRI LANKA MARCH 2002 78186 CONTENTS page Acknowledgement iv List of Illustrations v Introduction xviii CHAPTER ONE: THE LANGUAGE OF VISION 01 } 01-1 Plastic organization 03 01-1.1 The created image 03 01-1.2 External forces 04 01-1.2.1 The visual field, the retinal field 04 01-1.2.2 The three-dimensional field 06 01-1.2.3 The picture field 06 01-1.3 The spatial forces 07 01-1.3.1 Fields of spatial forces 12 01-1.4. Internal forces 13 01-1.4.1. The fields of the internal forces 16 01-1.5 The physiological field 16 01-1.5.1. Color balance 17 01-1.5.2. Spatial tension; dynamic equilibrium 18 01-1.6. The psychological field 21 01-1.6.1. The space span of plastic organization 21 • 01-1.6.2. Nearness 22 01-1.6.3. Similarity or equality 23 01-1.6.4. Continuance 24 01-1.6.5. Closure 25 01-1.7. The life-span of the plastic image 26 01-1.8. Organization of optical sequence. Rhythm 26 01-1.9. Organization of spatial progression. The equivocal space 29 01 -2. Visual Representation 33 01-2.1. The single unit 36 01-2.2. Relationship of size 37 01-2.3. Relationship of depth 01-2.3.1. Relationship of depth by vertical location 37 ^ 01-2.3.2. Representation of depth by overlapping figures 39 01-2.4. Transparency, interpenetration 40 01-2.5. Perspective 01-2.5.1. Linear perspective 43 01-2.5.2. Inverse perspective 44 01-2.5.3. Amplified perspective 45 01-2.5.4. Multiple, simultaneous perspective 46 01-2.5.5. Mechanical perfection of the linear perspective 47 01-2.5.6. Breakdown of fixed perspective 48 i 01-2.6. Space analysis of the object 48 01-2.7. Rediscovery of basic plastic forces: lines and color planes 52 01-2.8. Integration of the plastic forces 53 01-2.8.1. Compression, interpenetration 53 01-2.8.2. Integration of space by equivocal lines. Marriage of the contours 54 01-2.9. Final elimination of the fixed perspective order 56 01-2.10. Ultimate opening of the picture surface 57 01-2.11. Space construction on the picture surface 60 01-2.12. Closing the surface: complete rapport of the spatial forces 61 01 -2.13. Adaptation to the contemporary environment 66 01-2.14. Simplicity and intensity 66 01-2.15. Precision 67 01-2.16. Light and color 68 01-2.16.1 The sources of color experience 68 01-2.16.2. Value relationships 72 01-2.16.3. Representation of the relationship of colors 80 01-2.17. Representation of movement 85 01-2.17.1. The sources of movement perception 85 01-2.17.2. Traditional representational devices 88 01-2.17.3. Contemporary attempts of movement representation 90 01-2.17.4. Representational devices 91 01-2.18. The process of making 94 01-2.18.1. The material process of making; surface treatment 94 01-2.18.2. The psychological process of making 96 CHAPTER TWO: THE WAY THAT PHOTOGRAPHS COMMUNICATE ARCHITECTURE 02-1. Architectural photography-An introduction 99 02-2. Development of Architectural Photography 100 02-3. Basics of Architectural Photography 102 02-3.1. General Composition of Buildings 102 02-3.2. Exterior of Buildings 103 02-3.3. Interior of Buildings 103 02-3.4. Details of Buildings 104 02-3.5. Night view of Buildings 105 02-3.6. Buildings in Black and White 105 02-3.7. Buildings and People 106 02-3.8. Buildings in Abstract 106 02-3.9. Buildings and Reflections 107 ii 02-4. Concepts, Methods & Techniques in the Built World of Architecture. 107 02-4.a Ezra Stoller 108 02-4.b Judith Turner 111 02-4.C Norman McGrath 114 02-4.d Peter Aaron 116 02-4.e Julius Shulman 120 02-5. Philosophy in Architectural Photography 122 * CHAPTER THREE: A DEFINITION TO THE QUALITY OF ARCHITECTURE AND WAYS OF CAPTURING IT THROUGH THE MODE OF STILL FRAMES. 03-1. Architecture -A brief definition 123 03-2. Quality, in architectural point of view 123 03-2.1 Architecture: Conceptions, Place and Role. 124 03-2.2 Process of Activities in Architecture. 125 03-2.3 Experiencing the Quality in Architecture. 126 03-2.3.1 Situational determined Quality 03-2.3.2 Epochal determined Quality 03-2.3.3 Historically determined Quality * 03-2.3.4 Phenomenological View on Quality 03-2.4 Some views in Architecture 129 03-2.4.1 The minimalist view 03-2.4.2 The instrumental perspective 03-2.4.3 The spiritual view 03-3. Capturing the Quality in Architecture 133 03-3.1. Lighting 133 03-3.2. Weather 135 03-3.3. Peole and their moods 136 CHAPTER FOUR: CASE STUDIES. 04-1. Kandalama Hotel - Dabbulla. 138 -* 04-2. Steel House - Pelawatta. 144 04-3. Timber House - Pelawatta. 149 CONCLUSION. 153 BIBLIOGRAPHY 156 iii 4 ACKNOWLEDGEMENTS. My acknowledgement with deep sense of appreciation to those who had helped me in the presentation of this dissertation. Prof: Nimal de Silva, Archt : Samitha Manawadu, Archt : Vijitha Basnayake andDr : R.Emmanuel for the valuable guidance with constructive comments during the process of the project. And also special thank goes to Archt: Prasanna Liyanage and Archt: Waruna de Silva for their inspiration, encouragement, criticisms and valuable advice. I would also like to extend my sincere thanks to my friend Chaminda, Surendra, Kasun, Nandana, HiranthLSudath and Nimal Ayya for their help and valuable assistance. iv List of Illustrations Fig-01 Visual illusion of size anti direction Source- Language of Vision Fig - 02 Visual illusion of values Source - Language of Vision Fig - 03 Visual Illusion of values Source - Language of Vision Fig - 04 The Picture Field Source- Language of Vision Fig- 05 The Spatial Forces Source- Language of Vision Fig- 06 Source - Language of Vision Fig-07 Picasso. Crying Woman 1936 Source: Reproduction , The Art Institute of Chicago Fig - 08 El Lissltzky. Illustration 1923 Fig - 09,10 Source - Language of Vision Fig-11 Adeline Cross. Study of the advancing and receding space qualities of tone values. Source: School of design in Chicago. Fig-12,13- Magnetic field Fig -14- H.LCarpenter. The attraction and repulsion of the space forces. Source: School of Design in Chicago Fig -15,16,17- Study of the advancing and receding qualities of colors Fig -18 Source - Language of Vision Fig -19- Fluctuation of the figure and background. Source - Language of Vision Fig -20 Mi Yujen. Landscape. Source: The Cleveland Museum of Art Fig -21 - Calligraphy in Ts'Ao (running cursive) Style by Su Tung-P'o. Source: Field Museum of Natural History, Chicago. Fig -22- Adjacent color surfaces modify each other in hue and brightness. Source: Language of Vision-Gyorgy Kepes. Fig -23 Source - Language of Vision Fig -24- Visual acuteness Source: Language of Vision-Gyorgy Kepes Fig -25- Harold Walter, College 1939 Fig -26- Ruth Robbins. Study of dynamic equilibrium In texture values. Source: School of Design in Chicago Fig - 27- Fig -28- Fig -29- Fig - 30- Fig - 31 Fig • 32 F i g - 3 3 F i g - 3 4 Fig -35- Fig -36- F i g - 3 7 Fig -38- Fig -39- Fig-40 Fig-41 Fig-42- Fig-43- Fig-44- Flg-45- Flg-46- Flg-47 Kasimir Malevich. Supremacist Composition Source: Language of Vision-Gyorgy Kepes. Jean Helion. Linoleum Cut 1932. Source: Language of Vision-Gyorgy Kepes El Lissitzky. Proun 1923. Source: Language of Vision-Gyorgy Kepes. Lester Beall. Advwertising Design. Source: Language of Vision-Gyorgy Kepes. Source: Language of Vision-Gyorgy Kepes Source: Language of Vision-Gyorgy Kepes Source: Language of Vision-Gyorgy Kepes Source: Language of Vision-Gyorgy Kepes Analysis of the visual tension created by opposing organizational directions. —Detail of Plea Mondrian's Composition 1915. Source: Language of Vision-Gyorgy Kepes B.I. Wolff. Painting 1941 Source: Language of Vision Picasso. Drawing for a Crucifixion. 1932 Source: The Art Institute of Chicago L. Moholy Nagy- Photogram. 1941 Source: Language of Vision L. Moholy Nagy- Stairway. 1936 Source: Language of Vision Source: Language of Vision Source: Language of Vision 1 .Star of Pythagoras 2.The Divine Proportion 3.Star of Pythagoras in Regular Pentagram Source: Language of Vision Peruvian Textile. Source: Collection of The Fogg Museum of Art. Rhode Island School of Design Seurat. LeChahut 1890. Source: Albright Art Gallery, Buffalo Theo Van Doeshurg -Composition Source: Art of This Century Sophie Taeuber-Arp. -Composition 1931 Source: Courtesy of Art of This Century Source: Language of Vision vi Fig-48- Linear diagram of a Painting by Juan Gris. Source: Language of Vision Fig-49- Source: Language of Vision Flg-50- Sano Di Pietro. Madonna And Child Source- The Smith College Museum of Art Fig-51- Nicolas Poussin. Drawing Source- The William Rockhill Nelson Gallery of Art Fig-52- Nicolas Poussin. Triumph of Bacchus Source- The William Rockhill Nelson Gallery of Art Fig-53- Spanish Cave Drawing. 30,000-10,000 W C. Source- Reproduction, The Art Institute of Chicago Fig-54- Madonna and Child with Angels.-ltalian School xill Century. Source- National Gallery of Art, Washington, D.C.Kress Collection. Fig-55- Advertising Design 1941-Paul Rand. Source- Language of Vision Fig- 56- Source - Language of Vision. Fig-57- Drawing by eleven year old Spanish child Source - Language of Vision Fig-58- Ladislav Sutnar. Photograph Source - Language of Vision Fig-59- Aerial Photograph Source - Language of Vision Fig-60- Ladislav Sutnar - Book Jacket Source - Language of Vision Fig-61 Source - Language of Vision Fig-62- Clifford Eitel. -Study of transparency Source - The Art Director's Club of Chicago Fig -63- Last Judgment -German 1460 Source - Reproduction, The Art institute of Chicago Fig - 64 • Amadee Ozenfant. Purist Still Life Source - Courtesy of Art of This Century. Fig -65- G.F. Keck. Detail of a House Photograph by F. Keck Source - Language of Vision Fig -66- L. Moholy Nagy. Space Construction 1930 Source - Language of Vision Fig-67- Gyorgy Kepes, Photomontage. Source - Language of Vision. Fig-68- Gyorgy Kepes, Advertising Design Source - Language of Vision. Fig -69- Jack Waldheim. Superimposed Photography - 1943 Source - Language of Vision. vn Fig - 70- William Burtin. Advertising Design - 1940 Source - Language of Vision. Fig -71 - Cassandre. Air Orient - 1932 Source -The Museum of Modern Art Fig - 72- Le Corbusier, Drawing. Source -Carl .O. Schniewind Fig - 73- E. McKnight Kauffer. Poster Source -The Museum of Modern Art Fig -74- Perspective drawing by Piero della Francesco. Source -The Museum of Modern Art Fig -76- Jere Donovan, Photomontage. Action Herbert Bayer Design Class 1939 Sponsored by The American Advertising Guild Fig -77- Tintoretto, Hercules And Antaeus Source - Wadsworth Atheneum. Fig - 78- A.M. Cassandre, Poster - 1932 Source -The Museum of Modern Art. Fig -79- Di Paolo. Baptist in the Wilderness Source - The Art Institute of Chicago Fig -80- Tintoretto, Venus and Mars with Three Graces Source - The Art Institute of Chicago Fig - 81 & 82- Source - Language of Vision Fig -83- M.Halberstadt,mirroring. Source - School of Design, Chicago Fig -84- James Brown, Distrotion in Mirror. Source - Language of Vision Fig - 85- African Wood Carving, Fetish of Pahouin Tribe, Gabun Source - Reproduction, The Art Institute of Chicago Fig-86- Picasso, Dancer 1907 Source- Collection of Walter P. Chrysler, Jr. Fig-87- Juan Gris, Painting Suurce - Smith College Museum of Art Fig -88- Russian Ikon, St. Nikolai Source - Hemmer Galleries, New York Fig -89- Mixed perspective Source - Helga Eng. Psychology ofChildren's Drawing Fig -90- Mixed profile Source - Helga Eng. Psychology of Children's drawing F ig -91 - Bushman Painting Source - Language of Vision viii Fig -92- Morton Goldsholl Advertising Design • 1943 Source - Language of Vision Fig -93- Picasso, Girl with Yellow Hat 1921 Source - Collection of Falter P. Chrysler, Jr. Fig - 94- Paul Rand, Advertising Design 1943 Source - Collection of Falter P. Chrysler, Jr. Fig -95 - Source - Language of Vision Fig -96- Braque.Still Life on Table Source - Chester Dale Collection , The Art Institute of Chicago Fig -97- A.M. Cassandre, Advertising Design, 1937 Source -Container Corporation of America. Fig -98- Linear diagram of a painting of A. Ozenfant Source -Language of Vision. Fig -99- A.M.Cassandre.Poster Source The museum of Modern Art. Fig-100- A.M.Cassandre,Poster Source - The museum of Modern Art. Fig -101 - Jean Carlu,Poster Source - The museum of Modern Art. Flg-102 - Kasimir malevich.Spremalistic Elements. Source Art of This Century. Fig-103 - El Lissitzky, Composition. Source - Art of This Century. Fig-104 - Kasimir malevich.Spremalistic Composition. Source - Art of This Century. Fig-105- Joseph Binder, Poster Source - Language of Vision Fig-106- W. Burtin, Advertising Design Source - Language of Vision Fig -107- Taylor Poore, Poster 1939 Source - Language of Vision. Fig-108- Rodchnko, Compositionl918 Source -The Museum of Modern Art Fig-109- Frank Levstik.Steel Structure, Photograph. Source -The Museum of Modern Art Fig-110- Ladislav Sutnar, Advertising Design. Source -The Museum of Modern Art Fig-111 - Paul Rand, Advertising Design. Source - The Museum of Modern Art Fig-112- R.B.Tague, Analysis of the Recording and advancing of a Frank Lloyd Wright House Source -The Museum of Modern Art ix Fig-113- Plet Mondrian, Composition Source -Art of This Century Fig-114- Theo Van Doesburg. Drawing and Typographical Design Source -Art of This Century Fig-115 - Piet Mondrian,Painting Source - Language of Vision Fig-116 - Ladislav Sutnar, Cover Design. Source - Language of Vision Fig-117 - Theo Van Doesburg, Composition Arithmetique Source - Language of Vision Fig-118 - Jean Helion.Linoleum Cut Source - Language of Vision Fig-119 - Lester Bead. Poster Source - Language of Vision Fig-120 - F. Levstik, Photograph Source - Language of Vision Fig-121- Physical Modulation of Light Source - Language of Vision Fig-122- Frank Levstik .Photograph Source - Language of Vision Fig-123- Milton Halberstadt .Photograph Source - Language of Vision Fig-124- R.B.Tague & W.Keck. Light Study. Source - School of Design in Chicago Fig -125- Painting by a Child Source - The Munson-Williams-Proctor institute School of Art Fig -126- Lester Bell, Advertising Design Source - The Smith College Museum of Art Fig -127- The Game of War, Detail From The Adventures of Kibi Source The Museum of Fine Arts, Boston Fig-128- Shading in Perspective Source -Language of Vision Fig -129 -Raphael Santi, Alba Madonna. Source -National Gallery, Washington, D.C. Mellon Collection Fig -130- Rembrandt, Portrait of the Artist. Source The Metropolitan Museum of Art F ig-131- Picasso, Pierrot. Source -The Guggenheim Museum of Non-Objective Art x Fig-132- Claude Lorrain, Landscape. Source -The Cleveland Museum of Art Fig -133- L. Moholy Nagy, Marseille Pattern. 1929. Source -Language of Vision Fig -134- Texture Contrast. Source -Language of Vision > Fig -135- Walter Peterhans, Ophelia- Homage to Rimbaud Source -Language of Vision Fig -136- Bernlce Abbott. Night View Source -Language of Vision Fig -137- R.J.Wolff, Painting. Source -Courtesy of T.B. Foley Fig -138- Gyorgy Kepes, Experiment With Light- 1940. Source -Language of Vision Fig -139- L. Moholy Nagy, Photogram - 1923 Source -Language of Vision Fig -140- N. Lerner, Study of Light Volume Source-School of Design in Chicago Fig -141 - T.M.W.Turner.Burning of The House of Parliament- 1834. Source- The Cleveland Museum of Art Fig -142- Georges Seurat, Detail of Sunday on The Grand J arte Source- The Art Institute of Chicago Fig -143- W.Kandinsky, Picture with three spots Source-The Guggenheim Museum of Non-Objective Art Fig -144 • E.G.Lukacs, Action. j , Source-Herbert Bayer Design Class F i g - 1 4 5 - H.L.Carpenter.Movement. Source-Language of Vision Fig -146 - Paul Rand .Cover design. Source-Language of Vision F i g - 1 4 7 - Ch. D.Gibson. Source - The Gentleman's Dilemma cc. 1900 xi Fig- 148 Fig- 149- Fig- 150- Fig- 151- Fig- 152- Fig- 153- Fig- 154- Fig- 155- Fig- 156- Fig- 157- Fig- 158- Fig- 159- Plate-1 Plate-2 Plate-3 Plate-4 Plate-5 Plate-6 Plate-7 Plate-8 Plate-9 Plate-10 Plate-11 Plate-12 Plate-13 HaHarunobu. Windy Day Under Willow Source - The Art Institute of Chicago Mattel, Painting Source - Language of Vision G. McVicker, Study of Linear Movement Source -The Art Directors' Club of Chicago Lee King, Study of Movement Representation Source -School of Design in Chicago Marcel Duchamp, Sad Young Man in a Train Source -Art of This Century Harold E. Edgerton, Golfer Source -Language of Vision Soviet Poster Source -Art of This Century A.M. Cusssndre. Poster Source - Art of This Century F. Levstik, Photograph Source -The Art Directors' Club of Chicago Paul Klee.Male and Female Plant Source- Art of This Century Paul Rand, Advertising Design Source - Art of This Century Joseph Feher, Advertising Design Source- Art of This Century Lunuganga- Archt: Geoffrey Bawa Triton Hotel, Ahungalle- Archt: Geoffrey Bawa Scheme of Residential Buildings Tea Factory Hotel, Nuwara-Eliya Triton Hotel, Ahungalle- Archt: Geoffrey Bawa Pekada, Padeniya Temple Hotel Royal Lotus, Girithale Hotel Le Kandyan, Kandy People with rural market buildings Light House Hotel ,Galle Light House Hotel ,Galle Oberoi Hotel, Colombo Kandalama Hotel,Dambulla xii 4 Plate 14 Boston, Five Cents Savings Bank. Source - The Photography of Architecture, Akiko Bush Plate 15 Hirschhom Museum, Washington, D.C. Source - The Photography of Architecture, Akiko Bush Plate 1 6 - Smtth House, Connecticut. Source - The Photography of Architecture, Akiko Bush Plate 17- New Harmony Atheneum, Indiana, USA Source - The Photography of Architecture, Akiko Bush PlatelS- Ronchamp. France Source - The Photography of Architecture, Akiko Bush P la te l? - bostonCtty Hall.Massachusetts. Source - The Photography of Architecture, Akiko Bush Plate 20- USA. Operation Centre., Virginia, USA. Source - The Photography of Architecture, Akiko Bush Plate 21- USA. Operation Centre., Virginia, USA. Source - The Photography of Architecture, Akiko Bush Plate22 USA. Operation Centre., Virginia, USA. Source - The Photography of Architecture, Akiko Bush Plate23 - Apartment House, Tel Aviv, Israel. Source - The Photography of Architecture, Akiko Bush Plate24 - Plate 25 Plate 26- Plate 27 - Plate 28- Plate 29- Plate 30- Plate- 31 Apartment House, Tel Aviv, Israel. Source - The Photography of Architecture, Akiko Bush Coliseum Book Store, New York Source - The Photography of Architecture, Akiko Bush Piazza d'ltalia. New Orleans, Louisiana. Source - The Photography of Architecture, Akiko Bush Firremans Training Centre, Randalls' Island, New York. USA Source - The Photography of Architecture, Akiko Bush Ford Foundation, new York.. USA. Source - The Photography of Architecture, Akiko Bush Pennsylvania Station. New York. USA Source - The Photography of Architecture, Akiko Bush The Guggenheim Museum, New York, USA. Source - - The Photography of Architecture, Akiko Bush Cttycorp Center, New York, USA. Source - - The Photography of Architecture, Akiko Bush xiii Plate32- Plate 33- Plate 34- Plate 35 - Plate 36 - Plate 37- Plate 38- Plate 39- Plate40 - Plate 41 - Plate 42 - Fig. 160- Fig 161 - Fig-162- Fig 163- Fig 164- Fig-165 Salzman House, Colorado, USA. Source - - The Photography of Architecture, Akiko Bush Galleria Vittorio Emanuelle, Milan, Italy Source - - The Photography of Architecture, Akiko Bush Vietnam Veterans Memorial Washington, D.C., USA. Source - - The Photography of Architecture, Akiko Bush Diane Von Fustenberg Boutique, New York.USA. Source - - The Photography of Architecture, Akiko Bush Linda Dresner Boutique, New York. USA., Source - The Photography of Architecture, Akiko Bush The Kit Carson Foundation, New Mexico, USA Source - The Photography of Architecture, Akiko Bush Site Office, New York, New York. USA., Source - The Photography of Architecture, Akiko Bush General Corporate Offices, San Francisco, USA., Source - The Photography of Architecture, Akiko Bush Art and Architecture Magazine's Case Study House, California.., Source - The Photography of Architecture, Akiko Bush Bank of California. San Francisco, California Source - The Photography of Architecture, Akiko Bush Crystal Cathedral, Garden Grove, California. Source - The Photography of Architecture, Akiko Bush Centre Pompidou Paris Source; Companion to contemporary Architectural thought' ,Ben farmer Specialist conformity can tell us the right and the wrong way of evaluating buildings and places Source- 'Normdenken der Experten', Carre Bleu The process of activities Source: Gehl 1980 Model of man environment interaction. Source: kuller 1976 (a) An unexpected irregularity can make us disappointed or angry; (b) A new norm is established once new ideas have established themselves over a period of time Matrix of instrumental and spiritual quality Source - Companion to architectural thoughts, Ben farmer xiv Fig 166- Plate43 . Plate 44 Plate 45- Plate 46 - Plate 47 - Plate 48 Plate 49 Plate 50 - Plate 51 - Plate 52 - Plate 53 - Plate-54- Plate-55- Plate-56- Plate-57- Plate-58- Plate-59- Plate-60- Plate-61- Plate-62- Plate-63- Plate-64- Plate-65- Plate-66- Plate-67- 'Cube' of time-social agreement - level of spirituality Source - Companion to architectural thoughts, Ben farmer Interior photograph without using a flash. Interior photograph with a flash The morning sun makes the built environment much live quality In the fabric. The quality of the same fabric at dusk Artificial light itself has the ability showing the mood or emotion of a place different to that of daytime Bright sunny with hot weather condition. Rainy condition with people In built environment. Source - Practical photography Freeman J. Lunuganga, Archt: Geoffrey Bawa Lunuganga, Archt: Geoffrey Bawa Lunuganga, Archt: Geoffrey Bawa Entrance lobby, Kandalama Entrance tunnel, Kandalama Abstract view, entrance tunnel, Kandalama Entrance tunnel, Kandalama Entrance tunnel, Kandalama Entrance tunnel, Kandalama Main lobby, Kandalama Main lobby, Kandalama Main lobby, Kandalama Main lobby, Kandalama Bar, Kandalama Restaurant, Kandalama Corridoor, Kandalama Stairway, Kandalama xv 4 Plate-68- Corrldoor, Kandalama Plate-69- Corrldoor, Kandalama Plate-70- Roof light, Kandalama Plate-71- Roof terrace, Kandalama Plate-72- Corridoor, Kandalama Plate-73- Lobby, Kandalama Plate-74- Front view. Steel House Plate-75- Entrance, Steel House Plate-76- Courtyard, Steel House Plate-77- Courtyard, Steel House Plate-78- Courtyard, Steel House Plate-79- Detail, Steel House Plate-80- Detail, Steel House Plate-81- Reflecting pond. Steel House Plate-82- Detail, Steel House Plate-83- Courtyard, Steel House Plate-84- Courtyard, Steel House Plate-85- Living, Steel House Plate-86- Courtyard, Steel House Plate-87- Lving, Steel House Plate-88- Room, Steel House Plate-89- Dining, Steel House Plate-90- Night view. Steel House Plate-91- Living, Steel House Plate-92- Stairway, Steel House Plate-93- Detail, Steel House Plate-94- Room, Steel House Plate-95- View from room. Steel House Plate-96- Courtyard, Steel House Plate-97- Courtyard @ night. Steel House Plate-98- Courtyard from living. Timber House Plate-99- Main corridor. Timber House 4 4 Plate-100- Stair way. Timber House Plate-101- Details, Timber House Plate-102- Corridor, Timber House Plate-103- Main corridor. Timber House Plate-104- Living, Timber House Plate-105- Dining, Timber House Plate-106- Main corridor. Timber House Plate-107- Courtyard, Timber House Plate-108- Columns, Timber House Plate-109- Main corridor @ night. Timber House Plate-110- TV Area, Timber House Plate-111- Details.Timber House Plate-112- Exterior, Timber House Plate-113- Exterior @ night. Timber House Plate-114- Daylight pattern. Timber House Plate-115- View @ night. Timber House Plate-116- TV Area, Timber House xvii 4