outigs HRERAMS BT C9] As + H+ sete SEAR + WE weet OAR shameGR HEF 035 5 WF, 01-96-1393 BBERAA (CIP) ie URSA AEIEMG/ GD Fe Clark, R. HL), (WA Pause, M.) His ACME. abe: ABOUT MLHINEAE. 1997.4 ISBN 7-112-03095-1 1. th 1. OR Dike Oe . TU-88 + RA HULA 45 CIP RARE (97) 9 01950 5 Copytigh ©1998 by Van Nostand Reto ICD PBA ee tirana Thonn tating ‘The ITP logo ita ragstoed trademark under licence [Al rlghts reserved. No part of he work covered by the copyright aceon may bere Produced or used in any form or by any means-graphic, electronic. or mechatcal, inclusing photocopying. reccring. taping. o information storage and retieva sys tes.without the writen permission of the publisher Precedents in Architecture 2nd ed. / Roger H. Clark, Michael Pause ABO SALES VNR HL EARL Ae AE EPL. “ad LOLS So, MITE, Seed ALAA. ANH, EM 100 fet AEA RMR IOH 400 eh ROC ON RIA TN. ARNON TAMRON ESR L, ART —hentt. —SOH RAG HOLM. FRI RACAL. Mat Re OTS AL ‘es UNH a SEH RE RAF Rly. AEREDURINONORAZ I. RAISON ROR TA. eo T— Asem RM ETS te VIL RRS CoE TAO ARNT ‘ASO HL. PURI BIRE A AN LIT. AER Hem HE ARRAS EB (28) Bas He sete, HEBER + BEM wei PRR e mic. AT eR Ree eM cee ee aL | Fes 880% 1280 AA L/L OIE 19% FB: 505 FH 007 ARM 1807 A ARAL Eth) 85.0078 ISBN 7-112-03095.1 TU 2382 (3220 KORA BE TE ACE, ra daa 100037)To Judy and Kathy We RakesDE RATE AS SE HN AAS AE I RY ee ee See eee FR RATT Ah. RT MCLG I A AS A ARE FBR IE Sep Am MERLIN Ech. FRITH ARSE ALAS A 4 SURE BEL. PRATT A RL IY RE TH eS A FOO. eH RM ALA FE AH a “CET RE 0 RT ee ee ec PATRIA RAO A SO. CGI. TR MAREE AAO SE Ay PNR. SR A A RA ce MH OTE LM ZH, FDL AAR TRE eH A APR. TAMARA. HERIOT. FAR mE ROPE ATL Hed. RITOTA ARE Vee AON AUTEUR RIE RLM MH Sea). FARR AL IRIN ACER SLAG OTR DD» OR SEMIS RE HE RB AOE APMC ATK. Tans. AR tee RUA AH RAG MEE RIE TA TNH 5 Ad A SL AUTEM FR EN EURO ST PITS SPT Fa A AF AL TE Ir BRAS eT URN A A RIA BO ORE HERE. A PA am Ul EE SLRS AG mL FR A A OR ASE TBS ACLS Ee. 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YF AS He A FI LE A EM Aft BRN te ie 3a. ALATA cb OTERO WES. RIFT AO HEI ER aR, ANNES LDN Eek. COIR ICR IA MY AE APN OK Do es DAR RR BG Ga RS REA TS eB OS TE eRe. Bee RIA AST IH A A PO RER. FRAN CE RIAL AO Te ao GE Hy ROR ARP AL FEA NB. “EAL RT eA Re ROT AAR TS SEA HATA ACAI. SMO Ove AA ANY. NAT ENR ARENAS AE. AMELIE RL eRe ATTA BL Sete 7 AER OLIN FEL ICT MEINE 16 CARLIN SE. HEF “e ‘FB. SA ME by eA A A AARC CAR RRM BR. TAY RM EN — REIS AMELIA FMA. HEAL APH A TAS BR AR A IS A CA A. 9 1 9 a a= a eA PY FRATTON Re CAL AES. HER A I SE 25. FMM 7 TAR LIMOU HEAR A519 AT he 2 A AS A — i a A AEF (EAI EA ARIE HT EI TEE I — a AR 5 COLAO. EARL. a ECARD. SRR. BRING SEUNG M HR A IP ay SEI gS ED, RATS FSS AP A A BA SSL 0 a PL I NA WR A 2, HAT wr Arn RIB EATT ECA HOE Ke TER EO FAT ROO BIO ALEK. BLK ae GB Hy A 9 NEF HAIR ROI MS Se ETT RUIN AES AUTH ERERABNY. VIN HAS 2S Ay SLE BE ME SR TOPE de MD TRATES ETE. Be ta SBA AE AT 3 9 ee Ww AE wei IIE Ay SUCHE RIS MEE ACI. FRAT abi = yess AR MR Aaa AER eR A MARRS TWEE. VINR ARRAS AO EAA BIE ET RRL DAS PLEO HT EASA. PU © Le = REAR MES + Mm FUSE + USELESS RII. AE. BAR = AE A > Me AHEM TR Ts Hemi MERE. AIT LIP BE AY TE A OL ELF BRA A Bh. ARAN ewes. ESRI ABCA HELA, Be = REL A AR AUSOERAE. ASAE MHUGE Cs. SBA YE RIE FREER BAT RRA ec Me ABA RE MCT ERA DITTO TRIM ROT ERR. IRA. 5A As tn A FRH RR BER: aPREFACE TO THE FIRST EDITION This book is about architecture. In particular, it focuses on a way of thinking about archi- tecture that emphasizes what is in essence the same, rather than different. Our concern is for a continuous tradition that makes the past part of the present. We do not wish to aid the repitition or revival of style whether in whole or part. Rather, by a conscious sense of precedent that identifies patterns and themes, we hope to pursue archetypal ideas that might aid in the generation of architectural form. While architecture embodies many realms, we concen- trate on built form. Without apology, we make no attempt to discuss the social, political, economic, or technical aspects of architecture. The domain of design ideas lies within the formal and spatial realm of architecture, and thus it is this arena that is explored in this book. Obviously, a sound architectural idea will not, as a tool for design, inevitably lead to a good design. One can imagine many undesirable buildings which might originate with for- mative ideas, To be sensitive to the potential of archetypal pattern in design does not lessen the importance of con- cern for other issues or for the building itself. However, one commonality shared by the great buildings of this era with those of the past, is a demonstrated understanding of basic architectural ideas which are recognizable as formative pat- tems. Our analysis and interpretations are of built form, and therefore, may not necessarily coincide with the architect's intentions or the interpretations of others. The analysis is not all-inclusive in that it is limited to characteristics which can be diagrammed, ‘The intentions of this study are to assist the understand- “PREFACES ing of architectural history, to examine basic similarities of architects’ designs over time, to identify generic solutions to design problems which transcend time, and to develop analysis as a tool for design. Of importance is the develop- ment of a vehicle for the discussion of ideas through the use of example. The understanding of history derived from this kind of investigation can only be obtained by far greater labor than that involved in acquiring a knowledge of history that focuses on names and dates. The reward for this effort is a design vocabulary that has evolved and been tested over time, We believe designers benefit from a comprehensive understanding of formative ideas, organizational concepts, and partis. [As a resource, this book offers factual graphic informa: tion on 64 buildings, a detailed analysis of each of these buildings, a range of designs by individual architects, a com pilation of formative ideas for design generation, a collec- tion of architectural images, and a reference for a technique of analysis. Some of this information is not readily available in other sources. We are indebted to the Graham Foundation for Ad- vanced Studies in the Fine Arts for support to make this study possible. Any effort of this nature is the fruit of many encounters with individuals and ideas, but one debt in particular stands ut as significant. Through a series of conversations with George E. Hartman, Jr. several years ago, some of our thoughts and ideas about architecture and history were fo- cused, Since that time, he has continuously and enthusiasti- cally offered support and encouragement. James L. Nagel, Ludwig Glaser, William N. Morgan, and the late William Caudill each’ generously sponsored our efforts to secure assistance from the Graham Foundation. RogerCannon, Robert Humenn, and Debbie Buffalin provided valuable help in locating material and information, For their assistance and support we thank several persons in the School of Design: Dean Claude B. McKinney, Winifred Hodge, the secretaries, and the librarians, The students in our classes have enriched, stimulated, and challenged our ideas, and encouraged us to record them in this volume. We fully acknowledge our debt to them. ‘A special acknowledgment is reserved for Rebecca H. Mentz and Michael A. Nieminen, whose considerable talents were used to draw the sheets reproduced in this volume. Without their skill, patience, diligence, and dedication this volume would not have been possible. Our gratitude is extended to our families who have aided our efforts through sacrifice, devotion, and understanding, To all other persons who have encouraged or in some way contributed to this study we collectively give thanks. By making available the Information that is presented in this volume, we hope to expand the understanding of prece. dents in architecture; to illustrate an educational technique that is useful to students, educators, and practitioners; and to demonstrate an analytic technique that can have impact on architectural form and space decisions. PREFACE TO THE SECOND EDITION ‘The success of the first edition indicated that there was a need for conceptual and analytic information about archi- tecture. Our experience with the first edition over the past decade demonstrated that the material has been useful as a tool for teaching architecture. It has provided a vocabulary for analysis that helps students and architects understand, the works of others and aids them in creating their own de- signs. This approach continues to be useful and there was no apparent need to revise the information. Instead, the sec- ond edition gave us the opportunity to enrich the content of 8 the analysis section by adding the works of seven architects, ‘They were chosen initially to augment the content of the original sixteen architects. Some were selected for historical significance, some for lack of widespread documentation of their work. Others were picked because of emerging reputa- tions and the production of a meaningful body of work since the publication of the first edition. Ail were selected be- cause of the strength, quality, and interest of their designs. It is our intent to continue to show that design ideas transcend culture and time. Keeping the same format, we have added factual and analytic information on two or four buildings by each of the seven new architects. While some may find this book useful for information about a particular architect or building, it is not our primary Purpose to present any one building or architect exhaus- tively (e.g., photographs, written descriptions, or contract documents). Rather, our intention is to continue to explore the commonality of design ideas through comparison. To achieve this we have used the diagrammatic technique that was developed in the original study. While some of the ar- chitects and architectural authors have used diagrams to ex- plain or inform others about the buildings included in this Volume, the diagrams in this book are our own creation, In addition to the acknowledgments cited in the preface of the first edition the following have helped make this edi- tion a reality. The Graham Foundation for Advanced Studies in the Fine Arts supported our work for a second time; for this we are grateful. Van Nostrand Reinhold also contributed Brant money to make this edition possible. Both of these sources aided our research and allowed for the production of the drawings. While difficult to acknowledge all individuals who have contributed to or influenced our ideas, certain people's ef forts deserve recognition. We are indebted to Wendy Lochner for persuading us to attempt a second edition. Her support and encouragemeut were critical. The editorial staff at Van Nostrand Reinhold provided us with willing and valuable assistance. James L. Nagle, Victor Reigner, and Mark ‘Simon supported our efforts through encouragement, sug- gestions, and recommendations. Peter Bohlin and Carole Rusche generously contributed valuable information on the works of some of the architects. Collectively, we thank the staff of the School of Design for their wiling assistance. Special recognition goes to Mara Murdoch who single- handedly, with great skill, dedication, and patience drew all of the new pages. Finally we wish to acknowledge all of our students who have shown us that the study of precedents is a valuable tool for learning to design, and who continue to challenge us. Roger H. Clark and Michael Pausea A A ke a A 3 AN I IA "CEES RP AC M0) — REP UIA eH} 2 A FLA Ae 5 ee He 8 EI, WES, RMIT. ARR TE UVLO AE CLO INA A. AYR AO ETN. ARTE ARIE A 2 Re 8 IL he PL BO CB = FR TE eG hs LAB a AA ESET» RA eA AC a AASB Hy TSR — A A OH LRG. APACS ALE A A GE FUSE OE. PRATT ARO DOM RR SRE TE BL. JRRR ALITA HE. ARASH PURB SPSL OB RBM RE 83 NAEP AC BL eA i = ARE RY TE + ELIE AI EMCO A. RIT AT LAR RI CEE ARE FSS FAT A FE PRIA RMIT hms. — ae Ek es RITE HA RAAT T CLM RHA AR oN 7 POAT Ee Ay a a A A AE Pas ARR FRR RIR AY BERR LETT ESTO CER OL I LATED TRE. FRAO AMOR ARES REFERER RH ROG Hh A eA RB AH a FU Pe PD ELA SRE a esata. SOP RAE AEN MOR. SR FT PREM BE CE Er LE TT ENB. GK A ILA HE LY. FRACS 15 Pr BORE TH TNs 4 EL. SH I RH t SE + MACE EG FOS. BALL. He RSL WA A a I ORE AE AAP RAR. BIS. ABR + HESS I Ms FRE EH ‘RR AE BOHR A I HE I SLAIN ARITA FRA OG A CRT TIT Aiba ee SEF AGERE ALG ELIS ATA VARS HP SRP AE DIVES AROS aA EE Se FA. BRE FEA ASNT EAS HE RIL ARO. EE RO MCSE HEE FOL cee — I RRA PARE. le EL LN. OAT OR FI HY — ERNE (Ol, aT AH EE eT HE SANT Ae RRO. RPE TE (OE FEAR. LAR Ae HES) JR EAS AAR. AM. TUNA. AB A A PUFA A. LN RAR + MARA TE AULA EP SILA PTY + RA He ff OR FETA LEARN AB SR FE QT — SRL EO SF RL RTT SA HR, BREA AG Ac AARON SA AR ASTD BU BOF 9 A RTA RP HL A AG aT A A AS TE HO $17 — FE. SA A Ie PE. Ry TR RR Ls A ACE A AT IR TE iy SB» BEEF TE GE «SC TR SS. NAGASE AFL + Um a5 PAIR, IONE ET A TCH. SAM ERLE = (a OE A OE ACH EAT nrab BAF eS A AIR. ATLA ty PORCELAIN. Em SE TSA MORE HOS A A AeA. TOSSES BE le — a a AT OT PRIME LER. — REI. Ce NR ON PS We TEL. 9 T MELO Om. TE AHR eo FU. em FO om «TBE 9 RYH A LL 12 WERE. CH 19 AS HR SPE SO BER PR. IEA RE LEAD. EO OD. ewe LA OM FT A ORG SE SP EPR BR UTE ah ae SUS HS A. I et ROOM SES SOM ERMME ROAR 109. ASHI LT RES — ARS. (REAR RR RT SEES.‘The renewed and growing interest in architectural history and historic architectural example has focused the need to clarify the link between history and design. History studied in the academic sense of seeing our place within a contin. uum, or in the strictly scholarly sense of knowing the past, can limit our knowledge as architects to little more than names, dates, and style recognition. Seeing between and be- yond the layers of historical styles, within which archicec- ture is generally categorized and presented, can make his tory a source of enrichment for architectural design. ‘The search, in this study, is for theory which transcends ‘the moment and reveals an architectural idea. The technique for this search is the careful examination and analysis of buildings. The desired result is the development of theory to generate ideas with which to design architecture. This volume is organized into two parts. The first con- centrates on the analysis of 88 buildings which are pre- sented in both conventional drawings—site plan, plan, and elevation—and diagrams. The second identifies ‘and delin- eates formal archetypal patterns or formative ideas from which architecture might evolve. It can be observed that cer- tain patterns persist through time, with no apparent relation- ship to place. Buildings that represent a range of time, function, and style, and architects who exemplify seemingly different ap- roaches to architecture, were selected. This selection was tempered by availability of information; some architects and some buildings were not included because the material available did not permit thorough analysis. Preference was given to built buildings in lieu of pro- Jects which are included in the second part only when they represent pertinent examples of an idea. While the analytic technique utilized in this volume is applicable to groups of NTRODUCTION duildings, this study is limited to single works of architec- ture, ‘The information available for the selected buildings con- tained inconsistencies in some areas, When discrepancies did occur, every effort was made to verify the accuracy of the information. If it could not be totally verified, then rea. sonable assumptions were made, For example, a site plan was never drawn by Robert Venturi for the Tucker House; therefore, the site plan indicated in this volume is inferred from other information, In some instances, particular buildings are cited in the literature by more than one name. For example, La Rotonda by Andrea Palladio is often referred to as Villa Capra, Less frequently it is called Villa Almerico, after the name of the family for whom it was originally built. In cases where such multiplicity occurs, buildings are identified in the body of this study by the most frequently used name, and in the index by the several names utilized. Opinion also differs about dates attributed to several buildings. Because of the length of time it takes to complete building or because of the imprecision of recorded history, itis often difficult to establish a date or a series of dates that are exact for a building. The importance of the date is to place the work in a chronological context. When conflict did occur between sources, the date that is ascribed most often, is the one used Undoubtedly, the complexity of architecture often makes it difficult to attribute the work of a building to a single per- son. It is clear that buildings, regardless of when executed, are the products of partnerships or collaborations, and are the result of inputs from several persons. However, for the sake of clarity, the buildings in this study are assigned to the person who is normally recognized as the designer. For in- tastance, Charles Moore is listed rather than the several asso- lations which might be included for each building. Simi larly, Romaldo Gjurgola is acknowledged instead of the firm sin which he is a partner. In the analysis part of the study, the plan, elevation, and section for any individual building are drawn at the same scale, However, the scale between any two buildings varies depending upon building size and presentation format. Site plans are oriented to correspond generally to the orientation ‘of the floor plan, and north is indicated where known. To communicate the analysis of the buildings and the formative ideas in this study, a diagram or a set of diagrams is utilized. The diagrams are drawings that, as abstractions, are intended to convey essential characteristics and rela tionships in a building. As such, the diagcams focus on spe- cific physical attributes which allow for the comparison of that attribute between buildings independent of style, type, function, or time. The diagrams are developed from the threedimensional form and space configurations of the building. They take into account more information than is normally apparent in a plan, and elevation, or a section. In u order to reduce the building to its essentials, the diagrams have been intentionally simplified. This elimination of all but the most importani considerations makes those that re- main both dominant and memorable. For the analysis, it was necessary to establish a graphic standard so comparison could be made between the dia grams, In general, heavy lines are used on each diagram to accent the issue. In the formative idea part of the study, the plan, elevation, or section of the building is drawn lightly for orientation purposes, while the issue being analyzed and compared is indicated by heavy line or shading. The legend ‘on page 15 indicates the specific graphic standard used on the diagrams in the analysis section, ‘This study is not exhaustive; rather, examples, are in- cluded to illustrate the nuances of the idea, It is rare to find a building configuration which embodies a single formal theme in absolute purity. More normal is a variety of pat- tems layered upon one anather—the consequence of which is the potential for richness that can evolve fro multiple in- terpretations. In this study dominant patterns have been identified, but this is not to suggest that others do not exist.LEGEND. ‘Srna SRE] ‘Matéewy ASAE] —— ws "ee enn coeer 8 Ts HE men EOE some Me St over EOS a Aer, Seo tke Te TERE ER HRAER Comronmnry 6} wae mcm 19 nin remmmeroowe atEsUety | sme aaALce ERT be Se ma Soe omer Senn sme ERE expan 3 bar tea a NT rover tHe] wom, 20 ener woe 8 eae CR me She eax =H78 RECTANGLE wikiie oe nae BRB REE eno mene saan AEA sa ge na ta wan ° cnmoves HER er . —— ea van ons #78 . o “seoonDaRy, rewainpnn Feat PADS CENTER v ESS orem, "Bt Sime Bhan HERE] es ven Hee naaiek se nitecad HL = MAE + MERE RE 14 PREETI 142 a BEM + BAI 150 ABM = HEALIE. 158 BRAGA + EMT JL aw 166 om : 5 effete + cre seen 174 BCG + BACHE “ PSE + Ty RAM AM» 12 Felis sossees seen 22 MLSE + OCEANA + BLE 26 Ret sz RAL + fH oo aa Tome + Wz Ft 2 ke» 215 TRIBE + 45 EWI ~ 50 AOE Sa 58 AL IA BORE + IRI» 62 ‘mee JARO + RESORT 70 UAE ae BEI 1 Benen - 78 JUSTE. B+ FEAT BOE oor seece eee 86 Test, SERIE + Fart = NUH on ide sal OEM 102 ais BEE m + ZENE - 110 BERN + MOR ns ROLIO SI POPUL = HOAPrefaces Introduction Analysis /9 Alvar Aalto / 14 ‘Tadao Ando / 22 Erik Gunnar Asplund / 26, Peter Q. Bohlin / 34 Mario Botta /42, Filippo Brunelleschi /50 Sverre Fehn / 58 Romaldo Giurgola /62 Nicholas Hawksmoor / 70 Louis I. Kahn / 78, Le Corbusier /86 Claude Nicholas Ledoux / 94 Edwin Lutyens / 102 Richard Meter / 110 Charles Moore / 118, Andrea Palladio / 126 18 CONTENTS Henry Hobson Richardson / 134 James Stirling /142 Louis Sullivan / 150 Giuseppe Terragni / 158 Ludwig Mies Van Der Rohe / 166 Rotert Venturi / 174 Frank Lloyd Wright / 182 Formative Ideas / 202 Plan to Section or Elevation / 215 Unit to Whole / 222 Repetitive to Unique / 229 Additive and Subtractive / 235 ‘Symmetry and Balance / 237 Geometry / 243, Configuration Patterns / 257 Progressions / 267 Reduction / 271 Index /283 oeFURR + BRE Thao, RP RRC LMM Re. OHI BRA RBA MLA. Ab Sees, DARIEN ame AHH Lwe ae Ae. 3b SMe + AAR «AERO WR. FARA TAAL nt TE IR INIA SLT BE SER IM MT RMR. AE AO - tmBK SRLS = Q + PPR. PURER AS MANOR. PEER ask OB RENAE. HALEN MNES) meee. MesMLem am. me SaeEES. eh TH TIT «SNe. RE Hest. REAR DUIEAE - MRS MUR. ere TAR: MAMI ERM. IC TILDE. DERE SESS MEA MOT. HOEK EMT FE MERE. ee Hoe Sr: mB euxrsesum. sere Bo eI. aOR SS BORS - RRR BAAS AFI «ATARI SRR MMI RMR AB. HEN ME PLM AAR SEER ASE WERE T Fe ray - mE PORT = PA NBUTTS. atte HARES BAM. OF eee. MH RL E50 + (RRL. He DET me . FUER SOTA N+ ERO ETE Cs. Mele SETTLE. RTE ROR AOE LE Wats. seme mE - PROC OUHME. BEIC ES ARK. TE AMER RMD. 2 AL Fah AR See - earth - itt RPI. Coe TRH. LAE Wolpe. Lm AIEEE. BN nae EAD oe RARER. IRR Sea ARIES. en? RPIEE. ORR eeseasenee 62 78 +94BRB CHEN. AML ee SOA. SH ARE" hse. ROAR, EVRA EIT. 7 WOW ERE NCC. eC EARN + ER DRAG. BA AOE eS. OAS ap EDIT. WAS ay cee Rae ROR - mms AOE NLM. 126 RTL SRIRAM + SAAT ea. ALE Bur sme. see USHERS. RUE WH: meee Seo. te ed Praha SBE. DERM ae mesa HI8 A CCH. MAE Disk II. SF Seem te. oh POLAR ER. RUMI 134 12 BS Ds RIL ona BOA. Sa ee es BSc Re TT. mF REM > BALE BeOCRER Aoam e BLRL MIC. Bb SESAME ILE. BB Bede. Ret me RRMA MT ww ee ee WHERE. aA FONT. ARLE SERA. 3 wie ce Ji = CALE. PRAT A , WBA Ss HEA EE AEE. RIE AR SEE. ER NTA E+ SSA am Ree PSE. SEMEL, MORSE Go wieee. Soap LR IE. AO MBL R= pRB RH Le les 182ANALYSIS Alvar Aalto / 14 ‘Town Hall, Saynatsalo Vouksenniska Church, Imatra Enso-Gutzeit Company Headquarters, Helsinki Cultural Center, Wolfsburg, ‘Tadao Ando /22 Chapel on Mt. Rokko, Kobe Church on the Water, Tomamu Erik Gunnar Asplund /26 Snellman House, Djursholm Woodland Chapel, Stockholm Lister County Courthouse, Solvesborg, Stockholm Public Library, Stockholm Peter Q. Bohlin /34 Weekend Residence for Mr. and Mrs. Eric Q. Bohlin, West Comwall Gaffney Residence, Romansville House in the Adirondacks, New York State Guest House, Gates Residence, Medina Mario Botta / 42 Single Family Residence, Riva San Vitale Church of San Giovanni Battista, Mogno Bianda Residence, Losone ‘The Church of Beato Odorico, Pordenone Filippo Brunelleschi / 50 Old Sacristy, Florence Ospedale Degli Innocenti, Florence Church of San Maria Degli Angeli, Florence Church of San Spirito, Florence Sverre Fehn/ 58 Villa Busk, Bamble ‘The Glacier Museum, Fjaerland Romaldo Giurgola / 62 ‘Adult Learning Research Laboratory, Bryn Mawr Lang Music Building, Swarthmore Student Union, Plattsburgh ‘Tredyffrin Public Library, Stratford Nicholas Hawksmoor /70 Easton Neston, Northamptonshire St. George-In-The-East, Wapping Christ Church, Spitalfields St. Mary Woolnoth, London Louis I. Kahn /78 Alfred N. Richards Medical Research Building, Philadelphia Salk Institute of Biological Studies, La Jolla Kimball Art Museum, Fort Worth Library, Exeter Le Corbusier / 86 Villa Savoye, Poissy Unite D’ Habitation, Marsailles Notre Dame Du Haut Chapel, Ronchamp ‘The Palace of Assembly, Chandigarh Claude Nicholas Ledoux / 94 Hotel De Montmorency, Paris Hotel Guimard, Paris Theater, Besancon Director's House, Saltworks of Are and Senans Edwin Lutyens / 102 Homewood, Knebworth Nashdom, Taplow Heathcote, Ilkley The Salutation, Sandwich Richard Meier / 110 Smith House, Darien The Atheneum, New Harmony Ulm Exhibition and Assembly Building, Ulm Weishaupt Forum, SchwendiCharles Moore /118 Moore House, Orinda Condominium I, Sea Ranch Hines House, Sea Ranch Burns House, Santa Monica Canyon Andrea Palladio / 126 Villa Foscari, Malcontenta Church of San Giorgio Maggiore, Venice La Rotonda, Vicenza Redentore Church, Venice Henry Hobson Richardson / 134 Trinity Church, Boston Sever Hall, Cambridge Allegheny County Courthouse, Pittsburgh J.J, Glessner House, Chicago James Stirling / 142 Engineering Building, Leicester History Faculty Building, Cambridge Florey Building, Oxford Olivetti Training School, Haslemere Louis Sullivan /150 Auditorium Building, ieago Wainwright Building, St. Louis Carson Pirie and Scott Store, Chicago National Farmers’ Bank, Owatonna Giuseppe Terragni /158 Novocomum Apartment House, Como Casa del Fascio, Como Sant’ Elia Nursery School, Como Villa Bianca, Seveso Ludwig Mies van der Rohe /166 German Pavilion at International Exhibition, Barcelona Tugendhat House, Brno Farnsworth House, near Plano Crown Hall, Chicago Robert Venturi / 174 Vanna Venturi House, Philadelphia Fire Station -Number 4, Columbus Peter Brant House, Greenwich Carll Tucker III House, Mount Kisco Frank Lloyd Wright / 182 Unity Temple, Oak Park Frederick G. 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A eT {PC RL UO MEE MRE OY tat PLR AE ID Bs ARAB GP ITAL EE TUN AG A AR IANALYSIS In this section, 88 works of architecture are documented, ‘The buildings are the designs of 23 architects. For most architects, four buildings are presented which are repre- sentative of that person’s work. The material is ordered with the architects arranged alphabetically, and the build- ings for each architect presented chronologically and suc- cessively. Each building is recorded on two adjacent pages; the left-hand page documents the building with name, date, and location as well as drawings of the site plan, floor plans, el- evations, and sections; illustrated on the right-hand page is 1 series of eleven analysis diagrams and the parti diagram which culminates and summarizes the analysis for the building. The parti is seen as the dominant idea of a build- ing which embodies the salient characteristics of that build- ing. It encapsulates the essential minimum of the design, without which the scheme would not exist, but from which the architecture can be generated. A major concern of the analysis is to investigate the for- mal and spatial characteristics of each work in such a way. that the building parti can be understood. To accomplish this, 11 issues were selected from the widest range of char- acteristics: fundamental elements which are common to all buildings, relationships among attributes, and formative ideas. Each issue is first explored in isolation and then in re- lationship to the other issues, This information is studied to discern reinforcement and to identify the dominant underly- ing idea. From the analysis and the resulting parti for each building, similarities and differences among the designs can be identified. ‘The issues selected for the analysis are: structure; nat- ural light; massing; and the relationships of plan to section, circulation to use-space, unit to whole, and repetitive to unique. Also included are symmetry and balance, geometry, additive and subtractive, and hierarchy. STRUCTURE Ata basic level, structure is synonomous with support, and therefore exists in all buildings. At a more germane level, structure is columnar, planar, or a combination of these which a designer can intentionally use to reinforce or realize ideas. In this context, columns, walls, and beams can be thought of in terms of the concepts of frequency, pattern, simplicity, regularity, randomness, and complexity. As such, structure can be used to define space, create units, articu- late circulation, suggest movement, or develop composition and modulations. In this way, it becomes inextricably linked to the very elements which create architecture, its quality and excitement. This analysis issue has the potential to rein- force the issues of natural light, unit to whole relationships, and geometry. It can also strengthen the relationship of cit- culation to use-space and the definition of symmetry, bal- ance, and hierarchy. NATURAL LIGHT Natural light focuses on the manner in which, and the locations where, daylight enters a building. Light is a vehicle for the rendering of form and space, and the quantity, quality, and color of the light affect the perceptions of mass and volume. The introduction of natural light may be the consequence of design decisions made about the elevation and section of a building. Daylight can be considered interms of qualitative differences which result from filtering, screening, and reflecting, Light which enters a space from the side, after modification by a screen, is different from light which enters directly overhead, Both examples are quite different from light which is reflected within the en- velope of the building before entering the space. The con- cepts of size, location, shape, and frequency of opening; sur- face material, texture, and color; and modification before, during, or after entering the building envelope are all rele- vant (0 light as a design idea. Natural light can reinforce structure, geometry, hierarchy, and the relationships of unit to whole, repetitive to unique, and circulation to use-space. MASSING As a design issue, massing constitutes the perceptually dom- inant or most commonly encountered three-dimensional configuration of a building. Massing is more than the silhou- cette or elevation of a building. It is the perceptual image of the building as a totality. While massing may embody, ap- proximate, or at times parallel either the outline or the ele- vation, it is too limiting to view it as only this, For example, on the elevation of a building the fenestration may in no way affect the perception of the volume of the building. Simi: larly, the silhouette may be too general and not reflect pro: duetive distinctions inform. _ Massing, seen as a consequence of designing, can result from decisions made about issues other than the three- dimensional configuration. Viewed as a design idea, massing may be considered relative to concepts of context, collec- tions and patterns of units, single and multiple masses, and primary and secondary elements. Massing has the potential to define and articulate exterior spaces, accomodate site, identify entrance, express circulation, and emphasize impor. tance in architecture. As an issue in the analysis, massing can strengthen the ideas of unit to whole, repetitive to 10 unique, plan to section, geometry, additive and subtractive, and hierarchy. PLAN TO SECTION OR ELEVATION Plan, section, and elevation are conventions common to the simulation of the horizontal and verticle configurations of all buildings. As with any of the design ideas in this analysis, the relationship of plan configuration to verticle information may result from decisions made about other issues. The plan can be the device to organize activities and can, therefore, bbe viewed as the generator of form. It may serve to inform about many issues such as the distinction between passage and rest. The elevation and section are often considered as being more closely related to perception since these nota tions are similar to encountering a building frontally. How- ever, the use of plan or section notations presumes voluiet: ric understanding; that is, a line in either has a third dimension. The reciprocity and the dependence of one on the other can be a vehicle for making design decisions, and can be used as a strategy for design. Considerations in plan, section, of elevation can influence the configurations of the other through the concepts of equality, similarity, propor- tion, and difference or opposition. It is possible for the plan to relate to the section or el- evation at a number of scales: a room, a part, or the whole building. As an issue for analysis, the plan to section rela- tionship reinforces the ideas of massing, balance, geometry, hierarchy, additive, subtractive, and the relationships of unit to whole and repetitive to unique. CIRCULATION TO USE-SPACE Fundamentally, circulation and use-space represent the sig- nificant dynamic and static components in all buildings. Use. space is the primary focus of architectural decision making.relative to function, and circulation is the means by which that design effort is engaged. Together, the articulation of the conditions of movement and stability form the essence of a building. Since circulation determines how a person experi- ences a building, it can be the vehicle for understanding is- sues like structure, natural light, unit definition, repetitive and unique elements, geometry, balance, and hierarchy. Cir- culation may be defined within a space that is for movement only, or implied within a use-space. Thus, it can be separate from, through, or terminate in the use-spaces; and it may es- tablish locations of entry, center, terminus, and importance, Use-space can be implied as part or all of a free or open plan, It can also be discrete, as in a room. Implicit in the analysis of this issue is the pattern created by the relation- ship between the major use-spaces. These patterns might suggest centralized, linear, or clustered organizations. The relationship of circulation and use-space can also indicate the conditions of privacy and connection. Basic to employ: ing this issue as a design tool is the understanding that the configuration given to either circulation or use directly affects the manner in which the relationship to the other takes place. UNIT TO WHOLE The relationship of unit to whole examines architecture as units which can be related to create buildings. A unit is an identified entity which is part of a building. Buildings may comprise only one unit, where the unit is equal to the whole, or aggregations of units. Units may be spatial or formal enti- ties which correspond to use-spaces, structural components, massing, volume, or collections of these elements. Units may also be created independently of these issues. ‘The nature, identity, expression, and relationship of units to other units and to the whole are relevant considerations in the use of this idea as a design strategy. In this context, units are considered as adjoining, separate, overlapping, or less than the whole. The relationship of unit to whole can be rein- forced by structure, massing, and geometry. It can support the issues of symmetry, balance, geometry, additive, subtrac. tive, hierarchy, and the relationship of repetitive to unique. REPETITIVE TO UNIQUE ‘The relationship of repetitive to unique elements entails the exploration of spatial and formal components for attributes which render these components as multiple or singular enti- ties, If unique is understood to be a difference within a class or a kind, then the comparison of elements within a class can result in the identification of the attributes which make the unique element different. This distinction links the realms of the repetitive and the unique through the common reference frame of the class or kind. Essentially, the defini- tion of one is determined by the realm of the other. In this context, components are determined to be repetitive or ‘unique through the absence or presence of attributes. Con- cepts of size, orientation, location, shape, configuration, color, material, and texture are useful in making the distine- tions between repetitive and unique. While repetitive and unique elements occur in numerous ways and at several scales within buildings, the analysis focuses on the dor nant relationship. In the analysis, this issue generates infor- mation which strengthens or is reinforced by the concepts of structure, massing, units related to whole, plan related to section, geometry, and symmetry or balance. ‘SYMMETRY AND BALANCE ‘The concepts of symmetry and balance have been in use since the beginning of architecture. As a fundamental is- sue of composition, balance in architecture occurs through uthe use of spatial or formal components. Balance is the state of perceptual or conceptual equilibrium. Symmetry is a specialized form of balance. Compositional balance in terms of eguilibrium implies a parallel to the balance of weights, where so many units of “A” are equal to a dis- similar number of units of “B.” Balance of components es- tablishes that a relationship between the two exists, and that an implied line of balance can be identified. For bal- ance to exist, the basic nature of the relationship between two elements must be determined; that is, some element, of a building must be equivalent in a knowable way to an- ‘other part of the building. The equivalency is determined by the perception of identifiable attributes within the parts, Conceptual balance can occur when a component is: given additional value or meaning by an individual or group. For example, a smaller sacred space can be bal- anced by a much larger support or secondary space. Whereas balance is developed through differences in at- tributes, symmetry exists when the same unit occurs on both sides of the balance line. In architecture this can hap- pen in three precise ways: reflected, rotated about a point, and translated or moved along a line. Both symmetry and balance can exist at the building, component, or room level. As scales change, a distinction is made between overall and local symmetry or balance. Consideration of size, orientation, location, articulation, configuration, and value is involved in its use as a formative idea. Balance and symmetry may have an impact on all of the other analysis issues. GEOMETRY Geometry is a formative idea in architecture that embodies the tenets of both plane and solid geometry to deter- mine built form. Within this issue, grids are identified as being developed from the repetition of the basic geometries. 2 through multiplication, combination, subdivision, and ma nipulation. Geometry has been used as a design tool since the very beginnings of architectural history. Geometry is the single most common determinant or characteristic in buildings. It ‘can be utilized on a broad range of spatial or formal levels. that includes the use of simple geometric shapes, varied form languages, systems of proportions, and complex form generated by intricate manipulations of geometries. The realm of geometry as an architectural form generator is a relative one of measurement and quantification. As a focus for this analysis, it centers on the concepts of size, location, shape, form, and proportion. It also concentrates on the con- sistant changes in geometries and form languages that result from the combination, derivation, and manipulation of basic geometric configurations. In the analysis, grids are observed for frequency, configuration, complexity, consistency, and variation. As the pervasive attribute of buildings, geometry can reinforce all of the issues used in the analysis. ADDITIVE AND SUBTRACTIVE, ‘The formative ideas of additive and subtractive are devel- ‘oped from the processes of adding, or aggregating, and sub- tracting built form to create architecture. Both require the perceptual understanding of the building. Additive, when used to generate built form, renders the parts of the building ‘as dominant. The perception of a person engaging an addi- tive design is that the building is an aggregation of identifi- able units or parts. Subtractive, when utilized in designing, resiilts in a building in which the whole is dominant. A per- son viewing a subtractive scheme understands the building as a recognizable whole from which pieces have been sub- tracted. Generally, additive and subtractive are formal con- siderations which can have spatial consequences. Richness can occur when both ideas are employed simul-taneously to develop built form. For example, it is possible to add units together to form a whole from which pieces are subtracted. It is also possible to subtract pieces from an identifiable whole and then to add the subtracted parts back to create the building. ‘The manner in which the building whole was articulated, and the ways in which the forms were rendered, was impor- tant to the analysis. This was achieved by observing mass ing, volumes, color, and material changes. Additive and sub- tractive, as ideas, can strengthen or be reinforced by massing, geometry, balance, hierarchy, and the relationships of unit to whole, repetitive to unique, and plan to section. HIERARCHY ‘As a formative idea, hierarchy in the design of buildings is the physical manifestation of the rank ordering of an at: tribute or attributes. Embodied in this concept is the assign- ment of relative value to a range of characteristics. This en- tails the understanding that qualitative differences within a progression can be identified for a selected attribute. Hierar- ‘chy implies a rank ordered change from one condition to ar other, where ranges such as major-minor, open-closed, sim- ple-complex, public-private, sacred-profane, served-servant, and individual-group are utilized. With these ranges the rank ordering can occur in the realm of the formal, spatial, or both. In the analysis, hierarchy was explored relative to domi- nance and importance within the built form through exami- nation of patterns, scale, configuration, geometry, and artic ulation, Quality, richness, detail, omament, and special materials were used as indicators of importance. Hierarchy, as a design idea, can be related to and support any of the other issues explored in the analysis. 13BAAR EL + BREE ALVAR AALTO ALVAR ALTO. PIISIE Vt ‘TOWN HaLL tae rm SAYNATSALO, FINLAND EEA Mi. 3, _ ___ 1880-1952 1980195286 { Ean lr serosa EA seme MB sre 9 | 7 tt cermarvoonne retFi TT ior EURALVAR ALTO. BUSH - BE ‘VOUKSENNISKA CHURCH (RRMTEMT EAA IMATRA, FINLAND eam. 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TO saTuRb ARIE russroscenon FISH merermmeroowace MASI | sommravewonnLance MERIDA | wnerancmn HERI LS seassins — ARSHL wmerny SLAB fant AEROERIK GUNNAR ASM mmm) 5 = aT LISTER COUNTY CouRTHOUSE —#IRrAELLARE }ORG, SWEDEN SARE 9y7-1g21 torr serve TN 40ey |) gOR OI) C1 7 D ~ son unte | nanan sens | nmmnenuee rane | wecnmmube unnyn | easy *0N4 os tH pest | -O Va f ~ WY se se a weERIK GUNNAR ASPLUND JRL TAN «IMR aware SER 1rcuannrovss RGRARRIMRTIEAD | UT TONNuE ARISE swore aspsuercre EHIME sre EE voenancin ERIE vo™ Ky _= toBIS - Q + HHH PETER Q. BOHLIN BOHLIN AND POWELL (PETER BOHLIN) {$4 (0885 ie mR) RAL MARCHA IES WEEKEND RESIDENCE FOR MR. AND MRS. ERIC Q. BOHLIN WEST CORNWALL CONNRCTICUT ERO. ERPS 1973-1975 1073-19788 vecomons i 1 roms EA roms ih 2 rweenaoenes Ef sarcroonsis EAE seas 34suc 28) (co ommon 0 SERRA FA] oro wus ATEN vor oscntaenve RE ORR Mm | 8 | cm cee | sania ALROR nce ios FIRE evemerouwee: HERES | source aRRARE@ | wuceus ARORA Coe) cet oe wc PRE, aS ov) AAC 35BOHLIN CYWINSKI JACKSON (PETER BOHLIN) Hm OOM - AS CE GAFFNEY RESIDENCE, mE ROMANSVILLE, PENNSYLVANIA FE/H), 14 IRIEM 1977-1980 oTT-1980"F R= seenows ANE A women BEB lI 4 +] =m F wb wens QFE _ o ted names AIREAT seems _ REL 36BOHLIN CYWINSKI JACKSON (PETER BOHLIN) ee TIE Ase GR HH) HOUSE INTHE ADIRONDACKS — pRB TEAIEE [NEW YORK STATE 86H os 19M 1987-19925 sens Fi seems BME a ee 38Eo geet Ops oo smvcrone 5) concuLariow rose REAR AISERT | wwrrToMOLE AGAIN scorveanosureacnve MEARE - 7 ee 1h evuraL eK ALAA sarermverowmece HEART | sroeravasonnance FEIN B) | enaneny ARIE La susie sRRERIS, cemeray LIE ren 3eBOHLIN CYWINSKI JACKSONJAMES CUTLER ARCHITECTS (PETER BOHLIN) = OA = ASH «eNO CCE BH GUEST HOUSE, GATESRESIDENCE | RAMHEE. abe MEDINA, WASHINGTON iba. FR 1990-199 1999-19834 \ WW) st 40 od Ha A ates ie, asanns 8 2rd i a ro ibm] oor we: ARI smerny eed at Cy = | = wera BARE hracroscenos PSA evermerowwar: ACERS oe abnear | memos pERIEA oh eHZen # MARIO BOTTA MARIO BOTTA 34.- Hi meta e SINGLE FAMILY RESIDENCE (BIANCHI RESIDENC! RIVA SAN VITALE, TICINO, SWITZERLAND 240TH. S295. 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BE 987-1989) 1987-19897 il A $$ 0001000) sn) rss moss BREa a WL / oncoumon ote ZRERARNTSI erosions AEE soverseasostmanne HIB somatic ARRIE rusctosecioe ERERIALEE wersmmerorsice ASEHaR | owermeaomnns MARKEE | swnwneny HRTER eT) sone RRA on ILEMARIO BOTTA SU «192 OF BEATO OBORICO | fLBHE- ea. BAH semper recnonn RA,[memes 8 cewmenrocs WRRRHEREE CA MR EOF mor EINE sean suracmoe I ARH cally | LO? O3| Hor eas sere | somemrnnisanse REA | rm SFERRR worse RRR sens LTE cASEAR - WHAM FILIPPO BRUNELLESCHI FILIPPO BRUNELLESCHI (VE - ARM ANTAL OLDsAcRIstY #268 CHURCH OF SAN LORENZO ihfbUeRt FLORENCE, ITALY BHC. KH 1421-1440 HOI 1405F ravens: SUT 1ogg eC} § !) visas (RBI ts actosecnon YEA T | eal | on (Pasay saroeaLLicnt RAE nose anna | or) a) BWA | oremmerocsie — AOLALFILIPPO BRUNELLESCH FFI - AIPM OSPEDALE DEGLI INN FLORENCE Mai fe uuwcvnors SLeauucin RAR nganannan; enaFILIPPO BRUNELLESCHL RAE AR AEB CHURCH OF SAN VARIA DRGLEANGELI —-£S5REIEA60 5 FLORENCE, ITALY Arlee. 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SAEED, 1973 wns secnoxn MBE A scwose AIR 8 sins SPER crea raonnas ER 64Slaill E re | |b 4 Ta too || iE roa vp somesatueie AMEE rustosscuos FRAME fal eenPLATTSBURGH, NEW YORK Baise eet EOF NEW YORK et. eH rst sei A sone TB. cinesroxs aia 2 | fee Lib wens eh » 66seams woewaver AIBIE AL] een nasmscus Fiat Jeccnsn | oo00 oo000 joog00! / Ng 30 is miei ogg! ooog jooog al O ns Cl OCs, oon, oo0 40500 | 950 20059 googo000050no Qo000000000 , OOoOoo000005 ooosooc0o000o ‘nyt sos feBka we tua bon honey ' ten cs UN wtROMALDOGIURGOLA P/E «RCL ‘TREDYFFRIN PUBLIC LIBRARY HHS IbHRAA JI STRATFORD, PENNSYLVANIA. AGILIPH. RAEI 1916 Lote scons MB sremu Yt a _ vewarent ih 1 sureanous tM 2 S osu sioonrss REET LuEASTON NESTON [NORTHAMPTONSIIRE, FNGLAND, 1885-1710, NICHOLAS HAWKSMOOR yi" - aM (van A es. Is FEAR - RIM BR NICHOLAS HAWKSMOOR SY 70Lit J = me A cx camnsmenig | ovsomnne mine | wan bak na — > =F mK oT] = MW - I = JL l £ I [ a | amen Psa oy mee wu Of sales _ LS J i ente aT UL LW SLNICHOLAS HAWKSMOOR Jef «En ST.GRORGE-IN-THE-EAST BARRE WAPPING, STEPNBY, ENGLAND 1G, WHEE, 3608 and-1729 i71729% imabe | oT| | Up | Oo ci ; love seneaie FO go g| | | a8 ie { - eB 1 8 ih L. Bg Uy a — Becetl CB C ete| eI] rane BREE ssi ESS erermveocsges— ACESHAAAD aera ee = Hoa Asi biel | oa ons obese wenr NICHOLAS HAWKSMOOR (EAGAN - #fuseR ST-MARY WOOLNOTH #89 (lkigmumer LONDON, ENGLAND fb. #8 mi6-1124 Ine-17244rouse GBA EA | wr TOWNSLOUIS 1. KANN SS 1 BIR ARIR «Nw MCSE, ALERE UNIVERSITY OF PENNSYLVANIA PHILADELPHIA, PENNSYLVANIA 1957-1961 RICHARDS MEDICAL RESEARCH BUILDING, Re me. 1957 Simla(ka aie bar RR mscrosseces FRAN reermerocwate BARES PLOUIS LKAHN READ <1 = it SALK INSTITUTE OF BIOLOGICAL STUDIES MSY-E ATER LAJOLLA,CALIFORNIA 2a. AIMBIEW. 1959-1968 1959-1965 eons BI A seco TB nuevanox: 3h 1 evanoxs iA 2 svsk wrtmcuin BRI rasroscens FRISIRIGE [252525 hoof pL ey voreascay SERIE | | Jt susie fsa vores gre stLOUIS 1. KAHN Lak KIMBALL ART MUSEUM FORT WORTH, TEXAS 1966-1972 SR e A ANN Kee. wee 1966-19724 svasons 1 Ee mugvanos2 it 2 sugeiroxs 3 Liewtisha a d forme raesiaee ACSIA —y raw} 83LOUIS 1. KAKN PRS 1 me LIBRARY — (SASH PHILIPEXETER ACADEMY {RAINE /R5U3RA-7 Re EXETER, NEW HAMPSHIRE C5094. SOLER 972, 1967-19725 \uEa + 4 oh Ace Et _ | cocimmee camsaiinian | owner Wan | wenenmmern omit , ——. oo f S a | = 5 | _ ~via cones RE weno FREE N akan on SH Sen _ _LE CORBUSIER MATE VILLASAVOYE ORRSINE POISSY, FRANCE FILE. 28 1928-1931 1928-19317 Hata secnoxc il cross BLED A sommes Hl 8 sera TE= fA peut | Fo ol Libs] CO | aeccumonrouse ZenRsRsnvn | tNTTOWOLe ARTCHEAETE anon asoscnrmacne, MR AIIRE ! = qe 5 Ll SaTeRA ae GRRE { ncwsenos FARA - Soe a wiennneny PRI - NSW rc | | _| _ Z| | oh | TL i | a ressno HIRAI! sermmvrrowvecr AGL AIBA wee 8?LECORBUSIER —f) HAINRT UNITEDHABITATION A AKHE MARSAILLES, FRANCE 557. 281K 1946-1952 1946-19825 srs Pm somos AMIR A. sccm Ale B * (IMTS = UUUTTTETITLLITITNTI TAHT eA a) 88cower: HH suomi awo scortacve ARERR == Semcon ARR vasscosirnes EREEALH sercmnmerivsuce SEEN [Lenore auth Gereeseeeocooc | 1 i os Heke ha ocniigie ee eRLECORBUSIER HIF NOTREDAME DU HAUT CHAPEL GRA AUACBLF Eat) RONCHAME, FRANCE He 1950-1956 1930-19554 F [ secnoxs AIBA. 90po [ol ust eo AR le & ou ARB fee Ir sass we se AeALECORBUSIER #70 THE PALACE OF ASSEMBLY LEAR IF (CHANDIGARH, INDIA Baa. Bue = fi { reese ios i - fey wecrowa ii A somos ial B sees SF lowreriooneias ROE 9Sere te Fee hr - Wet CLAUDE NICHOLAS LEDOUX CLAUDE NICHOLASLEDOUX S48 - NEAR HUME HOTEL DE MONTMORENCY —BAIPRIE PARIS, FRANCE. eR. UE 1769 re5 ae enemas UH 1 ANG tovemetoon as HERE aserioon ras ERE RLsoorseasosuernacrve HR AURRH, >» i r) = svoatuo IRR resromcine FARIS foxcnanoroes ZRAHEESA! | cise LAU seem BURR — DD L Lr 1, Os || x TY oa ssn HAHN Sinwmar eH wn ascants vem ee 95CLAUDE NICHOLAS LEDOUX NHB = sh He» MARE HOTELGUMMARD = Est PARIS, FRANCE Bem. BW 117 irT0i | a 96srnccrone #8) cemesuarnn ros ZAR SIRE Laa_ BEO MS oO =O usce MSRIIS boirromrour ASB mem asmantacee: GRRE A | umm BARI oer ASH 97CLAUDE NICHOLASLEDOUX iH AID HE THEATER le SANCON,FRANCE SLB m8 Ts am a ala 8 nena OTA 7 T to ol ai rim as ANE 98sooreseasosuernacrve AN RIB Z fo. im Sf tt 1, tt | od mes c@ncsasesiiza) comms JL nents ER samarisan BARI aso | a my tat US sea oom IUCR come pasar) ARE vec e RL ei rCLAUDE NICHOLAS LEDOUX —SCHHIE JE #2 wlth DIRECTOR'sHoUsE KIT SALTWORKS OF ARG AND SENANS NEAR BESANCON, FRANCE 3716-1779 soma a suas. see i519 scram lh A.serve AMBER el renee pwns FURL east[EDWIN LUTYENS i - ASEH st non HOMEWOOD (EARL OF LYTTON HOUSE) RAMEE (FIMTIABHED KNEBWORTH, HERTFORDSHIRE, ENGLAND AEC. FIER. i 901 190% secre MA suanos) if 1 upvanova 2 purcanoe) SE 3 sens te © | susronns tier 102im Ls coe ap 7 Www A-a—A Q 60 sree ARH fo rasctos Passat oC ITT | ecu UIE menace AOR n reroweue aveRts ie snscaser UARALT Ae ns HE I a)EDWIN LUTYENS Sei - 15° AA UTE TSAR Bis LONI ENT) [NASHDOM (PRINCESS ALEXIS DOL.GORONK! HOUSE) ‘TAPLOW, BUCKINGHAMSHIRE, ENGLAND M1. €40M, 8 1905-1909 1os-19005 scorosa I A sows A cr © evans: 1 reso i 2 ROE rreriooneias EEE 104oO rouse ZEWRRHOERIZ I cee murcmeneTocNgtr RALANARA VA } \I Pay sur Te be RCHEDWIN LUTYENS | BL A585 HEATHCOTE(HEMINGWAY HOUSE) #494 ILKLEY, YORKSHIRE, ENGLAND 1906 sees TeRA see i wy Babee 1 AUER + aera sumDIN LUTYENS S88 BEM SANDWICH, KENT, ENGLAND, 1911 ‘THE SALUTATION (HENRY FARRER HOUSE) REE RMAC AL «HERH(E) eT. H.R 191 secrova IMA uvsmoxe LT 2 rou DORAN REET — eavucnas Lae| | “1 Ame APE sonscrom 49 Jencuusnovro se Mie SEH soonensowumragcnee ADDR 6b, FER ie it samen. ucer ARR HE ras rosectos HERA S nerererve rouge SESH weenancoy HOUR | 1. -—. L | mm TT ent 55g pS | ssn RARE oormmas AEE swum snmccer MAE ya | coowens LAINE reer ASHE 0932 & fe - 5G HB RICHARD MEIER I RICHARD MEIER #8 - i180 SMITH HOUSE EEE DARIEN, CONNECTICUT 3535. EERE 1965-1967 1965-19678 sscrions AIBA scones ali B An QM Fonwa EAE | ene itn \- L — b — OLE oO . fb He JA \ eH un SLA UE a ° vue WASHRICHARD MEIER #148 - 2 THEATHENEUM "RAUB" SER NEW HARMONY, INDIANA. 3 1975-1979 " 6AJemeuumosrous iMABARSIYRZEA | ern AES oommeoscanicre iE BEE - =~ @ ane Mee WLM HHI sewwcn FARE eHrl, = fila @ Pie| en Cun ——— — \ Ca —~ \ ‘ } | Ae c AX df mI } _— SS (a \ On Gar pK |RICHARD MEIER s8t(8 - JT18 \WEISHAUPT FORUM, IaH HL SCHWENDI, GERMANY 6338. sD 1987-1992 1987-19928 sem aw A ae Be vm 3win | ote somds agiera | wathn Tae estes RE exces FLEECHARLES MOORE ARI «HEA MOORE HOUSE MRE! ORINDA, CALIFORNIA, € abba 1962 wet 8oer BR sec eHCHARLES MOORE #75 7 CONDOMINIUM —SRSRHEE SEA RANCH, CALIFORNIA 1964-1955 fm A svenas sith 120CHARLES MOORE Pi HINEsHoUsE — mOEMIEE SEA RANCH, CALIFORNIA 2°. JOBIHILS 1987 1o6r secs IEA worose AB sees OF a sasvuaiereas ERD mroonenaw EE Fah[se oo eo —— mcs iar ese RBRMRKBON S| corromou ssn SAL ms Yaa crown USICHARLES MOORE 1/8 - BH BURNSHOUSE (AW SANTA MONICA CANYON, CALIFORNIA. REPO. OU RIEY, 4 oT daie ealRABAT - ptr Ee ANDREA PALLADIO ANDREA PALLADIO. S080. «#810959 VILLA FOSCARI 488i Lat SicILMR. AA 1599-18634 MALCONTENTA, ITALY 1549-1968 euvenost SLA 1 atamen ead ater LU srs a cstANDREA PALLADIO. ABRIMT - gf CHURCH OF SAN GIORGIO MAGGIORE RAF. - BAMA VENICE, ITALY WNT. KH 1360-1580 1860-15805 um A some MB 4) a . aR Rome eee es & Oo” s oFPoon Oice qg ok 0} ue BIN Im ROR AS armactcir CURR ossrossonos FSM AE ec RH 129ANDREA PALLADIO. iB «(010309 user LA ROTONDA (VILLA CAPRA o* ALMERICO) VICENZA,ITALY ARE. AH 1366-1571 1566-1571 secrons SUBD A secrose BB vanes) 1 sees 8 Fa - 9com a 5 | é owe MERAH sos Heat Sivonen FOES Lo so SAEANDREA PALLADIO. 57100 - WADA REDENTORE CHURCH AERA VENICE, ITALY WIEN. ICH 1576-1591 1576-1591 sree OFChe | | COE Ce com axoserracy MRE FORE semucrone #84) emcuamon Tous 238A GE ‘ I A : tf RRS SATORU BER raxcrosernoy FARM owerey JURA serearony ERIE | arane 6 T La 2 ono I sin Ut coromou Rese cies seats onan goose ARERR | rue actSF BADR: BAR HENRY HOBSON RICHARDSON HENRY HOBSON RICHARDSON 4 < Aide LFA TRINITY CHURCH =29%t BOSTON, MASSACHUSETTS ALLWW. 2+ 18724877 1872-18074 = soo 2 Fil 134ft u — a aerasesnsenein | wrvowoun sEaHRI snore asosumrRAETOe MERI i) Oy i J wesascny RRR Tiraatucn APOE, c whe (RAE usw tes ILRI vas ARRIURTHENRY HOBSON RICHARDSON 5F4]- BAH - ERR SEVER HALL Seat HARVARD UNIVERSITY PAM CAMBRIDGE, MASSACHUSETTS 14h. HUN 1878-1880 878-8805 some HIE| eas | OE CaRcuEAmOW Tose RRA Sara EH BPR asroseenos ESHA ceowerey LATER sme fen OC) Es vassne URES Sirvownece EER seraevero usa: HCASHARDSON A the «FEE aaa #8318884 Ee. 1 g a = tZ swverone #8) hastens FaSthT se RRR sooinve asmscertenv® INBeTUMRE ye ssmmnners BARE | a fd eet | Ub 3 corr romous REEL vorsancny ARIE oe ceo UI eesHENRY HOBSON RICHARDSON 3 - Ril - EE 4.5. GLESSNER HOUSE J-J- REARWINAMEE CHICAGO, ILLINOIS 30. LEAF 1885-1887 1945-18874 stormy. IEA. sens ea o reverie: 1 wan rconmas ERP a bea 140Led | smcrone 18H) ee Naracucir MRE owrrowere RLS sor asosurrmcrte RAUB — Le A rusrossenos FUR i sso RRR somerny anonatasce AREAL A ornancae RI eourry SLE CA von A waroo | smucae 2a swcwarue rouse Z6RRe RNA | oxrvomoue RTI som anescreacrve RTE ARH FT I woke roses RAAT Some Sonar OT A ema FARE He sass HORE ortrose roe WALES soon TUPI | RoR LJAMES STIRLING — A - BETH HISTORY FACULTY BUILDING Dis ATE CAMBRIDGE UNIVERSITY IRIE (CAMBHIDGE, ENGLAND ts, is 1984 1960 = secre MA sconce SI fuvanosy stmt 1 suvenoes UBT 2 sereras 28 rennoonins ERE 77Mid kt Be Be someone 883 croamerroce saeesEMeE!| weniomo WEE soon wo sormacwe nh i | | ao. y N | te Ve | © : o | ° \ ° rvroscciun YI reminverouvace “RALRUERAE | snsutavasonnasce SEARO | anenanoon HORI \ resus PRs conan JUNE rome ASH M7JAMES STIREING #5 - JS BE OLIVETTHTRAINING SCHOOL = RATA HASLEMERE, SURREY, ENGLAND MR/iEIS. FL. 3] 1968 19606 fle Be sscroxa MBA acon RB umeaewonns NEPsmcereae 8) a Seman AMA ewcuraris rose: iMRRARSU(R FA tsirromou SUEIBIE soon sxosrennscnv Ii AINA rosmscios FAERIE mocrmeeto signe AERIS wees eA examen ROR, Hoses PRR suse M9BH: AX LOUIS SULLIVAN LOUISSULLIVAN FRM - #1 AUDITORIUM BUILDING 2 CcHICAcO, HLAANOIs 1987-1890 mil " I LI6! caLOUISSULLIVAN BBR H#IX WAINWRIGHT BUILDING BLL ST.LOUIS. MISSOURI ERK. ha 1390-1801 1990-1915 seuss ATA A scone ait B = raat Et ba a) t) aa) -——— agua eaunatts | po hal halin be | ane 200 ane 2 } | roenoomres BEAR sires SL 192sree 5H noooooooo90000 | donodo09000000 oonogooo000000 copooooo90000 conoosogogoog0 | sposooooooaoon | ovooooo0000000 OOOnoon swcnnion TREE nussnisenos TOT etre roca AERA owen SLM Tongwen SORE 7 + i | were ene werrowou AEE snomey aspeauatce ARS T anneLOUISSULLIVAN BRANT - BAEK CARSON PIRIE AND SCOTTSTORE PAE « FEELS HRE FK ME (SCHLESINGER AND MAYER DEPARISIENT SLORE) (GER 305% __| _ | | | =| Pree | Pp [ret Eee Sh | A | soreruas sacra ncas ERR recat eunoReLis ER | 154du | srmcerene #88 lemccramon ove SCgBBeRE A | sexe AIERIORE oven ssmasiasce ANAM | ueeswcs FER sanescciain ARR rostosrrios Fishel suseno petit ceomemy JL rev SARLLOUIS SULLIVAN RMN - WAI NATIONAL FARMERS’ BANK [CAFCHEAT OWATONNA, MINNESOTA —-LIEAGIA. SESE 1907-1908 1907-19088 secnoss Ali A weno ALT suas ET 2 tn rea ruooanas ELTA #ig sont PR rd | = 25 ces ARTES weer ALERT encnanoove aN sonst fa oi oe : | a @0a00000 | 1 sserny SUSI vensciy SRR _ | | [pe | : + I nq { Low nse HSSAB A - KH Me GIUSEPPE TERRAGNI GIUSEPPE TERRAGNI 28M - #1072 NOVOCOMUM APARTMENT HOUSE SRRASEAIHE COMO, ITALY IR, BIH loot rrrGIUSEPPE TERRAGSI AL #1 CASA DEL EASCIO COMO, STALY 121936 PEs as 3) Ber sse4 PH ssss Seeses ea 160ole UR « esesiteEM | ow ros PestaGIUSEPPE TERRAGNI-®®M > BRE SANTELIA NURSERY SCHOOL #91888 /LE COMO.ITALY FBLA 1996-1937 193619374 JEL somes Mil A ——ESEEE sams ah 2 srenas HI 5) | mam ronmuas PSEGIUSEPPE TERRAGNI | ORM THYME ee) ‘TERRACN! HOUSE) HER RM). OA sri Be RIN eA VILLA BIANCA (AN SSEVESO (MILAN), TTALY 1937 L erm sermons tA susan 1 rans VE? — : bare . a | Degen rosie EIR 164=a mene 4 | seroma EB = TT 1 TE Lol = |S az | sooner Ae vesnspn EMM o wexsen AL ee — A S b np a. ra | ae ere 6 Ty Ze rik am) oo heme ee vm eAMB BM eB LUDWIG MIES VAN DER ROHE LUDWIG MIES VAN DER ROHE RUHL 2 RL iB =? BARC= | Pot | ea vues se ARLE sieve eh ssrrounes RLSM saver asos inc: ARR IM pu ne —_ a es + 7 i Ie = - Cc =i] | i 1 sev asctnane CORRAL vemonenoe sah ARABI | sew buen REERBEEB | cian ERR — Posi sD sions BEA, ves ILE Pont RHIeS uae vous snr aLUDWIG MIES VAN DER ROME SUSAR 4M AL FARNSWORTH HOUSE aiGeRIHEE FOX RIVER VALLEY (NEAR PLANO) ILLINOIS SEN (hESC 1945-1951, 1). PAL Fots-19ste some AME evs oP ¢ rvwns Ht ve 170swore SE rican ELAR RA senses Fala sone MEDIAN Herron SUES IE swerve suse meine ANBAR ae sowie nance AEROS vein MEER —e ossme HIRT omen LE ch AH itLUDWIG MIES VAN DER ROHE, CROWN MALL (ARCHITECTURE, CITY PLANNING AND DESIGN BUILDING) ILLINOIS INSTITUTE OF TECHNOLOGY CHICAGO, LINOIS EMRE. (FFI 1950-1956 1950-19565 ee ee sont GBS. NIE eS RIT | en DRE 4+cor seven ATA | [sony sae ren 2 fo Sb remax IR 1 { { i L__. +t boot | = | _ faassen pe mrnvin ms REE | — —__ “ —__ J 12.08 BALES aS MALEROBERT VENTURE pit kimDIDE ° : Gero |] IDE,ROBERT VENTURI Ut = REM FIRESTATION NUMBER ABH? COLUMBUS, INDIANA ME. sTE48 1966 1966 screwy BE A arvana ruvanoss SL 2 oO Fipon ns FA ” 176ROBERT VENTURI BURA C8 PETER BRANT HOUSE} =#H(EE COREERWICH, CONNECTICUT KSI, MEARE 1973 wasimone Sh) Hae senteucir BMRA ruwsroscenon HES crmewiarowrotse. RBA mosey LER swore aspscoraacrne EADIE CO sesine RSE a rom ACER = = iia Co ties roca ASTRA ste {—,-} SiR SURAT RY AROBERT VENTURI CCARLL TUCKER III HOUSE, 1915, ven zee eR REE YUNT KISCO, WESTCHESTER COUNTY, NEW YORK | = 8}205)F4. + ae. MH 197s sou HEB sre RR) 180 ZH 2 ener veeracers 88D Sommer aR Cy (i> roscussenos -FRSIALOE concurs rose EEE a soornve so someacror BEFORE: LON | C0 | voenascoy RIK rassne ARIS vurromou AICI serermero uso SERIA ea o> - sree sspastasce c16A07E aan) RAHIHE se HRS MS FRANK LLOYD WRIGHT cr ] ~ a | FRANK LLOYD WRIGHT <1 SPR HE UNITY TEMPLE GE OAK PARK, ILLINOIS IEDR. OA 1906} T | ol eR) nour PSM sone serrer RRR FOO | | \ | | Lu ° | A P, je > | HE | Of jo | L | } i | | | armen | mason IR rossrosienos RBA resemeso ses SERRA | | {] | oo. i— | —l [ | | 1 TOPE LL | = Co | Lo usr HORA Le soseny TURE eT 183FRANKLLOYD WRIGHT R53 - 573808 - YE FREDERICK G,ROBIE HOUSE SRMWA - G - PIE CHICAGO, ILLIOTS hm, SER 1909 1909 were ABE A. soese AIR B } a Sis tet 3] ce II gq Sts a SIS | Qj 5S) yea] Si | Si jerd) St owns am - ee Fa) eho} Ss} ee al . es Le . weal | LSA 2 {i | Cpr a & J | | a [ene oie |? ' | cwcnnoonnas RR coeionns ERR 184| secre Ee SAUNLLCKT BURRR A Gas [RCCLATION TUE ERAGE scone asoscrracs: AMRATIR OL ig CC rasrasceno TSH wizswow ARI aes sesso Pet 7 orrromoue ESI erermverousne AACHISA [nen ston meray OANLAN: ALAAFRANK LLOYD WRIGHT BENE PRB - eM DRAIN ORIEIG = HRABLE EY rc PALLINGWATER (EDGAR J. KAUFMANN HOUSE) \ OHIOPYLE, PENNSYLVANIA es 1935 sews BMT A seas Ala faves sc sera. FA | cameron nas TE cemaninmrss LEAs = = srarcnns H) cemceLmostowse ZERASUPERTSTA | ovrrowour REE | soomveasoscannacroe URIBE Aes | OT ee, semawucn AMR RIE rascosien -FAShA ercimvrrocwaue ERINA8 | smwrnrasmmaLasce HARARE | sceeancny PORIRR Ses vussnc (AsRHN owrmy FLAS att AOIWRC 2 SRI MC MUSEUM BB] RSH 8 LIL LJLIL cele TL) eae sme me sli) Filed ml AY LP e0t 2 OF mes 188&Q reno sommncrive NR FEDRR: el ok masse (RORIRSR. croerny LE* BAH SAR sme zis Pre 243 # eA L PE wae DOE ene FE Att CIES DUE RE HDR WE HIE HI nM ead STEIN : 222 1 0 KONI RTT Sto PSE 89 84 Rta Cem nes. we EAE MTZ RTE. ERIE AAR TCTE. SPER CHER Fats Tce Me etka REBT HARBER, ER aR, MEAD mE : : - 228 Hoe SETA me a A HM CHE ME SL TE eed FR hg we se BTS sa BE, heb TL Feat RLEEBES mre sesseeseteneeneseeeee . eae BR ere z 267 mes FOUR fee SIRO 1 + 237 RIE ue sor FARE Fa JU LE Mp, once ceee scene ent ey 38 Fa eI 26 8s A 9 190ony Plan to Section or Elevation /215 Equal One to One-Half Analogous Proportional Inverse Unit to Whole / 222 Unit Equals Whole Units Contained in Whole Whole Greater than Sum of the Units Units Aggregate to Form Whole Units Adjoin Units Overlap Units Separate Repetitve to Unique / 229 Unique Surrounded by Repetitive Unique by Transformation of Repetitive Unique in Repetitive Field Unique Added to Repetitive Unique Defined by Repetitive Additive and Subtractive / 235 Subtractive Additive Symmetry and Balance / 237 Symmetry Balance by Configuration Balance by Geometry Balance by Positive and Negative FORMATIVE IDEAS Geometry / 243 Ba Circle and Square Rectangle Overlapped by Circle ‘Two Squares Nine-Square Four-Square 14 and 1.6 Rectangles Geometric Derivatives Rotated, Shifted, and Overlapped Pinwheel, Radial, and Spiral Grid Geometry Configuration Patterns / 257 Linear: Use Linear: Circulation Central: Use Central: Circulation Double Center Cluster Nested Concentric Binuclear Progressions / 267 Hierarchy ‘Transition ‘Transformation Mediation Reduction / 271 Large Plus Small Reduction Part of Whole Reduction 191% tk a SB DARBY 88 RL NY Ee REA AT a Asbo LAL ERA Ja ake. pe LI eM Ir 2S UIA. AMIE ASIN. URS SOLE. TOME REE Re BRA RT A 1 A Ly I a I TO Fs CATES ema EH 2 meh MEE HT JEP a RE Ly RANE HRT AFT LC ME SSUES. A RTL FE RENE Jo EL SURE. ARNE HE CSL HERR. 1 cs BAS aL aT PR Jie. RL a Se RPSL TSAO Hy. A wae a Fete RAR rik. MELO ERA. IR MAREN ACA SLI A AE A LE AF. AAS HD ARO IR NAT I IL he ME eA ERNIE AE RG SPATE «FA FRU RI WSR. SOFIA RE Ge PE U2I8 FE I) DA ATUL ELAR TRON. BRITTO PSSA OT AES a ACU ACUTELY UTNE. eA ets vote. Aen AF A ek a TL A. BEL EL ARTE A AEA ET TEACH FR Se PA I mG REA HAY. ET ABN des T A ea fF EL HEAR IRIE eo LI Ze RE Pa) ak Fi BIL sk se OY A RR a Fak are REAR 0 LAL KAR GRO J RIERA BELL al et. V5 3 ak A a a PERRIS RAC DL ER yh LAL ER 192 Ak. COU FFU ELIT. TATE Kee BRB RESPATS FB AORN. St. a me se FERS. Se mey ORIN. GRRE ah Fe. AMF. Tur H OO MER AN mH AY EBS. Ea. APNEA. LOT LATTE OO AMR «RRA A TEAR Fe FS RIL AS RR I LT WR BAT) PA nce) RR A A FSR SFM. YL — A fay eH AO T MUTE. ETRE RAR ‘NF oA) — RL SMe 208) LIER THT BR. 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EASTER OY Gee + OH PEA — De RTO SSB. ELMER INT aH REND THR CULM Br THRO SEM FESS. GRIM. OF MURDERER, AUSCEBNMNONONT I: CABAL 274 HED. "a fe i FO ed UA SI. A) UL A EAC 9 EL IE A A Se 8. AS RRSP Sr TEA WOR] = MER = Bee TAN VA PE ELIA BR wR IE OI TT LA a PE SEMI NOTE. ARMOR. FMAM ERE II OE RUSTE RA. RO. RESO A PEI I MRA So 8 ob A A Se PTE ATE. EU NTE TEM ha A RUE We ERY MS EIT NMR. FU FFL RE Ao A TRE HC BONER AIRS AI. ATC EY Re STEREO OE RHE. EA TENE PABA EA LE AF DL a AY Jy IO A Fete. ARTE RL eb 4 ACRE. PEL eA mL Piss EOD RR aR aE ERE LE. ME OP PAPA TUARASIIO ROME FE RET ARH AR. OA mE Bs ET ELAR TE LK — PY RES. Fee SHY RTCA LO. BEIM. FANE HHS EB IL URAC MBL HEAT. BLL. REAR HRB. fe JIM, iDEA. tek es TMI ae, TORU FE A 3 A A] REAP EI. BR XR ALI A Ry HTT ORE eS M COR LS ERO TT SEAT RBSAL HEA RE NB US EF 9 A. — I SAA TE BE RV HF ES PANE. SAMA AT IA. Re LARA Ose BURP MBE EA RY «EFS AB A RH t8. TE A LTE A 7 a MEK. RENTER MIO MT MC He AE EEO. BEAT eR Eee ROR. BERT MR AR. AE BROT PEC HIEMR. 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