The value of the the architect a mode of seeing and under- be important to the original project being intermediary device is precisely located in its standing a work, of absorbing the work into T H E L A N G UA G E O F A R C H I T E C T U R E analyzed, an analytical diagram might record intermediate condition, on the threshold of a creative memory where objects and ideas a more generic condition of an armature that interpretation and innovation.
Lewis and A. Cornell an existing site. These University B. The process of architectural design is much like a voyage. At the start of this voyage, it is the development of a coherent architectural concept that not only suggests 18 a possible destination, but that also supplies the traveler 19 with both an oar and a rudder.
It is a route to be taken while excluding potential detours. The concept initiates the action of design. Versus Ideas While a concept might originate with an idea or set of ideas, an observation, or a prejudice that is personal to the designer, these ideas alone rarely motivate a production.
The concept conveys vocabularies. And Flexibility For example, using light wells to bring However, while it might be the nucleus of a additional light into a building might be an design, the concept may become gradually idea. However, on its own, the notion of refined and subtly reconsidered as a process including light wells does little to limit a proceeds.
That concept must remain flexible, roomy enough the building might be like a sponge, with to permit the inevitable adjustments as a light wells penetrating in an organic, irregular design evolves. His work is a complex conversation between the natural and the constructed, between light and dark. The projects oper- ate as conceptual lines that simultaneously measure the landscape while locating the human being within it. I conceived Hamar Museum as a kind of theater, where the movement is in specific routes around smaller objects, around bigger objects, and around the whole space, which in turn winds around historical excavations They not only engages and responds to the other mem- the irregular archeological ground of his- provide the access through which the visi- bers of its material troupe.
These ramps swell to become Fjaerland district of Norway as a stone that caper off to their own material and geomet- volumes within which special collections rolled off the glacier and settled into the ric tune. This fundamental concept of a are displayed—each artifact mediated with valley below.
A hand knife rests on a place between sky and ground. Thus, the sions are subsequently filtered and at all a soft leather cloth that is inlaid into a concept for the museum was developed as scales.
The primary space of the that are solidly grounded by the earth. The wall. The stair leading up to the plinth aligns with the glacier beyond: here the projected line is an instru- ment that orients and locates the visitor in the space of the landscape. It is often the framing of the problem that leads to the development of the architec- tural concept and with the — Nordic Pavilion at Venice Biennale the problem that Sverre Fehn identified here was quite simple: how to protect and dis- play the artifacts within a context that simulates the Nordic light in which they had been produced.
The geometry of the system allows it to adjust its dimensions as necessary to accommodate the magnificent trees that occupied the site. It serves to measure, to locate, the landscape, the light and the artifacts within its Venetian site.
Conceptual sketches and models indicate that a position has been taken, while providing a measure against which design decisions can be evaluated and alternatives weighed.
As generative tools, sketches provide the visual language with which architects test conceptual notions in their relationships to a set of goals or parameters. Embedded within the conceptual sketch is the seed for the development of the project: it is, in a sense, the pregnant drawing. Although some are primarily characteristics for the purpose of clear 22 structural, others enclose recognition.
This innovative essential objectives as well as a constant structural system, designed reminder of the latent ambitions within the with the engineer Matsuro Sasaki, incurred only minor concept, as a baseline measurement of a damage in the magnitude 9. Conceptual sketches facilitate a continuous critical conversation between abstract concept and the form that the concept can embody. While thumbnail sketches and early conceptual drawings are initially loose and open ended, often without scale, proportion, or specificity, it is through the reiterative process of enactment, critical response, evaluation, and modification that a sketch— and its latent design—becomes increasingly more specific.
The Overlay Perhaps one of the most valuable techniques in developing a concept is through the use of the overlay. With the models. As older drawings fade while retaining much of the surface of the nineteenth-century France and in the phrase beneath cloudy layers of tracing paper, original paper.
It is often in these physical relationships that various volumes precedents, a strategy of programmatic intermediate stages that an intuition can be might have to each other or to model possible distribution, and the sense of an eventual rediscovered and reemployed.
Sketches indicate the fluidity of paths, basic formal organizations, light control systems, and relationships to the site. Relief models maintain a flexible interpretation of dimension while facilitating studies of light and shadow. Architects do not build buildings, they make the drawings and models from which buildings are made.
Take for instance a Scottish waller and a Native 26 American basket weaver—what do they share? For Fortifications Number 27 Michelangelo it was this model the walls as sculpted blurring of representational surfaces.
These in the development of a concept are to be geometries are motivated by understood as accomplices to that concept— programmatic, structural, and that the final work will inevitably bear experiential and contextual relationships, establishing traces of their influence.
Drawings at multiple scales and views were often superimposed one upon the other to serve as Analog architectural space. If one were to imagine a traces of a creative stream of consciousness. Just as a building is composed of a series of conversation, one might argue a correspon- These permanent ink marks operated much independent systems that together construct dence exists between the volume of speech like handwriting and often served as a the structure, the analog drawing can be and the significance of its content.
Now, a binding contract between architect and understood as an archaeology of lines—a scream is not always more effective than a client. And while the tools have evolved and registration of multiple layers and ideas within whisper, and so too with the line.
In an expanded considerably since the Renais- a surface—that together register and imply architectural drawing, the weight of the line sance, drawings and models remain the the third dimension. Unique to the pencil establishes a link to its role in constructing primary media of the architect in both drawing is the use of line weight that allows architectural space. A very light line might developing, representing, and executing the line to take on hierarchical significance in reference an underlying geometry or set of architectural concepts.
Architecture is born from our remembrance of the archi- tectures we have known and resonate with our expertise in using the tools we are given to produce further architectures. Even after construction, our perceptions of a building are influenced by weather, light, sound, other occupants, the events of our day, our thoughts and memories— dodging and feinting through our minds—all affect how and what we comprehend.
Recognizing this, the work of Thom Mayne and Morphosis proceeds from a commit- ment to the ubiquitous complexities of our world. It is instigated by the complexities they observe beyond the work—in the site, in the program, in history, in human behav- ior—as well as forming a parallel to the complexities that are always to be found in every type of discourse.
Layers of complexity influence each proj- ect from its inception, as Mayne and Morphosis seek to infuse the projects with compound forms, forms that collide, shear, bend, warp, rotate, and that are as often Sixth Street: Serigraph, Thom Mayne with Selwyn Ting and John Nichols Printmakers subtracted from each other as added, gen- erally articulated by numerous materials and textures.
Eventually, the computer with its consider- strategy of design that relates not only to able capacity for storing, replicating, and the architecture of a building, but brings In the earlier days of the office, the com- transforming visual information, enhanced to the architecture of a city the intricacies pounding of forms was achieved largely the ability for Morphosis to use representa- of aggregate forms that normally accrue through the transparency of paper and tion in a productive, experimental way.
The only over time. Mylar: drawings were layered, occasionally subtraction of complex, three-dimensional even combining various formats of draw- voids from equally complex, three-dimen- Often, after its design process has ended, ings such as axonometrics, plans, and sional solids—complexities that were Morphosis would rerepresent a project in sections leaving remnants of an oblique previously almost indescribable—became a type of critical autopsy, an attempt to in plan, of a plan in elevation, just as the relatively effortless.
Not only does the identify and further mine the potentials of components of a building might be merged computer permit the generation of these its strategies. In other words, representa- into a larger complex.
Occasionally, the indescribable forms, but it facilitates the tion in various media becomes a creative, materials comprising the drawing, such as specific description of these forms directly vital, and organic process that leads both copper ink, would be used to evoke a sense to engineers and fabricators. For Morphosis, rep- tion.
The relentless repetition of a standard form whose single variation is the 3 material with which it is constructed facili- tates the immediate testing of alternative material concepts.
Representation line might establish the importance of a constructions. Freed from material specificity, primary wall in defining the limits of the space they can suggest fluid conceptual associa- or the surface of the ground from which tions between unlike materials but whose a volume is emerging.
Two distinct forms of on their scale focus on one or two salient of architectural space as the models vision. Building sections are vision are simultaneously concepts with which the work is being necessitate the literal construction of the drawn onto glass slides that demonstrated: one a series of developed.
Due to the ease with which space as formwork for the actual production are incrementally inscribed reiterative and flattened into the body of the house. A steel model, on the other Here, the reverse perspective perspectival albeit reverse 30 transformed, and even intentionally misread.
They can infer materiality through the exploring the qualities of a concept that is connects the carport to the dimension and deployment of their compo- informed by a component system—one that 31 nents—thick suggesting material massive is additive or layered—where repetition i.
And as with analog, serial repetition to provide digital drawings are constructed—but unlike the fundamental spatial and structural tools that can be the analog, the construction of the digital subsequently morphed and image does not evolve as a continuous transformed to produce operation.
Instead, it is a process of spatial composition as a function of programmatic introducing layers of information that, as specificity. Establishing a set of specific constraints and behaviors can generate complex forms and performative behaviors and relationships that subsequently allow for the interactive testing of alternatives within a context of both physical and behavioral environments.
Software programs such as AutoCAD require the use of an inventory of line weights to create hierarchical differentiation. If this differentiation in the analog is developed through the processes of drawing, with the computer the weight i.
In other words, a certain knowledge or intention is required. Computational processes often deploy geometric primitives that are subsequently iterated, repeated, transformed, informed, deformed, and reformed to produce architectural form.
The data that motivates these procedural transformations of the primitive can be informed by a broad range of criteria structural, performative, ecological, and so on. The resulting architectural vocabulary is one that often registers these aggregations of morphing, transforming, and accreting primitives. Here, the architect is no longer the maker, per se, but the choreographer of processes that J. Mayer H. Quesada Lombo, D.
The space for the building to programmatic, structural EatMe Wall project, shown which it is attached. These here, D.
Cupkova, M. Freundt, incrementally adaptive A. Heumann, W. Jewell, Computer applications can be directed to program a wide range of machinery that operates in very distinctive ways. Some use a laser to cut thin layers of material that can subsequently be assembled into three- dimensional models laser cutter.
Others use drills to remove or excavate material from an existing material mass CNC mill , and still others aggregate lightweight granular material via a series of successive layers to produce an essentially homogenous three-dimensional object 3-D printer. Each of these fabrication processes is allied to conceptual strategies that can be uniquely In these study models—for an exceed the normal graphic forms.
These models give the 32 addition to the Stockholm and modeling capabilities of designer the freedom to explored through the technological Public Library by student standard analog techniques. Plans Elevations Plans are drawings that reveal the relationship Elevations allow one to describe the vertical of surfaces and volumes in space.
They are surface. They are useful for studying the horizontal cuts through space, typically taken interface between two unlike conditions as at eye level looking down into the space. Without a plan, you Axonometrics have lack of order, and willfulness. Within each with Le Corbusier, one arrived at the third drawings that allow one to study multiple Villa at Carthage shows space, one is simultaneously dimension not through the construction of an surfaces of a volume simultaneously.
They a series of interlocking occupying at least three spaces. It is perhaps the spaces: the space that one is image but as the result of the transformation are often used to represent architecture as a clearest example of Le physically occupying is of the plan into mass, space, and surface. The single object or as a collection of objects. And it becomes the three-dimensional concept abstract sculpture on a moving eye.
But this building Casa del Fascio now Casa for projected texts and a more intimately scaled for the house as a series massive scale, not to be is not made only for the eye; del Popolo in Como, Italy, images viewed from the balcony as it slides in front of of intersecting perspectives.
Here, the combining and flattening of both walls and roof surfaces within the drawing produces a series of spatial layers that reinforce the processional nature of the complex, emphasizing the status of the iconic objects that populate the interstitial layers. The density of the drawing 3 presents the cemetery as an extension of the city Vision is the generator of the wall in New York City. A series beyond—a city of the dead. Perspectives Perspective drawings tend to privilege the eye of the observer and what her or his experience might actually be from a particular point of view.
While they create the illusion of three-dimensional depth, they can also be used to exaggerate the signifi- cance of a certain object or space through the convergence of lines toward one or more common vanishing points. Animations explore the temporal aspects of an architectural concept and the potential of a space or material to undergo transforma- tion. They tend to be iterative drawings that can isolate a spatial sequence through which one is moving or a more ephemeral condition of light as it moves across a room.
An fused entity. The distinctions aggregate conceptual richness. An architectural program is, in its most basic form, the list of requirements that initiates a project. Outlined by the client, often with the assistance of either an architect 36 or a special consultant, this type of program generally 37 represents a compromise between desire and budget.
The victory alternately by the Arch of Augustus outside French, the Germans, and the Aosta, for example, connotes Allied troops , and as a monu- a first-century BCE victory ment to achieved peace. Its over a Gaulish tribe.
Even in the case of a The Empirical Program of dimensions concerning height, grasp, eye house, it is unlikely that a client would The empirical aspect of a program can be level, and the variable dimensions related to forever be the only occupant.
The data that contributes case of children from infancy toward resemble a client-generated program, but it to the empirical program are basically adulthood. Additional dimensions should be inevitably encompasses specific pedagogic dimensional, functional, relational, and taken into account for the accommodation objectives. The studio instructor usually measurements determined by building of those in wheelchairs, those with special generates such programs, with stated and safety codes.
Dimensional There are certain dimensions that can Foremost in all of these cases are those But despite the apparent clarity a program be taken for granted and that must be dimensions that permit someone to move suggests, accommodating a program is more recognized when compiling a program. Further, many programs tend unimpeded operation of doors, windows, to include contradictory requirements that The architect should be aware of the kinds and other moving elements.
The negotiation or innovation. The result is a layered living, dining, sleeping, and wine cellar. The three organization, distribution, and theorization between the two—each element self-suffi- daughters occupy a private sanctum within of what we call program.
Within this structured by slicing the entire composition along the struct a conceptual framework for making subdivision of program are rituals and longitudinal axis, bifurcating the house function and use architectural, and against sequences that penetrate and actuate the into two halves: parents and daughters. The scheme assumes the form of a square penetrated by a continuous exterior ramp facilitating the connection between the boulevard and Museum Park.
A second passage, posi- tioned below and perpendicular to the public passage, allows for vehicular service access.
These crossing paths produce a square cut into four distinct, disconnected volumes. The resulting circulatory experi- ence is conceived as a circuit of sloping floors and ramps crafted into episodic twists, turns, and counterintuitive move- ments that ultimately connect each part of the complicated sequence, suturing parts fragmented by their initial functional assignments, producing access and orienta- tion along the way.
OMA understands the inherent value of addressing architectural program, of embracing functional requirements to help advance the intellectual and performative basis for their work. They consistently per- form complex acts of functional elasticity whereby the edges, names, and restrictions associated with typical functional limits are tested and teased, allowing for the intermingling and co-occupation of other- wise disparate programmatic elements.
This is true not only of the obvious dimensions and docking requirements. A trophy collection, program, it is inevitable that other people, and repetitive. One of a new continuously changing a library of 10, volumes, a classroom with furnishings, or vehicles will need to be series of parking structures in sequence of episodes Miami, the garage at connected by a grand, thirty desks, or various medical treatment housed.
People have children, age, develop Lincoln Road by Herzog and cascading pedestrian stair. The motorcycle may be traded for a minivan. New medical advancements will In addition to the empirical data determined require different equipment.
Automobiles have a classroom may need to double or halve. Functional There are few reasons for an architectural design to fail to meet its basic functional requirements—to perform as it is required— as long as those requirements are clearly defined and there are the technical, material, and budgetary means to accomplish them.
Functionality is the extent to which the design is able to perform its tasks. Thought- ful programmatic development can enhance the functionality of a design. Most classrooms benefit from significant exposure to regulated daylight and some even with direct access to an exterior space. Other rooms, however, especially those that deal with various controlled media—such as projections and computing—or light sensitive materials may require an easily darkened space, or one with no direct sunlight.
Often, a program will require a multi- functional space, or the designer may decide that several requirements can be simultane- ously accommodated by merging spaces and their functions, especially if these usages might occur at different times of the day or different seasons of the year. In designing multi-functional spaces, however, the architect must be certain that the space is ideal for each of the separate functions. It is often the case that such spaces, in their aspirations for flexibility, eventually serve no function very well.
Lobbies tend to be near entries, for of both a pavilion and a stand on opposite sides of a example, which should in turn be near ceremony.
Just as the simple wooden table and dip reservoir is a retreat for tin cups—attached to the Muscovites, the pavilion is table with very short constructed of windows chains—into a basin of vodka. In single conclusion is indeterminate. While loading docks maximum availability of sunlight.
Prevailing In , John Soane began laboratory for his architec- inevitably require proximity to a road or winds might be considered for the sake of purchasing and then heavily tural investigations as well an renovating a row of educational environment for driveway, they are rarely positioned in the passive ventilation. The notion of arranging elements by proximity Codes London. While the program Unfortunately, his surviving for his manipulations was sons developed apathy for is based on the optimization of usage or, Building codes, including safety, zoning, ostensibly that of a large architecture and a distaste occasionally, of expense.
He willed his England and other great house to the nation, and it close to each other, often back to back and These codes are generally determined by structures, saw his house as is now known as Sir John vertically stacked, so that the expenses of municipal, state, and national bodies. A painting studio may widths of corridors to the numbers of fire prefer north light, whereas a breakfast room is exits, from the types of materials that can be 42 best complemented with light from the east.
Obviously, solar collectors Some codes even determine the color, style, inevitably have a preferred orientation, and so and exterior materials that are permitted their location must be determined by the when building in a specific location. Building codes can guard the safety and the living qualities of those who use a building as well as those neighbors who might be affected by the effects of a construction as it alters an environment: its shadows, its emissions, its traffic patterns, and so on.
The relations between programming and designing constitute often the most painful part of the process in the birth of a building. The significant addition to the campus environment. Empathy cafeteria workers and janitors. The role of the architect is to rectify those needs. Ledoux often had the French cultural groups. All of these understandings monarchy as his client, but in the case of his can lead to modifications of a program.
No Program Royal Saltworks, for example, the users were two individuals can have the same experi- an entire city of managers, workers, and their ences, but the architect is obliged to try to families.
Today, when designing a school, a understand the best means of empathizing school district may be the client, but the with a user, in order to initiate a productive users are the teachers and students, the and gratifying dialogue. A municipal orphanage on humanist aspects of the of concrete modules neighborhoods centered on benches, door stoops, orphanage introduced open, 44 the outskirts of Amsterdam city—markets, streets, and containing interior public domed volumes accommo- archways, and ledges— unassigned, semiurban provided the ideal program squares—as they might spaces while encircling a dating residential, living, and respond to the scale of its spaces as well as transitional for Aldo van Eyck, whose correspond to the design of a sequence of exterior classroom spaces for each age young residents, with mirrors niches and nooks to a 45 interests involved the building.
The drawings in this book are entirely the work and interpretation of the authors, based on publicly available information and resources supplied by the firms whose work is represented herein. As recent Masters in Architecture graduates, I worked with Anthony and Nora as we took our first steps into the post-school world through studio instructorships — teaching much of the knowledge we had just assimilated ourselves.
The power in the operational verbs exemplified in this book is that each provide a portal to the abstraction of space. This approach to teaching also encouraged this type of design thinking before program, the defined use of a given space, was even introduced.
We discovered that, with the introduction to an operative term, our students were able to unlock studies in volumetric relationships, proximities, adjacencies, and experiential factors without being weighed down by their familiar or preconceived notions of what the space was meant to be.
The assignment of building typologies and their associated programs followed next in our design process. These specifics found roots in much more engaging and interesting constructs when the sequence was initiated through an abstract spatial operation. I am happy to see this resultant product that grew from our inspiration to collect our operative design explorations into a graphic assembly.
It is not, however, an index definitive in its boundaries. Its ambition is rather to serve as a fundamental tool for spatial and architectural interpretation. The terms collected and illustrated herein provide a diverse set of entry points into the language of spatial design. Letter to Jonathan Benthall, 15th January Anthropos; In Tschumi B ed. Architectural Asso- ciation; 7— Tschumi B, Goldberg R. Rowe C, Slutzky R. Transparency: Literal and Phenomenal.
Slutzky R, as cited in Oechslin W. Schumi B. A Space is Worth a Thousand Words. In Goldberg R, Tschumi B eds. Dieci Libri, Royal Academy of Arts; Architectural Manifestoes [exhibition catalogue]. Studio International. RoseLee G. Space as Praxis. Tafuri M. Event-Cities: Praxis.
Jamieson C. Spurr S. Drawing the Body in Architecture. Architectural Theory Review. Illustrated Index: Themes from the Manhattan Transcripts. The Manhattan Transcripts. Parc de la Villette, Paris. NAi Publishers; Eisenstein S. The Film Sense. Meridian Books; Hill J. Actions of Architecture: Architects and Creative Users. Montage In Glenny M, Taylor R eds. IB Tauris; Problems of Film Direction.
University Press of the Pacific; Broadway Follies. In Archer BJ ed. Rizzoli; 42— Architecture: Sequences. Artists Space; Event-Cities 2. Princeton Architectural Press; Progressive Architecture. Through a Broken Lens. In Davidson C ed.
Deleuze G. The book explains form and space in relation to light, view, openings, and enclosures and explores the organization of space, and the elements and relationships of circulation, as well as proportion and scale.
In addition, the text's detailed illustrations demonstrate the concepts presented and reveal the relationships between fundamental elements of architecture through the ages and across cultures. This edition includes an access card with a redemption code for the online Interactive Resource Center , which features thirty-five animations, flashcards of key architectural terms, and an image gallery showcasing hundreds of photos that enrich the book's content.
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