Basic
Architectural Practice |
Course
Notes for Session One: |
Definition
of Architecture
Criteria for Accomplishing and
Evaluating it |
| It
is important to remember [link] the definition of criticism and feedback when thinking
about criteria for creating architecture.
Without criteria - a standard - feedback is impossible.
Without feedback, learning is impossible. Without
learning, life does not advance... |
| There
are many different kinds of criteria applicable
to architecture. There is an unfortunate tendency
for different “schools” of architecture
to get target fixation on a few to the exclusion
of the rest. This is a weak response. This approach
tries to make some single aspect of architecture
the dominate element of the ART. This never
works. |
| Architecture
is complex. It is complex because of the degree and
scope of integration that is necessary for creating
a proper human habitat. This is an intrinsic condition
and
any attempt to make it not so will fly in
the face of reality and will unnecessarily compromise
the result. This is one major cause of the single
dimensional work we see so much with today’s
work. The other reason we see this kind of work,
of course, is the totally convoluted method by which
buildings are typically made - and financed. We will
discuss this in detail in Session Four. |
| Before
establishing criteria, we have to explore in depth
the essence of what architecture is really about.
What distinguishes ARCHITECTURE from mere
building? |
| This
question - what is architecture - commanded
a great deal of my attention when I was starting
out in the mid 1950s [link] and
continued to hold my attention into the early
60s [link]. I found three invaluable sources of help:
Frank Lloyd Wright, Ayn Rand and Bruce Goff. Their
work, the time I spent with them, and my own desire
to understand - all together - fused into the gestalt I
employ today. This notion of architecture has deepened
over the years but has remained, essentially, the
same for a long time - it has never failed me in
the execution of work. |
| My
project,
[link] for
this Course, is a concrete example of this approach.
At MG Taylor, we call this the “5
Es of education:” Explain, Example,
Experience, Expect and Explore [link].
The criteria, below, form the basis by which my project
will be designed and ultimately built. You will,
of course, have to develop your own (by selection
and
invention)
in the making of your own projects. Use the model
provided to guide your study and to build on and
recreate [link] as
fits your purpose. |
| Rand
defined ART as “the selective recreation
of reality according to the artist’s metaphysical
value system.” To Rand, the artist “leaves” out
what he or she determines not to be important. |
| The
key to Rand’s, concept of art was a works “sense
of Life.” What view of reality does
it project? What
does
it consider as irrelevant? What concept of the HUMAN does
it show as an ideal? |
nathaniel_branden_purpose_of_art |
| Nathaniel
Branden, building on Rand’s concepts, said that
art serves two important psychological functions:
it enables the abstract to be concretized into a
perceivable object and it, therefore, enables one
to “experience” these abstract values -
as well as long term goals - in the immediate moment.
Brandon points out that the ability to experience
the essence of future goals is important fuel
for the work and deferred rewards necessary for their
accomplishment. |
| One
might look at what is being presented by a great
deal of our modern popular art - movies, plays, music,
TV - and wonder what the accumulative effect is
in this regard. And, what messages are we being
sent, every day, by the built environment? What is
the scale, scope and intensity of these messages?
How do we actually respond to them? [link: pogo looks at the world] |
| Fine
art has long been held as not “practical” in
distinction to applied art. Architecture, when I
entered the field, was considered, at best, to be
an applied art. Usually, a dichotomy was expressed
between the so called “practical aspects (structure,
arrangement, utilities) and the “art” -
the esthetics. I always rejected this approach. Starting
with a dichotomy always leads to a contradiction.
All these attributes must be integrated in order
to have a great work. |
| At
this point, Wright entered into the dialog. He based
his work on a general, and for each client, a specific concept
of “a
way of life” [link]. The
building’s concept emerged out of this perception
as a context -
as the best environment to guide,
facilitate and prod [link] that
life accomplishing it’s
highest expression. |
| If
in Rand’s terms, fine art eliminates the
irrelevant - Architecture, in Wright’s terms,
elevates every activity [link] within it to an ACT of “living
art.” |
definition_of_architecture |
| Architecture,
then, is “the objectification of the values
humans hold essential to living - making these values concrete by
building and using [link] the
structures that [trans]-form the environment.” With
this definition, Shelter, Arrangement and Expression
are the essential attributes of architecture
- “that without which, a thing ceases to be
itself.” Not one attribute dominates the other.
They, to compose architecture, work in harmony or
they don’t work at all. |
shelter_arrangement_expression |
| This
approach to marking out the architectural
realm allows no either/or between the “practical” and
the “ideal.” In an integrated piece, every
aspect of the work contributes to shelter, to the
effective arrangement of space and utilities and is an
expression of a human’s and communities’ life
and aspirations. |
organic_authentic_architecture |
| Wright
use the term organic architecture to describe
his approach. This is a very good term if by “organic”
the meaning, as he intended, goes beyond mere mimicry
[link].
I use the term authentic because this gets
at the issues I believe are most relevant today:
that of integrity and legitimacy [link].
It is, of course, a measure of the state we are in
that anyone feels compelled to put a word in front
of “architecture” in order to distinguish it from
vast
landscapes of buildings without serious intent or
merit. |
| With
this understanding in mind, the following is an outline
list of key criteria subject areas - of which a certain
level of mastery of is necessary to the creation
of ARCHITECTURE: |
|
|
Integrity
Integration
Economy
Strength
Buildability
Expression
Material use
Life-Cycle
adaptabilty
reuse
repair |
|
“Structure
wins!” [link]
Structure
is a big part of an architectural work. It must
not be something relegated to the engineer and
buried deep with in the piece without expression.
The
structure “shows” what the environment is.
It makes what you go in to and what shelters you.
The
structure also solves a number of real-word problems
- it must be the result of practical action:
build-able, economical, sustainable.
Structure
sets the scale, scope and flexibility of the
interior spaces and utility arrangements.
Structure
is the major armature of the work.
|
|
|
Utility
Efficiency
Process flows
Space uses
Flexibility
Adaptability
Renewal
Size matters
Technology integration |
|
Habit
rules in this domain. Structure often interferes
with utility and movement. Too many things are
nailed down allowing little flexibility. The definitions
of spaces and their use are suspect. “Little
boxes within boxes” Wright used say.
Well...
does a floor have to be flat? [link] Break
the old dogmas.
Arrange
spaces and things to follow the flow of work and
play - the sequence of the day and seasons. The
rituals of living.
Wright
opened up the box - modern housing is going back
to rooms. Is this related to - or expressive of
- the breakdown of family life?
Typical “upscale” houses
are getting too big while typical office spaces
are too small - is there a relationship? |
|
|
Attitude
Connotation
Denotation
Meaning
A point of view...
Facilitation
Transformation |
|
Without gesture there
is no art. Architecture expresses the value of
life - or living - of living here and now in
a place and in a specific way.
Denotation: what
the structure is and does.
Connotation: The
social, psychological and personal meaning given
to form, color, texture, shape - this translates idea
to form and allows form to express idea.
Expression: the
meaning of a work, the statement, the central idea
- the view.
Theme: The
integrating idea to
which everything relates comes from and builds
on. |
|
|
Intrinsic
value
Social reference
Consistency
Historical
Design Gestalts |
|
Wright
said that a building should not be a style
it should have style!
There
is a valid use of stylistic elements. Old or new,
they are created and become a canon. They establish
reference and provide continuity.
They
are inescapable.
The
are economical because everything cannot
be reinvented every time.
Beware
dogma and habit! |
|
|
|
A
Pattern Language exists for every craft, art and
science. It compiles solution sets for common recurring
problems intrinsic to the art and provides criteria
and guidance for dealing with these problems.
Pattern
Language analysis of
my Studio project. |
|
|
Non
toxic
Exercise
Light
Attitude |
|
Modern
buildings (and cities) are not healthy -
not healthy for humans and nor for the planet.
Air quality, light spectrums (and levels), the
propensity against movement, misplaced use of labor “saving” devices
all add up a chronic health problem for the inhabitants.
This
is usually done in the name of economics! |
|
|
Sustainablity
Good science
common sense
Gaia Project |
|
Any
notion that poses a conflict between economics
and ecology (which come from the same root) is
demented from the start.
We
have to face the fact that, today, the Earth is a Human
artifact.
The
question going forward is what are we going to
do about it.
Co-evolution
is the fact. Each building project either
works with this or contrary to it.
Ecological
concerns, however, must not be used to make buildings
less - they augment and help define fitness.
Architecture
is more than buildings. It is roads, bridges, dams,
cities and patterns of farming... and more.
Great
architecture is the built environment in harmony
- and co-design - with Nature.
Consider
animals and all living things in all aspects of
the work. |
|
|
Life-cycle
Sustainibility
Design intrinsic
A new paradigm |
|
Economics
should be the friend of good design not the enemy
as it often is today.
Develop
a model of the true
cost of the project - over time. Design to true costs
and life-cycle economics.
Reuse
as a first option, and recycle everything as it
is possible. Build flexible adaptable environments.
Plan
for the long view...
Design from the
Knowledge Economy point of view. |
|
|
Accuracy
Sensitivity
Non Dogmatic
Counterpoint
Reference
Variation
Playfulness |
|
We
live in History, at a location. A
work should be in time
and place.
Nothing
starts from scratch. The future is also part of
this “history.”
Building
without a sense of history is to create blight. |
|
Originality &
Uniqueness
Invention |
|
Imagination
Interest
Viewpoint
Voice
Problem
Solving |
|
Every
building does not - should not - have to present
a new paradigm. It is valid to explore “old” ideas.
Every
work should express a new point of view and bring
insight to the users.
Every
work requires invention because there will always
be new problems to solve.
Beware
the cult of newness and positive feedback loops. |
|
Fitness:
Time
Site
Program |
|
Integration
Counterpoint
Facilitation
Context
Relevance
Brand
Statement
Voice
Social Contract |
|
Fitness
is a primary esthetic value. It also has profound
psychological consequences.
To
be fit is
to meet the basic evolutionary requirement. |
|
|
Number
Meaning
Tradition
Power
Rritual
Symbol
An
Example |
|
There
is a 10,000 year documented history to study and
employ - to bring forward.
Architecture
- all kinds - is sacred. It brings the divine
into everyday life - else it fails in its function.
The insight of being connected to all things is
the “bottom line.”
Movement has
meaning.
Integrate
the philosophy with science.
Stay
forever Jung! |
|
|
See
Ching [rbtfBook]
Utility
Part & whole
Recursion
Symmetry
Memory
Line, plane, volume...
Self referencing
Site referencing
Nature referencing |
|
The “music” of
Architecture.
Know
the Notes! No excuses for ignorance and incompetence
in this realm.
Important
tool for building as geometry describes components.
Everything is
geometry.
Memory is
in matter. |
|
|
See
Ching
Rhythm
Human scale
Golden mean
Use of Modules |
|
Human
scale is a measure but not the only issue.
Scale
and proportion are related but different.
“Levels” of
activity and interrelated rhythms are necessary.
Consider
the time, place and community when scaling a work.
Human
building scale has to fit with Nature’s scale. |
|
|
Sense
of Life
Consistency
Articulation
Comprehensive |
|
Why?
Know
why and “build” why in to the
work.
Architecture
is “outer development.”
Architecture
is built philosophy. |
|
|
Prospect
Refuge
Harmony
Appropriateness
View
Focus
|
|
What
is “not there” is the real focus of a
work.
The
movement of the EYE is content.
The
movement of the body through space is content.
Colors
and textures have meaning. |
|
|
Honesty
Locality
Maintenance
Texture
Color
Maintenance
Fit to structure
Connotation |
|
The “nature” of
materials.
“Assignment” for
each material.
Reference
to “place.”
Integration
(connotation) to the “idea” of the work.
Personal
affinity.
Relation
of one material to another and sense of quality. |
|
|
Integration
Playfulness
Beauty
Carefulness
Symbol
Historical reference |
|
Repeat
the
pattern on another level of recursion.
“God
is in the details.”
Every
detail is ornament. |
|
|
Integrated
Smart
Flexible
Upgradeable
Replaceable
Human Focused
Transparent |
|
Technology
should fit into a building and work the way it
does in an automobile, plane or boat.
In
today’s world, it should be “smart” and
handle a number of everyday administrative functions.
It
must “plug and play” and be upgradable.
It
is not a thing in itself; it is there to augment
human capabilities and capacities. |
|
|
Integrated
Smart
Low demand
Site generated
Sell back to grid
co-generation
local storage
|
|
The
right kind of energy for each application.
Sustain-ablity.
Real
affordability.
Intrinsic
design strategy not a backward step and “shutdown” of
the building.
The
structure must metabolite. |
|
|
Reference
Unexpected
Clear
Clean |
|
Playfulness
and art go together.
A
method of professional criticism.
Buildings
can have humor but should not be slap-stick or
funny. |
|
|
Energy
flows
Building to the landscape |
|
Application
in a modern context.
Integrate with other philosophies and traditions. |
|
|
Contact
Frequencies
Landscape
Life Habitats
|
|
Touch
the Earth.
Compliment
the Earth.
Build
into the Earth not just on it.
Gaia.
Engineer
for natural
Earth “disasters.”
Refuge
for other life. |
|
|
Attenuation
Signature
Making sounds
Connotation
Acoustics |
|
The
connotation of sounds.
The
sound of a door closing... a latch, a...
The
quality of the acoustic space of a room.
The
sounds of nature.
The
sounds of equipment.
Frequencies
and health.
Attenuation
of unwanted sounds.
Noise
pollution [link]. |
|
|
Attenuation
Signature
Making smells and textures
Light
Spectrum |
|
Texture
and smell and their connotations.
The
texture and smell of materials.
The
smells of nature.
Retention
of smells.
Attenuation
of unwanted smells.
Light
frequencies and health.
Light
and time/calendar cycles.
Mixing
artificial and natural light. |
|
|
Outgasing
Natural dangers
Concentrations
Runoff |
|
Toxic
shock.
Cleaning
materials.
Manufacturing
Materials and methods.
Material
selections.
“Cooking” a
building. |
|
|
Transitions
”Instructions”
Technologies
Navigation |
|
Every
move form one space to another requires an intentional
transition.
Movement
from building to landscape, to community to city
to region to...
Things
must “show” how they are to be used.
Even
in each part, the WHOLE has to be perceived. |
|
|
Study
Nature:
Systems
Organization
Materials
Shapes & forms
Attachments
Chemical uses |
|
See:
Evolutionary
Architecture - Nature As a Basis For Design by
Eugene Tsui
BioMimicry
- Innovation Inspired by Nature by Janine
M. Benyus [rbtfBook] |
|
|
Oneness
Center
Transformation
connectedness |
|
Every
work is religious: “To connect back.”
Life
is “breathed in” to a work by a deliberate
process. |
|
|
|
|
Color
code:
Gray =
the three essential attributes (which includes
all that follows); Yellow =
design technique; Brown =
meaning; Blue =
health; Green =
fitness; Purple =
personal creativity and expression; Orange =
engineering. These are predominate attributions
only. White =
the sum of the whole. |
|
| Meeting
these criteria, mechanically, will not guarantee
architectural success. Not meeting them will mean
failure. |
| Much
more is required than checking off a list of intellectual
constructs and values. The result has to be integrated.
It has to speak. It has to have something
to say. It has to express a time, a culture, its
users and creators. It has to be ART. |
| Great
architectural works facilitate a broad agenda of
activities. They do this by expressing one theme [link], one
dominate architectural idea. The idea [link] is
reflected in every detail - in every aspect of the
work. You can grasp it whole in an instant. This
idea must be compelling [link].
It is a special, unique way to see the world and
live in it. It is a physical solution - an experience.
An experience that changes those that have it. |
architecture_vrs_building
|
| If
architecture does not transform those who use it,
it is not architecture - it is only building. CAMELOT is
a transforming environment - she embodies all the
attributes of architecture in a living process [link]. |
architecture_not_visual_art
|
| Architecture
is not a visual art. It involves visual
elements in much the same way that music uses sound.
Competency in employing these elements is required.
This is the architect’s tool-kit. You cannot
be a great composer without knowing the basics of
the musical craft. Understanding different idioms
is like knowing different musical systems - of which
there are many. However, knowing the craft does not
make you a great composer. You have to employ technique
to make a new statement. Technique, itself, nor style,
can be a statement. |
| As
in any art, the architect has to develop a voice.
This takes time, thought and deep introspection.
Each project is a step along this path. As you develop
your project [link] for
this Course, be aware that this is your meditation,
your way of finding that part of yourself that is
unique and distinct - unrepeatable. Bring that forward
into your work. If you do this, originality will
emerge, as a consequence, unforced, natural and alive. |
architecture_of_transformation
|
| This
voice is not only the architect’s - it also
becomes a voice for the users of the environment.
Just as the attributes of architecture cannot be
subordinated
one to the other, neither the Architect nor the user’s
voice must dominate. It is, primarily, the architect’s
work to articulate that voice and to do this in a
way that brings the client into the creative act.
This does not mean that the work should be limited
to the present understanding or vision of the users
- indeed, it is a function of ART to challenge
and demand growth of those who would embrace it.
An example of success in this regard is the relationship [link] that
Mrs. Pew developed with the house that Wright designed
for her. She discovered that Mr. Wright had built
a place for her potential - not who she was.
It is the responsibility of the architect to make
a bridge from the culture that is to the
new reality that can be and that bridge
is the environment s/he builds. This is the architecture
of transformation. |
Assignments:
Select
a work of architecture that is a favorite of
yours. Provide a criticism per Elliot’s
rules and the Criteria Matrix provided above.
Be prepared to dialog on this in a class session
and document your criticism on your web page.
|
| Select
a piece of music. Perform an analysis of how this
music expresses architectural elements. Show examples
of these elements in specific works of architecture.
Be prepared to dialog on this in a class session
and document your analysis on your web page. |
|
Matt
Taylor
Palo Alto
January 5, 2000
SolutionBox
voice of this document:
BUILD • TACTICAL • EVALUATE
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posted
January 5, 2000
revised
February 20, 2004
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(note:
this document is about 98% finished)
• Matt
Taylor Studio Project •
• Pattern Language •
• Xanadu
Project •
• My Palo Alto Workspace •
update to
Matt’s Notebook
copyright©
Matt Taylor 2000, 2001, 2002, 2004
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