OPTICAL ILLUSIONS

IN
ART AND ARCHITECTURE.
RESEARCH PAPER BRIEF
9 December 2019

Introduction
Optical illusions have appealed to the mind of spectators throughout history, and
have had great impact when combined with architectural elements. Illusionary
methods have been used by artists and architects since antiquity, but only during
the Renaissance were they scientifically analysed to produce the techniques of
perspective, anamorphosis, and their integration with trompe l’oeil. This paper is a
study of these methods employed by artists and architects, focusing on the
invention and evolution of the technique of anamorphosis from its birth during the
Italian Renaissance. By analysing a compilation of early and contemporary cases of
architectural illusionism in two and three dimensions, the methods used to
manipulate observers’ perceptions are explored in detail. By reintroducing these
techniques of the past into contemporary practice they can prove very beneficial by
producing enhancing spaces when spatial or economic restraints must be
overcome.

Aim and Hypothesis

Understand the phenomenon of optical
illusions, and their effectiveness in
Hypothesis
modulating the psyche of the user,
thereby making at an effective tool in
the hands of the architect as the means OPTICAL ILLUSIONS IN
to an end. What I propose to study the ARCHITECTURE IS A FORCED
phenomenon of visual illusions and the PERSPECTIVE IN ENHANCING
reaction to the anomalies that generates ARCHITECTURAL EXPERIENCE.
people's reaction to these. Equally
important to understand the responses
to these anomalies Before any of these There is a need to understand and
can contribute effectively to the master the ideas of proportions,
perception of space and at as a tool in illusions and learn techniques that
the hands of an architect in the early control our senses of perception of
stages of conceptualization to really space in this highly visually sensitised
integrate as it as a well meaning field.
approach to take the narrative of the
design for the step further.

Submitted by:-
Riya Chitkara
B.Arch 4th year.
 Objective Scope Limitations
• To study the the idea of • Scope of the study • The study requires
optical illusions and encompasses the work of one to visit sites and
modulation of perspectives Arts and illustrations along determine for
and study its development with architectural work that oneself and
as a science in the field of have been derived from experience the
art and architecture. these Impressions. effectiveness of such
• To understand and analyse • The examples are drawn distortions.
the use of illusion from world, one of the • The study is quite
modulated perceptions in examples studied first hand subjective and the
different scales in is Indian, for practical effects of the
architecture of today reasons but the focus has iullusions may vary
• To study attempts by not specifically been on from person to
architects to formerly India, since the analysis is person.
assimilate 20 ideas in their that of a Universal • Visual perception will
architecture through phenomenon. be the main focus of
discourse and actual • Study does not restrict itself discussion in this
practice to a particular time period dissertation as
• To propose optical illusions rabbit look at the evolution architecture has a
design ordering form and understanding of its major role to play in
space that provides and graphics. this field And the
architecture at the micro theory of
and macro cosmic levels. appreciation would
take gestalt theory
into consideration.

Literature study heads Case studies

• Perception
• Visual perception
• Theory behind human perception
• Cues that aid perception: affordances
• Gestalt law of organisation
• Illusion of scale
• Illusion of dematerialisation
• Optical refinements
• Trompe l’oeil
• Anamorphosis
• Anamorphosis in architecture
• Illusionistic in street painting
• St. Ignatius Church, Rome - Andrea Pozzo
• Santa Maria Presso di San Satiro, Milan -
Donato Bramante
• Scuola di San Marco, Venice - Tullio
Lombardo
• Palazzo Spada, Rome - Francesco Borromini
• Ames Room – Adelbert Ames Jr
• Architectural murals - Richard Haas
• Architectural murals - John Pugh
• SkyCeiling™ - Sky Factory
• Taj mahal- live case study

Submitted by:-
Riya Chitkara
B.Arch 4th year.
 ST. LGNATIUS CHURCH, SANTA MARIA PRESSO PALAZZO SPADA,
Rome DI SAN SATIRO, MILAN ROME
Architect- andrea pozzo Architect- Donato architect-francesco
Bramante borromini
In the church of st. lgnatius
one may view a striking The false apse was At the end of Borromini’s
scene while admiring the made through the colonnaded corridor is an
churches cupola. It is in fact presentation of tropel’oeil interior courtyard which
a flat plane decorated with a painting. seems to be more than
trompe l’oeil painting. 35m away from the
entrance, though it is
merely a depth illusion;
the distance is in fact
only 8.58m.

AMES ROOM Sky ceiling-

architect– ADELBERT AMES JR sky factory

• The ‘Ames room’ presents a CRS (Center for

combination of anamorphic Illusionary art is not Remembering & Sharing),
and accelerated perspective. only used for NY, United States
• It at first appears to be typical decorative or Designer- clouds ao, nyc
room with a checkered floor, entertainment, or
though it is composed of an deception purposes, Curved walls confuse
inclined floor and walls of they also serve a perception of space inside
trapezoidal form, where figures more practical use of YOGA STUDIO
of similar size seem to differ aiding the healing
greatly as they move between process.
corners of the room.
CONCLUSION

Illusionary techniques utilised to control the proportions and appearance of

characteristics of buildings have been practiced throughout history to
deceive spectators’ perception of spaces and structures. In my dissertation
I have attempted to show how the techniques of perspective,
anamorphosis, and trompe l’oeil evolved to be employed in architecture to
virtually expand or simulate spaces. To do this I have presented examples
from early and cotemporary developers and masters of the practices, as
well as analysed a number
of them in two- and three-dimensional detail to understand the methods
they used to manipulate the perceptions of observers. In the modern world,
the use of illusionism in architecture can play a significant role to control the
appearance of spaces and structures. By
the use of the ‘diminishing course’, facades can be reated to seem much
larger from the ground than in reality, by decreasing the relative size of the
replicated sections towards the top, as well as in interior surfaces by
diminishing and increasing the size of tiles, or even through the use of
multi-patterned carpets. Illusions could also be used in rooms where
satisfactory space could not be attained, thus giving the impression of
expansion or connection to the exterior, especially in underground areas. It
is conceivable that their use could also be beneficial in the field of
restoration, where it would either be of great expense or difficulty to
recreate architectural elements and details to a high degree. By
reintroducing these techniques of the past as standard practice in suitable
situations, they can become very advantageous to clients and members of
the public alike, to create pleasant environments, designed with
mathematical precision, and thus establish architecture’s
firm link between art and science.