THE CAMOUFLAGE OF ARCHITECTURE IN ARCHAEOLOGICAL SITES PDF

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THE CAMOUFLAGE OF ARCHITECTURE IN ARCHAEOLOGICAL SITES Ma’in Abushaikha Girne American University Supervisor: Asst. Prof. Dr. Alessandro Camiz ABSTRACT THE CAMOUFLAGE OF ARCHITECTURE IN ARCHAEOLOGICAL SITES Girne American University, Cyprus, [email protected] Supervisor: Asst. Prof. Dr...

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THE CAMOUFLAGE OF ARCHITECTURE IN ARCHAEOLOGICAL SITES MA'IN FAYEZ AHMED ABU SHAIKHA

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THE CAMOUFLAGE OF ARCHITECTURE IN ARCHAEOLOGICAL SITES

Ma’in Abushaikha Girne American University Supervisor: Asst. Prof. Dr. Alessandro Camiz

ABSTRACT THE CAMOUFLAGE OF ARCHITECTURE IN ARCHAEOLOGICAL SITES Girne American University, Cyprus, [email protected] Supervisor: Asst. Prof. Dr. Alessandro Camiz

Gestalt is a theory founded in Germany in 1912 to explain peoples’ perception of complex visual elements (stimuli) by showing how the mind acquires and maintains them, by grouping them as a whole in-stead of reading them as independent elements. Our perceptual system structures and organizes the group of stimuli following the six laws of Gestalt, as introduced by the founders of the theory (Metz-ger, 2006). This research considers these laws as the foundation of camouflage. Many consider camouflage as a concealment tool, but it is useful also for other purposes; for example to respect the site’s visual value with a project rather than disturbing it. Hence, the im-portance of camouflage in contemporary projects in archaeological sites. The paper will consider three case studies in relation to gestalt and camouflage: the escalator in Toledo (Spain), the pavilion at the Villa dei Quintili (Rome, Italy), and the site of the Acropolis (Athens, Greece). Keywords: archaeology, gestalt, camouflage, architecture.

TABLE OF CONTENTS ABSTRACT ......................................................................................................... iii TABLE OF CONTENTS ..................................................................................... iv CHAPTER 1. INTRODUCTION, GESTALT THEORY ....................................0 1.1. Definition of Gestalt Theory ....................................................................0 1.2. Gestalt Laws..............................................................................................0 1.2.1. Law of Proximity .........................................................................0 1.2.2. Law of Similarity .........................................................................0 1.2.3. Law of Closure ............................................................................0 1.2.4. Law of Continuation ....................................................................0 1.2.5. Law of Symmetry and Order .......................................................0 1.2.6. Law of Figure & Ground .............................................................0 CHAPTER 2. CAMOUFLAGE 2.1. Definition of Camouflage............................................................................0 2.2. Gestalt Laws and the Occurrence of Camouflage ....................................0 2.3. The History of Camouflage ........................................................................0 2.3.1. Introduction ..................................................................................0 2.3.2. The Countershading ....................................................................0 2.3.3. The Disruptive Pattern (Camouflage Pattern) ..............................0 2.3.4. Dazzle Camouflage ......................................................................0 2.3.5. Camouflage in Art .......................................................................0

CHAPTER 3. ARCH. OF CAMOUFLAGE IN ARCHAEOLOGICAL SITES..0 3.1. Analysed Examples / Case-Studies .........................................................0 2.3.1. Lifts & Escalators Toledo ............................................................0 2.3.2. The Landscaping of Acropolis .....................................................0 2.3.3. Temporary Storage Structure for Villa of the Quintilii's site .......0 CONCLUSION......................................................................................................0

REFERENCES ......................................................................................................0 APPENDICES .......................................................................................................0

CHAPTER 1. INTRODUCTION, GESTALT THEORY 1.1. Definition of Gestalt Theory Gestalt is a psychological theory, founded in Germany 1912. It is a study of peoples’ perception towards any complicated visual elements (Stimuli) by explaining how our mind acquires and maintains them. The theory which could be interpreted as the law of simplicity came out that our mind inclines to understand and identify complex external stimulus by grouping it parts as whole instead of separate elements. The group of stimulus is structured and organized in our perceptual system following the six laws of Gestalt as they introduced by the prominent founders of Gestalt: Max Wertheimer, Wolfgang Köhler, Wolfgang Metzger and Kurt Koffka

1.2. Gestalt Laws 1.2.1. Law of Proximity

Figure 1: An example for the law of proximity (Image Source: Hampton-Smith, 2015) The law of Proximity illustrates that the close arrangement of aa small elements leads to group between them in our mind letting us to perceive them as a whole instead of separate objects even though they are separate. See Figure 1 above

1.2.2. Law of Similarity

Figure 2: An example for the law of Similarity (Image Source: Hampton-Smith, 2015) When objects looks similar to another one close to it, viewers will often see the individual elements as a part of a pattern or group. This effect can be used to create a one single image, interpretation, or message from a series of separate elements and objects which are similar. See Figure 2 above. 1.2.3. Law of Continuation

Figure 3: An example for the law of Continuation (Image Source: Hampton-Smith, 2015) Continuation is the law which reveals that the eye naturally draws along the stimulus path, Line or curve, preferring to see a one continuous figure rather than separate lines. The law can be used to point intentionally towards another element in the composition. See Figure 3 above 1.2.4. Law of Symmetry and Order

Figure 4: An example for the law of Symmetry (Image Source: Abushaikha, 2016)

A visual object will appear as incomplete if the visual object is not symmetrical or balanced. Moreover, when the object symmetry/balanced with another one, they will form one whole composition instead of two separate objects. See Figure 4 above

Figure 5: An example for the law of (Image Source: Chang, Dooley, and Tuovinen, 2002) When the objects gets in order they will appear as a one group except when something obstacles that, if happened then the group will be separated into more than one. See Figure 5 above. 1.2.5. Law of Closure

Figure 6: An example for the law of Closure by an uncompleted panda (Image Source: Hampton-Smith, 2015) Closure is the eye’s tendency to understand the unclosed shapes as closed instead. That happens using the human visual experience which tend to fill the missing information. See Figure 6 above.

1.2.6. Law of Figure & Ground

Figure 7: An example for the law of Figure & Ground (Image Source: Chang, Dooley, and Tuovinen, 2002)

Figure 8: An example for the law of Figure & Ground showing a monkey and a lion at the same time (Image Source: Dean, 2014) This law describes the eye’s tendency to see objects separately from their surrounding background. Accordingly, it naturally may potentially leads to a visual confusion. See Figure 7 & 8 above

CHAPTER 2. CAMOUFLAGE 2.1. Definition of Camouflage Camouflage is a phenomenon or a tool mainly used to conceal the object or the figure. The tool could be either a pattern paintings or using the shape of the

stimulus to hide it between its surroundings. The both tools leads to disguise the object on the observers eye. Accordingly, camouflage could be interpreted according to the occurrence of the following facts. •

Deception: The object deceives the eye letting the observers to understand it different than the reality..

•

Confusion: The inability to understand the stimuli clearly and quickly as we normally do.

•

Imitation: The object simulates or copy something else (the surroundings or the ground)

•

Decoy: The object entice the observers into a visual trap 2.2. Gestalt Laws and the Occurrence of Camouflage

Behrens (2002, as cited in Burke, 2014) “There has been some critical theory with regard to the concept of camouflage patterning, most of which uses Gestalt as its underpinnings” .

Figure 9: A comprehensive example for the interpretation of gestalt laws to camouflage (Image Source: Cott, 1940) Edited by Abushaikha (added the first column on the right). Mainly, The gestalt laws are considered in this research as the main interpreter behind the phenomenon of camouflage. Moreover, regarding gestalt laws which indicated how and why our mind tends to group things and considering them as a whole instead, camouflage occurs when our mind deceives us and considers the elements of the scene as one group. without recognizing the existence of the main stimulus

(example for the main stimulus: a picture’s figure

).

Starting from the gestalt Law of Figure & Ground which is considered one of the most used laws to interprets the phenomenon of camouflage. The interpretation of this law to camouflage is that when the stimulus (ex: Picture’s figure) is being blended with the ground/background it makes the figure hard to be distinguished within the ground. Moreover, the figure camouflages and that due to the lake of any significant

incentive that bring attention to determine the figure’s outlines. See Figure 9 above showing the blend that occurs on the (ex: the bird) into its ground (surroundings). However, the other laws of gestalt also supports and provides more interpretation behind the occurrence of the phenomenon in our mind and vision. Hence, the Law of Continuation, Law of Proximity, Law of Similarity, the Law of Closure and the Law of Symmetry & order still support and interprets the camouflage phenomena as explained below while referring to the example shown in Figure 9. •

The Law of Figure & Ground : The figure (the animal) blends with the ground (surroundings) by imitating the context

• The Law of Continuation: This Law occurs when the scene is not interrupted by any visually odd element, the view is like one continued object. However, something integrates within the original scene and continues it to be conceived as a part of the original. • The Law of Similarity:

Apparently, the animal shape, for example the zebra in Figure 9 above gives an unreal impression of a tree’s trunks and that due to the artificial (fake) similarity between the real adjacent trunks and the printed pattern on the zebra’s body. Hence, when things are similar in shape they are being grouped in our mind as a one family with a law percentage to consider the existence of that something odd.

• The Law of Proximity:

As we mentioned in gestalt chapter, our mind tends to group such similar objects and consider them as one group instead of pieces. The fish, deer, or the bird are perceived as a one piece between the similar exited pieces of its surroundings. This can be considered as an interpretation by the law of proximity in camouflage

• The law of Closure:

interpret the occurrence of the phenomenon when something get enclosed by the eye unintentionally through our brain so then to perceive it easier, thus, different than the actual thing. An example for this can be found in the architecture of camouflage section.

• The law of Symmetry & Order: interprets the occurrence of the phenomenon when things are symmetrical or in order. Hence, our mind tends to group them unintentionally regarding the gestalt theory as they are symmetrical even though they are not the same. An example for this can be found in the architecture of camouflage section.

CHAPTER 3. ARCHITECTURE OF CAMOUFLAGE IN ARCHAEOLOGICAL SITES "Archaeology offeres a catharsis for contemporary architecture, it is not a place where to bury ancient or modern repeatable styles " (Camiz, 2016) Considering the architecture of camouflage as a design approach in archaeological sites is considered the right choice in the right place. It effectively avoids any visual detraction and keeps the place’s identity intact even highlights it instead. Three analysed cases below are to illustrate this fact: Lifts & Escalators Toledo, The Landscaping of Acropolis, Temporary Storage Structure for Villa of the Quintilii’s Site . 3.1. Analysed Examples / Case-Studies 3.1.1 Lifts & Escalators Toledo

Figure 193: Escalator in Toledo (Image Source: Cardelús, 2002) Architects José Antonio Martínez Lapeña & Elías Torres Architects Location Toledo, Spain Project Year 2001

Structure Reinforced Concrete

Area 17,000 m2 Photographs © David Cardelús + © Landezine

General description

The City wall The Escalator Project

The Old City Of Toledo

Figure 194:SitePlan of Toledo’s escalator’s project (Image Source: José Antonio Martínez Lapeña & Elías Torres Architects, 2002)

The Council Building The City wall

The Escalator Project

Figure 195:Ekevation of Toledo’s escalator’s project (Image Source: José Antonio Martínez Lapeña & Elías Torres Architects, 2002)

Historic City of Toledo was declared by UNESCO as a world heritage site in 1986 due to its extensive cultural and monumental heritage beside the historical coexistence of Christian, Muslim and Jewish cultures. In order to resolve the lake of a pedestrian traffic arrangement and car parks in Toledo, an architectural project has been taken for this. José Antonio Martínez Lapeña & Elías Torres Architects took that role and decided to design a parking garage in the Paseo de Recaredo that provides space for up to 400 vehicles that linked into the

old city-centre of Toledo by a cascading system of covered escalators . However, the medieval city walls were kept intact. The route presents a new gateway to the city, the most important elements of this gateway are The medieval walls, below, and the Council building, above. See the project’s site plan and elevation in Figure 194, 195 above showing the most important elements of this gateway

Figure 196:The architecture of Toledo’s escalator’s project (Image Source: José Antonio Martínez Lapeña & Elías Torres Architects, 2002)

The structure is folded and cantilevered out at the top to create a protective covering for pedestrians using the escalators. It’s covered with a green vegetation forming a visual continuation of the landscape’s slope. even though it does not precisely follow the natural contours of the ground and rises slightly towards the outside, but still the structure is camouflaged within the 'Ladera del Rodadero' hillside’s landscape. The structure’s ochre-coloured concrete, helps to integrate the architectural

intervention into the landscape. Not only to match the existed landscape’s colour, but also to reflects the traditional coloration of Toledo architecture. While the openings which overlooks towards a magnificent views implies a natural fissures by the hill instead. In turn, Both mentioned elements, effectively strengthens the camouflage phenomenon of the building. See Figure 196 above. Obviously, The law of Continuation is considered the main gestalt law in this case which interprets the occurrence the camouflage phenomenon. However,

the law of Similarity also contributes in this interpretation.

3.1.2 The Landscaping of Acropolis

Figure 197: Some of the Acropolis paths (Image Source: Philip Smith and Ian Cooke, 2016) Architects Dimitri Pikionis Location Athens, Greece

Structure Regular Pavment Photographs Helene Binet

Project Year 1954-1957 General description In the 1950's, Greek architect Pikionis was asked to improve and redesign the unarranged landscaping of the archaeological area around the Acropolis, Philopappos’ Hill and St. Demetrios Loumbardiaris between 1951 and 1957. He is an inspired architect, city planner, artist, set designer and thinker, executed the work was done without preplanning, instead, it was on site, using skilled craftsmen. He decided to design a network of pedestrians paths that links together the different monuments while integrating the remains of the ancient residences which were on the site. He started by redesigning the approach of the Parthenon of Acropolis which was paved by a battered black tarmac pathway “was a purely mechanical solution to the problem of walking up the slopes of the Acropolis” (Wiseman, 2005). The paths includes rest stops and viewing areas. He used rough finished marble and extraordinarily irregular patterns and leant on local natives plantings only for green areas during that time.

Figure 198: Acropolis pavement paths including a detail for a fragments of an ornamental ceramics that embed within the paving (Image Source: Wiseman, 2005) Arch. Pikionis collected marble and clay shrapnel left over from the surroundings demolished buildings of 19th century (neoclassical buildings) and then he composed them into a collage in the paths. These pieces were put together with new and reused marble stones and concrete elements into pieces including ornaments and fragments referring to the past and based on Athens traditional elements. See Figure 198 above.

Figure 201: The Acropolis Hil (Image Source: Augusto vaz , 2013)

Figure 202: Drawing of the path immediately adjacent to the Propylaea monument shows the unorganized pavement pattern (Image Source: Carter Wiseman, 2005) Figure 202 showing an example for this studied-randomisation of the pavement of which designed by Pikionis. It was a significant task not only because of the potential impact on the visitors’ experience during their journeys inside the Acropolis, but also the concern on any possible change in the identity and the sense of such historically and culturally charged site

Figure 199: Analysing an Acropolis path (Image Source: Wiseman, 2005) The general idea of the design plan was by marking the paths and selecting a series of points related to a desired orientations and views. This was done by Pikionis's inspiration and intuition. Traditional and classical architecture with a Japanese influences were merged and created a contemporary design that at the same time embraces the Greek architecture and tradition. His aim was to provide a sequence of emotions and senses such as

surprise, curiosity and admiration to the visitor during his journey toward reaching the Acropolis hill summit and the same for the Philopappos Hill., The result of such idea is considered so much successful by this research. Although the pavement result looks patchy and rough , but it seems to be strongly suitable in such rough-shaped heritage site as well, and that due to the many accidents that the site exposed to (ex: earth quicks). In addition, the pavement has a very small visual influence between its surrounding monuments and that due to its visual suitability. In turn, this respect the visual aspect of the ruins. In addition, such design with such native local materials positively highlights the identity of the site and the territory as well, therefore, increases the taste of being inside that particular site instead of a diffe...