ARCHITECTURE.
Modern Architectural Practices:
Figure VS Ground
A figure is an element, or shape placed on any background. Also called object, form, element, or positive shape.
Ground is the space of the background. Also called space, residual space, white space, or field.
The figure-ground theory states that the space that results from placing figures should be considered as carefully as the figurs themselves.
The solid-void theory is the three-dimensional counterpart to the figure-ground theory. It states that the volumetric spaces shaped, or implied by the placement of solid objects are more important than the objects themselves.
When elements are not specifically defined but are nonetheless apparent, they are said to be implied.
Space Planning
Space is called negative space if it is unshaped after the placement of figures. It is called positive space if it has a shape. We move through negative spaces, and dwell in positive spaces.
Space planning is the organizing, or arranging of spaces to accomodate functional needs, and is a crucial skill for architects. Architectural space is designed to accomodate a specific experience, or intent. Gathering all the detailed information for the purpose of the space previous to planning the space is therefore a must.
Our experience of an architectural space is strongly influenced by how we arrive in it. To achieve the feel of a tall, bright space, counterpoint it by a low-ceilinged, softly lit space. A room with south-facing windows will be more strongly experienced if one passes by numerous north-facing windows previous to.
Many of the public spaces assigned in architectural design, such as museums, libraries, and assembly buildings are planned according to Louis Kahn's served and servant spaces, where the served space is made to be the main focuses, and the servant space, which is the space needed to support the building such as columns, blend in.
Generally, suburban buildings are freestanding objects in space, while urban buildings are often shapers of space. The shape of suburban buildings is the main focus, rather than the shape of the outdoor space. This outdoor space is then classiffied as negative space since the buildinsg aren't arranged to lend shape to the spaces in between. Urban buildings on the other hand, are designed in the opposite direction, with the outdoor space holding precedence over the building space. Some urban building are almost deformed so that public spaces such as plazas and courtyards could retain their shape, and keep their classification as positive space.
"Science worls with chunks, and bits and pieces of things with the continuity presumed, and [the artist] works only with the continuities of things with the chunks, and the bits and pieces presumed."
- Robert Pirsig
Design Ideas
All design ideas are planned to achieve a sense of place, a term used to describe places that are deeply memorable for their architectural qualitites.
Any design idea should be justified in at least two ways, as well as reveal different aspects about itself when viewed from different distances. Opportunities for numerous justifications are found in almost every element of a building. Although a stairwell's primary purpose is to permit passage from floor to floor, it can also serve as a sculptural element. A window's primary purpose is to allow natural light into the space, however, it can be strategically placed to ensure that it frames a certain view, or orient one to the exterior landscape. The more the justifications, the better.
When producing a design idea, being process-oriented, and not product-driven is the most important and difficult skill to develop. Making design investigations and decisions that address several aspects of the intended design at once is key. In the end, an improved design process is more valuable than a perfectly designed building. It is after all this amelioration in skills that one takes with them to the next project.
"A proper building grows naturally, logically, and poetically out of all its conditions."
- Louis Sullivan
A static composition of a design idea appears to be at rest. These structures are usually symmetrical, and suggest power, firmness, authority, and permanence. If designed inadequately, they can be unengaging, and boring. A dynamic composition on the other hand, encourages one to explore. These are almost always designed asymetrically, and suggest activity, movement, flow, agression, and conflict. If designed inadequately, these compositions can be jarring, and disorienting.
Richness is design ideas should be created through informed simplicity, rather than through unnecessary agglomerations. A building should always remain a highly ordered structure, no matter what it is intended to be. Designing as minimally as possible should be the process right from the beginning.
Limitations force creativity.
Thoughts & Knowledge
Three Levels of Knowing:
1. Simplicity - the universal view of a child, and the view of an uninformed adult. Characterized by the lack of knowledge of what lies beneath.
2. Complexity - the ordinary adult world view. Characterized by the knowledge of complex systems in nature and society, but an inability to discern classifying patterns and make connections.
3. Informed Complexity - enlightened view of reality. Founded upon the ability to discern and create classifying patterns withing complex systems. Pattern recognition is crucial in architecture.
The most successful people are meta-thinkers, capable fo "thinking about the thinking" and fully aware of not just what they are thinking, but how.
Four Architectural Form Classifications:
1. Additive: Assembled from individual pieces.
2. Substractive: Carved, or cut from a "whole" form.
3. Shaped/Molded: Appear formed with applied force to plastic material.
4. Abstract: Of uncertain origin.