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C O F FILTERS E E Fall 2018 Orvieto, Italy Studio Urbani

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CONTENTS

Mental Navigation tools +

Introduction +

tools to filter the world

nature of the study abroad

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conclusion + the secrets of Orvieto

Psychological + architecture as an event

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Foreword Over the past three years in the College of Architecture at Kansas State University, our experiences as students rewrote our minds to observe the world from an imagina ve and cri cal view point.

The first concept that was introduced to us in school was the design process - a method used in architecture to create comprehensive design, much like the scien fic method in scien fic field. In this process, architects define a problem, collect informa on, brainstorm ideas, develop solu ons, then present an idea. A er receiving feedback, they work to improve a design by defining the new problems and restar ng the cycle. Through this process, we students were programed to see the world not as it is, but as it could be. Iden fying the problems we see in the world, we seek to fix or improve these issues through methodical design and though ul architecture.

Through this method, each of us learned to think and make design decisions at a rapid pace. A er one project was finalized, we were immediately presented with a new problem with a deadline to find a solu on. It trained us to work quickly and eďŹƒciently as well as helped us to develop our understanding of the design process through prac ce. However, this pace must be paired with though ul contempla on, something In light of this fact, our study abroad in Italy began with a focus on observa on and reflec on. Since then, our experience of the world has slowed down greatly. It is through this lens that we as students of architecture have had our minds

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significantly influenced over the past months by the designed environment and culture across Italy. Undeniably, each of us have developed and changed through this explora on of a distant culture in our own respec ve ways.

Our consensus as a studio is that our experience within the past years has been focused upon ‘the object’ within architecture.

Studying abroad, the Italian environment has presented the no on of a cohesive whole of architecture. From this discovery and the interconnec on of our readings and research upon the Macro and Micro scales, we compiled this book to document our findings. Together all of us have developed a new, personal realm of architectural thought. This realm of thought a empts to decode and break down the complexity of the world into measurable means. By doing this, we hope to have the ability to design an en ty of limitless possibility by engaging mul ple scales and concepts, thus reinforcing human values and desires.

It is our hope that this documenta on of our experience and explora on of mul ple scales will inspire a new way of perceiving both the natural and built environment. Through this new percep on, we hope to expand the realm of architectural possibility through the use of mental naviga onal tools and their subdivision of filters. As the realm of possibility is expanded, designers will be inspired to reformat thought pa erns in order to abstract lessons of exis ng architecture and redefine the contemporary environment.

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The observa ons documented in this book were made during a four month study abroad experience in Orvieto, Italy.

Beginning the fourth year of the Masters of Architecture program at Kansas State University (K-State), studio Urbani, a class of nineteen students traveled from America in August to begin an experience that would con nue un l December.

During this period, a professor from K-State con nued their studies in architectural theory, while two Orvietan locals instructed us in the Italian language. The final professor (an art and architectural historian from Assisi, Italy) informed them of Italian art, history, and culture.

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Introduc on

Addi onal to Studio Urbani’s studies, they embarked on field trips throughout the country every Friday to observe the ancient and foreign surroundings. The trips would vary in length.

Accompanied by either their professor from Assisi or a local tour guide, each excursion was tailored to be an educa onal visit focusing on the history and architecture of each loca on.

The days following each trip then focused discussion upon our observa ons of each place in order to be er analyze what they saw and understand how it impacts them as architects. While the focus of the book will center on Orvieto, references will also be made to the various ci es and loca ons traveled to throughout the program.

Overview of orvieto Orvieto is a town of approximately 20,000 people located in the province of Terni in Umbria. Constructed on a cli of volcanic stone called tufa, its naturally defensible posi on and strategic loca on in the center of Italy have lent it a diverse and vibrant history of occupa on.

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Introduc on

Though it is believed that the area may have been inhabited since the Bronze or Iron Age, verifiable evidence of occupa on can only be traced back to the eighth century BC. Recent studies and archaeological excava ons have shown Orvieto to be the modern day loca on of one of the twelve ancient Etruscan city-states named Velzna. Standing next to the venerated religious site, Fanum Voltumnae, Velzna acted as a center for religion in the Etruscan empire, hos ng the Etrurian people every year for sacred rituals and fes vi es.

Unfortunately, because of erosion and weathering over me, archaeologists are unable to show what the city of the living looked like on top of the hill. However, ruins of necropolises-- the ci es of the dead-- have been unearthed at the base of the hill providing insight into what Velzna may have looked like. Con nuing peacefully un l the fourth century BC,

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the oligarchic regime of the city that had helped the city prosper also brought about its own downfall through the wide gap between noble and lower classes. A er being thrown into civil war, the noble families of the area called for aid from Roman forces. However, instead of assis ng, the Romans proceeded to raid the city, leading to its destruc on.

A er the destruc on of Velzna, the area was looted and abandoned un l it was eventually rese led a few centuries later with the new name or Urbs Vetus (old city). The town grew and prospered un l the fall of the Western Roman Empire, a er which ownership was transferred over the next centuries from the Goths to the Byzan nes to the Papacy around the mid-1100s.

Following this development, Orvieto

became the City of Corpus Domini in 1264. A new Duomo was commissioned to house the relic of the Eucharis c miracle of Bolsena and for centuries a erwards, Orvieto acted as an alternate sanctuary for many high ranking oďŹƒcials of the Catholic Church if Rome ever became too perilous, including mul ple popes.

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Only in 1860 was the city freed from Papal rule and granted independence. Since then, it has only con nued to grow and prosper, becoming a popular tourist des na on and a purveyor of fine wines, olive oils, and ceramics.

good living means... [allowing] citizens to live... in an easy and pleasant way

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CitTASLOW Movement

Orvieto helped in the founding of the Ci aslow movement in 1999, and now headquarters the interna onal organiza on of over 30 countries and 252 ci es. A result of a mee ng organized by Paolo Santorini, the past mayor of Greve in Chian , Ci aslow is intended to expand the ideas of the 1986 Slow Food Movement to local communi es and governments in an a empt to become a part of everyday life. The driving philosophy stresses the fact that “good living means having the opportunity of enjoying solu ons and services that allow ci zens to live in their town in an easy and pleasant way.� As a whole, it encourages communica on between local producers and consumers, opposes cultural standardiza on, and promotes sustainable development. Through this, Ci aslow seeks to improve the quality of life in ci es by slowing down their pace, especially in the use of spaces and the flows through each area.

in an easy and pleasant way.

ORvieto

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Defining A Vocabulary Before diving into the findings of this book, it is important to understand some ini al concepts that will be con nuous throughout this book. Focus will be given to the three realms of the micro, macro, and psychological realms within architecture. The micro is a piece that is added to a composi on of parts to produce a macro. The macro then describes the sum of all parts, or the whole. In other terms, the macro is the ul mate abstrac on of something, or its simplest version. As an example of this symbio c rela onship of scales, the macro can be described as a city. When it is broken down into its micro condi ons, or individual parts, it can be classified as a district, building, street, etc.

It is important to know that at any moment the macro and micro are never set in stone and can be replaced by anything. For example, the macro stated above -- the city -- can also be the micro of a country. This country can then become a micro for a con nent, and the con nent a micro for the planet, and so on. This

navigation of scales is ever changing and becomes a primary tool in reducing the complexity of existence.

However, while all objects can be placed under the two

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scales of the macro and the micro, this abandons the psychological scale of the world. The psychological scale is added to define the intangible, spiritual defini on of an environment: a person’s experience. This plays a major role in the crea on and interpreta on of all existence. Without experience, or a being that has an ability to define experience, the realms of macro and micro will collapse.

By defining this primary method of naviga ng, a secondary focus manifests:

everything is connected.

This theme is present at all levels of existence and becomes easily illustrated through the concepts of macro, micro, and psychological. Without a building ac ng as structure, a city/town could not exist and vice versa. This illustrated macro-micro rela onship is completely dependent upon both condi ons’ existence, in addi on to a psychological presence through which a being can define existence.

Each realm is reliant upon the next.

me. Each of these tools can then be subdivided into what will be called ‘filters.’

Essen ally, filters allow for the complexity of the mental naviga onal tools to be measured through different systems or principles. In summary, mental naviga onal tools act as the macro which is then composed of measurable filters, the micro.

An object is anything that takes up space in the threedimensional world. The object is o en, but not always, the focus of design, the crea ve process.

Architectural design is then the act of the crea ve process to manifest something physical in the world through the ar cula on of systems and subsystems.

Systems are defined as a combina on of parts of a whole. This raises the ques on: How is this different from macro/micro?

The difference is systems are restricted to a physical plane of existence while these rela onships have the capability to traverse physical and spiritual realms.

Mental naviga onal tools reduce the complexity of the world into measurable, observable means. Within this book these five mental tools will be discussed later: desire, values, geometry, assemblages, and space-

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MAPPING AND TOOLS Now, an a empt will be made to further traverse the three realms discussed -- macro, micro, and psychological -- through architectural experience, created maps, and developed filters that allowed for the collec on of objec ve data.

It is through mapmaking that concepts of the three realms --macro, micro, and psychological --separate themselves,

creating a simplified lens to compare data.

The challenge in developing these maps was the fact that we, as students, had to devise a manner of collec ng

data in a cohesive and consistent way. This is where the focus upon devising new filters becomes relevant.

Finally, K-State professor Torgeir Norheim, introduces the PHIDA values -Permeability, Harmony, Imagina on, Diversity, and Adaptability -- as seperate filters within our environment. The effects of these filters’ within the architectural context of Orvieto will be elaborated on within the following chapters of this book. The important piece to grasp here is the existence of systems, values, or organizing principles that navigate scales simultaneously and comprehensively.

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Permeability Harmony Imagination Diversity Adaptability

Kubler describes the “history of things.” Things, as referred the reduc on of all human ac vi es into the categories of tools and art. We can describe the tool as a u litarian convenience, while art becomes an expansion of consciousness within our percep on of the world. Expanding the concept of the tool, we find our first ‘discovered’ filters -- the s ck, the stone, the in-between, the vessel, and the wheel. To conclude, Kubler is making the statement that all human made things to date are either a tool or art and that all tools are derived from these elements.

The Shape of Time

DeLanda introduces assemblages and a empts to break down the social complexity of all language into measurable systems or values. As he goes on to emphasize, these systems and values have either a coding or territorializa on in the manner that they are expressed. It is through decoding and deterritorializa on that we, have begun to gather and collect data to create maps.

A New Philosophy of Society

Kwinter introduces the idea of the assemblage of our world as we know it through four dimensions. He describes the typical three-dimensional outlook of the world (x, y, z) in which three axes give limitless possibili es to the crea on of an object. He then introduces me as a fourth dimension where architecture now becomes an event, therefore transcending the idea of the Micro once more and introducing a Macro condi on. Space-Time has been discovered.

Architectures of Time

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Purpose of the Book It is our hope that the mental naviga onal tools referenced in this book will inspire designers to reformat thought in order to abstract lessons of exis ng architecture and redefine the contemporary design world.

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What will be introduced within this chapter are five ‘mental naviga onal tools.’ These are defined as a way of interpre ng the complexi es of the world through a mul scalar rela onship of the macro and the micro. By dividing the world into this dualism of scales, an observer will develop the ability to compose a cohesive ‘whole’ made up of ‘parts.’ Each tool then allows for a breakdown of complexity through the subdivision of each concept into ‘filters.’ In this context, filters provide the ability for an individual to measure and observe the materializa on of mental naviga onal tools within the broader world. By engaging this process, these tools and filters also become representa ons of the macro and micro condi ons respec vely.

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DESIRE

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Desire D De esi sire ire iiss so ssomething ome meth meth thin in ng th that a at drives what how we d dr riv ives es w hatt h ha ow o ww e think th hin ink an aand nd do do e everything. very ve ryth ryth thiin ng. g We We e even ve en un u uncousinly nco cous oussiin nly ly desire de d essiirre esi e tthings hin hi ng gs ev e everyday. ver eryd ydaay y.

Desire De D essiire re d drives riv ri ve es us us tto o m move ove ov forward with ve forrw fo war ard wi w tth h ccrea rea v re e thoughts. tth hou oug gh hts ts. .

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-C Co Colin oliin E Es Esworthy swort wort wo rthy hy

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This act of longing, brought This T to light by George Kubler’s wrii ng within The Shape w wr Of Time, is vital within the crea cr ea on of all man made ‘things.’ ‘thi ‘t hing ngss.’ Kubler states,

“NNothing gets “Nothing ddone one uunless nless it is desired. desi ired.”

A th thin thing, ng, aass de defi fine n ned d for the purpose purp rpos ose e of tthis hiss bo hi b book, ok, is any huma hu m nn-ma made de e n tty y that is human-made en either eith her a d deriva eriv er ivaa v ve e of o a ‘tool,’ or a d deriva eriv er ivaa v ve e of ‘‘art.’ art.’ This ar reduc redu re ducc o on n of aallll tthings hings to two hi major maajo jorr ob obje object ject ct ttypes ypes yp e describes ever ev eryt ythi hing ng tthat hat has been ha everything and and will will b be e created by man henc nce e th tthe e no on: nothing – he hence is new new, ew, bu b butt rather everything already alre al read ady exists and is just

awai ng discovery. Tying all of this back to desire, the tool becomes a u litarian convenience that aids in an ac vity while art becomes an expansion of consciousness that allows the mind to develop or think abstractly.

What has just been discussed is the Macro concept of all things.

The macro is seen as the abstrac on of the ‘whole’ in rela on to parts, and everything created can be placed under the large scale abstrac on of these two things:

tools and art.

Moving forward, Kubler describes the micro condi on of tools as he defines the

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five elemental tools: the s ck the stone the in-between the vessel the wheel.

Today, every exis ng tool from a hammer to a car is a deriva ve of such tools.

In order to fully grasp desire, it is important to understand how each of these elemental tools were defined and how they are conceived within today’s society. To start, the s ck and the stone were the first tools discovered by man out of pure ins nct. At man’s beginning there were no luxuries of the modern world. In a predator-prey world, the s ck and stone were ins nc vely used in mes of danger or hun ng as a weapon.

architecture is neither a tool nor art, In order to fully comprehend desire, it is impera ve to shed light upon how each of these elemental tools were defined and how they are conceived within today’s society. To start, the s ck and the stone were the first tools discovered by man out of pure ins nct. At man’s beginning there were no luxuries of the modern world.

In a predator-prey world, the s ck and stone were ins nc vely used in mes of danger or hun ng as a weapon. As me went

on, the vessel was likely to have been the next tool discovered in order to store water and food – once again solidifying the desire to survive. A er this point, tools gained an addi onal layer of complexity with the discovery of the ‘in-between.

This concept describes an element that fuses together two or more elemental tools to create a composite tool.

As an example, the string that holds an axe head (stone) and a handle (s ck) together is defined as the in-between. Very quickly tools became more and more complex as more and more combina ons of these tools

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became discovered. The final discovered elemental tool then becomes the wheel. This final tool defined another dimension to tools as movement was introduced outside of the energy of man. The wheel has created a system that allows the movement of goods, ideas, and people. To conclude, in the modern-day world, these tools compose everything from a phone, to a car, or even to a building itself. Each composite tool is a layering of the five elemental tools between the levels of scale.

At its macro, a building is a vessel for a person or thing, but within its micro we begin to decode its elements tos cks (structural members), stones (façade elements), vessels (rooms or spaces), wheels (hallways or elevators) and in-betweens (screws, bolts, doors, etc.).

Every tool is conceived

from these five elemental tools and as such becomes another filter in these studies.

Of course these elemental tools are present within architecture, but architecture is neither a tool nor art, but a cohesion of the two. It is a field fused by the principles of form and func on.

Form, similar to art, has the capability to become an expansion of consciousness.

It has the poten al to

the func on of a building can be defined as macro, while the func on of each individual room or part could be the micro. The same is true with form at a macro level. Form can be seen as the ‘whole’ of the building while each space may engage in an en rely dierent manner.

inspire and create an experience unique to the individual. Func on, resembles a tool as it becomes u litarian in nature.

It serves the user in a defined, set way. In regards to the macro and the micro

but a cohesion of the two.

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Where does desire tie into all of this?

Where does desire e into all of this? From the viewpoint of the individual, a tool becomes desired because it lends convenience to an individual. While art lends the ability to imagine and expand understanding.

Architecturally, tools and art have the same effect, but another layer of complexity is added through the form and the func on of a design. It is through this lens that the architect now has the ability to affect everything within the designed environment, therefore lending itself to the Macro, the Micro, and the Psychological. The Psychological will be explored in the final chapter of the book. The concepts of the Macro and the Micro – in which scales and layers are navigated simultaneously – give this level of control to an architect.

By engaging in this process of con nuously shi ing thought between scales, human desires can be manifested within the physical world.

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VALUES

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Values varies in each individual, but through our personal values we are able to make decisions that comes from our beliefs, past experiences, and culture. Our values influences us make design inten ons with a psychological reasoning behind our inten on. .

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- Peter Nguyen

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Values are the rela ve worth or importance of an en ty within an environment. If an en ty does not possess values then there is no desire for existence. This concept becomes incredibly important through both an architectural lens and through the lens of everyday life. For value to be developed within the world, one must consider how each new en ty will integrate itself into its surrounding context in order to maintain the cultural integrity. It is more important to fit into and maintain the culture of an area,rather than to innovate and proclaim individuality within architecture. Although this some mes can be diďŹƒcult, especially with the development of technology, this always creates a collec on micros with a

strong and unified macro condi on. It encourages change in a slow and purposeful manner instead of being rushed. With this idea in mind, a value system in order to measure values within the world must be devised.

One system u lized in the world are the PHIDA values: permeability harmony imagina on diversity adaptability These are a set of values devised through the eyes of Torgeir Norheim. The PHIDA values are another mental system of naviga ng and understanding the complexi es of the world and what is eec ve within the context of design.

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Function Form

Permeability The ability to navigate the complexi es of the urban domain. It is through permeability that the fusion of typologies and the inbetween intermingle as a landscape simula ng the natural world.

As discussed above: Nothing is new; everything is discovered.

Permeability reinforces this concept as built environments resemble pa erns of the natural world and begin to open up a dialogue between the user and space -- becoming approachable, or permeable in nature.

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Harmony Harmony is the symbio c rela onship between natural experience, systems, and subsystems. Within architecture, this can be defined through the organizing principles of rhythm, repe on, propor ons, balance, and variety. These principles have preconcep ons within one’s mind and create unity within the diversity of the world. The self-sufficiency of systems and subsystems in terms of rhythm and pa ern of ac vity build order. Pa erns created through these principles would be meaningless if not accompanied by sensory s muli.

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Imagination Imagina on’s purpose within these values is to emphasize the importance of the environment to spark an individual’s crea vity and allow for a flow of ideas. It is through this flow of ideas and one’s understanding of knowledge and experience that imagina on provides a way to make sense of the world.

One’s mind, altering or morphing stored informa on, creates a source of inven veness and becomes a form of insight more profound than ra onal understanding, interpreta on, or connec ons. Knowledge is the gateway to intui on and the depth of knowledge informs imagina on.

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Diversity Diversity can be defined as the ambi on to move from the dieren a on of a single system to the ar cula on of mul ple systems and subsystems. It is through diversity that every en ty manifested within the plane of existence generates and communicates a dierent composi on. This ar cula on of systems should cons tute itself democra cally in which each part is equally important to the next. As these systems are fused and melded together, the concept of space is illuminated by the equa on 1+1=3 or more. Also stated as: The sum is greater than its parts.

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Adaptability Adaptability ar culates an interdisciplinary ecological agenda.

Sustainable principles are a frame of mind, promo ng a performance oriented urban typology, with inbuilt kine c capaci es, that allow the environment to reconfigure and adapt to the prevalent demographic pa erns of uses, values, technologies and occupa on. The kine c ability becomes the means by which the self-organizing trans-programming forma ons can be facilitated. Communi es can be realized with an inbuilt kine c capacity that allows those environments to reconfigure in response to the prevalent pa erns of use and occupa on.

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GEOMETRY

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Understanding the depth of the geometric plane crucial in the life of a designer. It is understanding the basic components of the environment around us.

The ability to balance the physical world with psychological is where good design comes from.

This is done through abstrac on of geometry. .

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- Brandon Cole

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When speaking in the context of architecture and urban planning, it is important to first consider what is meant by the word “geometry.” The common understand of geometry is to mean the shape of an object - circle, square, trapezoid, etc. While this basic understanding is technically correct, it is not representa ve of the broader scope of the field. Geometry also cons tutes

an arrangement of objects or parts to suggest geometric figures,

therefore it contains meaning as both an individual en ty and as an assemblage of mul ple parts. Geometry is broadly defined by MerriamWebster dic onary, as a “branch of mathema cs that deals with the measurements, proper es, and rela onships of points, lines, angles, surfaces, and solids.” By understanding geometry as the basis through which smaller elements interact to create larger pa erns, an observer can be er engage the complexi es of form.

There are many complexi es found in architecture at all scales, but geometry makes it possible for the mind to understand systems -making it a powerful tool of abstrac on. Geometry, world

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as a tool of abstrac on, is driven by five organiza onal principles: rhythm propor on variety balance repe on With these organizing principles,

it is possible to transform the complexities of the physical world into a smaller parts -- the interplay of Macro and Micro.

watercolor EXPLORATION Watercolor studies of different church facades were generated in order to observe geometric principles such as propor on, rhythm, and diversity. With more than twenty different churches in Orvieto, the variety of studies also allowed students to compare and contrast different architectural techniques used to code different assemblages and their surrounding territories as prominent public spaces.

Finally, the prac ce of water coloring in public spaces engaged curious locals and encouraged them to observe their surrounding more carefully as well, crea ng a ripple effect of awareness and engagement in one’s environment.

Unpainted Churches Painted Churches

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the cardo maximus Looking through the lens of geometry, this book examines two city plans commonly found throughout Italy -- the roman and the medieval city plan.

Observing the Roman City Planning Diagram (RCPD) a deriva ve of the grid plan developed by the Greeks, each new Roman se lement was centered around two perpendicular axs running from north to south (the cardo maximus) and from east to west (the decumanus maximus). The boundaries of the town were then defined and for fied while the interior areas were subdivided into

smaller rectangular blocks.

This planning diagram has many benefits for the infrastructural organiza on of ci es. The four points of access control flows and establish defensible entries/ exits while gridding the city into four districts of equal propor on and balance of parts. From this grid -- the macro -- a simple diagram of the city was created.

Primary

Secondary

This macrogrid was continuously subdivided into rectangles and developed a district grid, or ‘micro-grid,’ of navigable

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Tertiary

Roman City Plan

streets within each district.

Through the RCPD, the Romans borrowed concepts from the Greeks and developed them to create a replicable and eďŹƒcient city plan that could fuel their rapid expansion along the Mediterranean.

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The medieval city plan, coming later and borrowing the axes of the RCPD, used the same principles within a confined territory of topography. While the RCPD was built from the top down, the medieval city plan was built from the bo om up. In other words, the medieval plan was heavily influenced by the contours of the land and lent an irregular, organic micro-grid to be developed during the process of construc on. In the contrary, the Romans created an organized, premeditated plan as discussed before. The important takeaway is that the RCPD func ons as the basis of many city plans subsequent to the Romans, and can s ll be seen in today’s modern ci es.

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Primary

Secondary

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Medieval Plan

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Siena, Italy

The Roman City Planning Diagram has now defined the macro-scale of the Italian city. Tying back to geometry, the grids discussed employed all the organizing principles.

Balance and propor on become abstracted from the way primary axes divide the city into districts, while repe on of this division is then followed through on the development of the secondary microgrid. As each micro-grid develops, variety is engaged as propor on shi s with each subdivision of the grid. Finally, rhythm enters by use of variety and alters propor on of the streetscape, as defined by flows and hierarchy. In effect, these concepts begin to define the micro condi ons that lie within each grid’s subdivision.

Orvieto, Italy

The intersec on of buildings,

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streets, and piazzas is where the micro-scale is engaged.

As discussed, geometry eects these spaces by

creating balance between areas with traffic and areas where pedestrian activities thrive within the primary axes. Amidst this balancing act, a harmonious rela onship forms by crea ng rhythm throughout the circula on of the en re city.

To describe this city-wide circula on could cons tute an en re book in itself. For the purposes of this book, focus will be placed upon a

common experience within the context of Orvieto: human movement through three spaces -- the street, the threshold, and the piazza.

As a new concept, threshold here refers to the transi on point from one space to another -- the street to the piazza. It acts as a deriva ve new space is presented to an individual -- the piazza.

Geometric principles then code sta c behavior due to the horizontal plane of the street expanding and the ver cal planes of facades receding away from an individual. This transi on from a streetscape to a piazza presents an en rely dierent expression of space as movement morphs into a sta c behavior, influenced by the change of propor ons from imposing to open. In this changed space then, flows have the flexibility to alter due to the abundance

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of space. What has just been described is the phenomenon of This composi on describes, at a micro scale of the city, the variety of propor on on a streetscape that also maintains

balance of repetition between static and flowing.

When repeated of the primary elemental tool of the in-between, func oning as a doorway from one territory to another. Returning to the subject at hand, this movement through an Italian cityscape describes a common phenomenon within architecture -- the phenomenon of compression and release.

Streetscapes are composed of mul ple ver cal planes (buildings) imposed upon a narrow horizontal plane (street). This composi on of the street codes -- to influe uence or define -- the environment enviro through geometric geom propor on in order to express its purpose as a vessel v for flows and movement. move As a point of threshold is approached, thresh tension tensio builds to a climax.

It is h he here e that two dis nct condi cco ondi ons of space clash with o one another and a new sspace is presented to an individual -- the piazza. ind Geometric principles then Geom

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of the street expanding and the ver cal planes of facades receding away from an individual. This transi on from a streetscape to a piazza presents an en rely dierent expression of as movement morphs into a sta c behavior, influenced by the change of propor ons from imposing to open. In this changed space then, flows have the flexibility to alter due to the abundance of space. What has just been described is the phenomenon of compression and release -- the transi on from a compressed space to that of an open space.

This composi on describes, at a micro scale of the city, the variety of propor on on a streetscape that also maintains balance of repe on between sta c and flowing. When repeated at the scale of a city -- the macro -- these principles

change slightly based on each situa on but follow many of the same principles.

In par cular, the balance of repe on defines the final principle -- rhythm -- as a user engages in the act of two or more of these experiences. The possibility of geometry through the abstrac on of

all five organizing principles becomes limitless in the mul scalar rela onship of macro to micro.

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A harmonious relationship forms by

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In summa on, geometry is a powerful tool of abstrac on u lized through five organiza onal principles: rhythm propor on variety balance repe on By u lilizing these principles and supplemen ng them with the Roman City Planning Diagram, ci es today have a base map that sig significantly reduces their complexity in both the macro and micro sscales.

creating rhythm throughout the circulation of the city.

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Assemblages

“

Everything we encounter in the designed environment has an impact on the things around it, the things that came before, the things that came a er, and the way we behave. As architecture students, we should always be aware of how our designs will fit into the larger assemblage rather than simply crea ng objects. .

”

- Erin Murphy

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Having understood geometry as a powerful tool for abstrac ng space, it is important to clarify that the engagement of geometric principles is not synonymous with the crea on of architecture. In order to take an idea and bring it to life, that idea must be abstracted though geometry and conceived through the values of crea vity and imagina on. However, for an en ty to be habitable it must also be u litarian. As defined previously, architecture exists as something that is equal parts crea ve and func onal in nature -

an intermediary between art and

tool.

Therefore, while the manipula on of geometry can lead to the crea on of space through ar s c expression, that space does not translate into architecture un l the assemblage is engaged.

In order to be actualized as an architectural en ty, a space requires an assemblage of the five systems of architecture: climate enclosure structure circula on public vs. private/ service vs. served Together, these elements work in harmony to provide for the necessi es of

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habitable space. Alone they will func on in-eďŹƒciently and improperly, provided they are able of func oning independently. This book defines architecture as more than a crea vely ar culated en ty, but as an assemblage of dierent systems and subsystems working unanimously to create a composite whole.

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Context Orvieto sits on top of a hill in a naturally defensible posi on with only two entries into the city. Typical of a town based on a Roman City Plan, Orvieto maintains a strong diagram of two main axes that run perpendicular from one another. This results in the crea on of four points of controlled access flows and four districts for the city indicated by the purple dots on the diagram.

RCPD and Orvieto Climate Enclosure Structure Circula on Public Vs. Private

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Green Space AND TRAILS Based o the desire for ac ve design and engaging ci zens, a walking trail is available around the perimeter of the city of Orvieto. The trail is not completely accessible everywhere, but there are several entrances into the trail and it either loops around or leads to Orvieto Scalo at the bo om.

Green Space Streets Buildings Topo Trail

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Activities Corso Cavour, the main axis of the town that runs east to west, influences and defines where the most pedestrian traffic flow will occur. In response to this heavy flow, most services and ameni es are placed along this path. These services vary p , from retail/ar san shops, personal health facili es, or restaurants/bars. Less ss important ac vi es forr visitors then stem off this main axis (Corso Cavour). ur).

Tobacci Retail and Specialty y Shops Grocery Store Pharmacy Cafe/bar Restaurants Butcher

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Nodes Orvieto contains many nodes throughout the city that are strategically placed along the two perpendicular axes from north to south and east to west. The red dots showcase the placement of these nodes which take form as significant buildings, streets, and piazzas.

Streets Buildings Circula on Centered Notes Structure Centered Nodes Flows Between Nodes

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Pedestrian Flows There are three main systems, besides vehicular access, that are available for pedestrians to make it up and down the hill.

These mechanical systems are strategically placed on opposite ends of the city next to the main entrances.

The green dots call out the loca on of these systems: the li , escalator, and funicolare. From then on, pedestrians occupy the streets heavily which the intensity of the red gradient emphasizes.

Escalator

Streets

Lifts

Buildings Circula on Centered Notes Structure Centered Nodes Flows Between Nodes

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Funicolare

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Vehicular Flows Due to the condensed nature of the city and a desire for focus to be restored to the human scale, driving is a secondary form of transporta on. Within this map, the red flows indicate the allowable streets that a car can drive through.

Public parking is then placed around the perimeter of the main city center to remain separated from foot traďŹƒc, indicated by the purple dots. This is evident by the intensity of the yellow gradient being guided along very specific routes.

P

Streets Buildings

P

Circula on Centered Nodes Primary Vehicular Flows Parking Lots

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P

P P

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Public Transportation The route op ons are slim for public transporta on with routes circula ng around the edge of the city either going in a single direc on or both ways. The dots here point out the loca ons of transporta on stops.

Streets Buildings Circula on Centered Notes Public Transporta on Flows Public Transporta on drop o/pick up

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Sun Path and pedestrian flow

Vehicular Flows

Public Gathering Spaces

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PIAZZA DUOMO Ac ng as one of the central nodes for the city, Piazza Duomo channels large flows of pedestrian traffic through it. However, the experience with the space is perceived differently between locals and tourists. Turning off Corso Cavour, tourists travel south along Via del Duomo with the specific purpose of viewing the cathedral, then returning the way they came.

While in the square they remain largely sta c in order to observe or photograph the church. Locals’ focus is directed towards the piazza itself, using it as a transi onal space or a boarding point for public transporta on.

Therefore, their flows are more dynamic and purposeful.

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Sun Path and pedestrian flow

Vehicular Flows

Public Gathering Spaces

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PIAZZA PopOlo Piazza Popolo exists as one of the most dynamic spaces of Orvieto in the context of me, developing a unique duality of space. On Thursdays and Saturdays, a local farmer’s market occupies the space and transforms it into a central hub of community and economy in town. Yet, outside of these days, it exists as one of the least used spaces in Orvieto and func ons primarily as a transi onal space from Corso Cavour to the northern areas of the city. Thus, most of the flows through this space run from north to south in diagonal short cuts used by locals to reduce the me of transfer from one point to another.

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Sun Path and pedestrian flow

Vehicular Flows

Public Gathering Spaces

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PIAZZA RUBPLICA Piazza Republica lies on the western end of Corso Cavour and acts as a node through which pedestrians can orient themselves to the broader context of the city. Because of its loca on, the main flows through the space observe pedestrians con nuing in a straight line from east to west; however, the interplay of compression and release encourages bystanders to slow down and socialize for a me instead of walking straight through. Because of this, Piazza Repubblica develops as one of the most social territories within the city.

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Climate: Addressing environmental variables such as topography, weather, and location.

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The system of climate func ons primarily to deal with the mul ple considera ons of site.

Addressing environmental variables such as topography, weather, and loca on -- in this scenario, the macro scale -- an assemblage must be created with these intricacies in mind in order to fit harmoniously into its surroundings. Then, once these condi ons have been defined, all other systems of assemblage will also be

adapted to climatic influences to func on eďŹƒciently. As an example, the enclosure of a

building in an alpine region will be exponen ally denser and more air ght compared to a building in a tropical region. This is because it will need to combat freezing temperatures or harsh weather condi ons much more than a consistently temperate and warm loca on. Next, the structural framing will be for fied to account for addi onal snow loads and so on and so forth, each system a direct result of careful considera on for the external s muli ac ng upon it.

A er responding to these broader considera ons, the system of climate then divides into two subsystems of the built and unbuilt environments -- the micro scale. The unbuilt

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environment once again focuses on the immediate surroundings of the buildings and uses an ar cula on of elements such as landscaping to add another layer of.

This also forms dierent microclimates -- the climates of small areas that may dier from that of the larger area.

On the interior of enclosure then -- the built environment -- these microclimates are fully controlled by ven la on systems that can adjust the atmosphere of a space to most any desired condi on of comfort. Thus, the dualism of these two environments results in the ar cula on of completely unique situa ons in both contexts of the macro and micro -- a base condi on that acts as another influence upon all following systems in the assemblage.

enclosure: acting as the protective shell around an assemblage.

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Referring to the level at which a space is defined and separated from its surroundings, enclosure acts as the protec ve shell around an assemblage.

In the context of the built environment -- the micro -this primarily func ons to

control or block exterior environmental factors -- climate -from affec ng interior microclimates. The shell of a building resists weather and the inside of the building is protected from damage.

The same principles apply at a larger scale, the macro, though the ‘environmental factors’ ac ng upon the assemblage may be defined

in a different context. For a city, enclosure may be developed as a protec ve wall meant to shield the interior citadel from a ack.

However, in a piazza, enclosure may simply be u lized to maintain the different territories, or microclimates, developed by each square. Ar culated through the assemblage of buildings surrounding it, enclosure presents itself as an edge around the space that is defined in both the horizontal and ver cal direc ons. Considered in this mul scalar context, this system becomes necessary in developing different territories within an assemblage, as well as protec ng it.

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Structure: the system of elements that support all other systems within an assemblage.

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Structure is the system of elements that support all other systems within an assemblage. Created due to a desire for order, stability, and the necessity to combat gravity, it acts as the skeleton of an en ty, framing different territories while allowing life to exist within. Structure carries the different parts, or sub-systems, of both the enclosure and clima c systems in an assemblage.

In return, enclosure protects the structure from nega ve external influences while climate works to balance the difference in environments from interior and exterior -the micro to the macro.

structure carries the

different parts, Considered in this manner, structure func ons as a transi onal territory between the macro and the micro, allowing these realms to exist harmoniously with each other. Structure, on a micro level, can be understood as an assemblage of parts (beams, columns, etc.). These parts support different en es of floors or roofs while interconnec ng with each other to develop the overall structure of a building -- the macro. This transi onal func on of structure can be understood as the boundary between: one room to another, internal and external spaces of a building, circulatory flows with a district, or the edge condi on

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of a city to its internal nodes, etc. Therefore, at the macro scale of a city, you understand structure as the buildings themselves.

Using geometry, the layout of buildings in a city plan -posi ve spaces -- ar culate an overall grid of circulatory flows -- nega ve spaces.

Geometric principles define edge condi ons of space to code dis nc ons between public and private territories. Value systems are applied to the urban plan to determine how these structural elements and geometric principles will be assimilated into the composite assemblage.

Consequently, structure becomes one of the more important systems of an assemblage by encompassing all other systems within an assemblage.

CIRCULATION: the way in which people move through a space

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Circula on is understood as the way in which people move through a space, whether horizontally or ver cally. In most cases, circula on exists as its own territory with an area, but maintains direct access to all other spaces. It o en dictates how areas are laid out, territories are defined, and spaces are experienced.

Well-ar culated circula on will ensure that a space is

efficiently accessed and easily understood by its users.

Using the example of the roman city planning diagram for the macro scale, an observer observes two clear paths of circula on established by the cardo and decumanus maximus’.

By crea ng these main thoroughfares, the traffic of a city is easily directed through legible spaces made to accommodate large flows of people, much like highways in America.

Any smaller areas are then accessible by side streets appropriately sized for the amount of use they receive.

By restric ng the entries and exits of a city to four different portals, the interior is always able to remain protected and monitored.

The assemblage of the city uses its hierarchical structure to establish efficient and

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economic flows.

On a smaller scale -- the micro -- well-ar culated circula on eases the use of a building and defines how a structure may operate.

For example, if circula on is a hallway with blocked off rooms on either side, socializa on will suffer.

However, if a building is ar culated with an open plan, the freed paths of circula on will encourage community instead. By considering the coding, the layout of circula on plays a major role in determining how systems like structure or public vs private territories are introduced to an assemblage.

Public Vs. Private clarify navigation by subconsciously directing people.

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As the last of the five systems of architecture, public vs private/served vs service rela onships func on as interpreta ons of program and complete the assemblage through the organiza on of spaces. The public vs private rela onship refers to how a space is accessed and

who occupies that space.

Public or served space is generally open, invi ng, and clearly accessible. On the other hand, private or service space becomes more enclosed and separated from the public realm via physical or implied barriers. From this, one understands that the

previously men oned are very involved in public vs private/served vs service rela onships as they delineate the territories between spaces.

An example of this on a micro scale is that private/ service spaces in a building tend to be smaller and segregated from other areas because they are reserved for specific groups of people: sta, maintenance crews, HVAC equipment, etc.

Public/served spaces are larger, brighter, and more invi ng because they are meant to become occupied by the general public: customers, clients, house guests, and more. On a macro scale, these principles remain the same. Large open spaces such as piazzas or

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gardens mark themselves public through their contrast to narrow side-streets that act mainly as service lanes.

Their programming of easily accessed restaurants, shops, and entertainment spaces show them as open for business, while neighborhoods are marked by locked doors. Beneath all this, service lines for sewage and storm water are accessed only be specific personnel, while defini ve metro entryways invite large groups of people to u lize public transport.

The ar cula on of public vs private/served vs service rela onships helps to organize the plan of an assemblage and clarify naviga on by subconsciously direc ng people.

Territories: The coded definition of space that an entities create

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A territory represents a subsystem of assemblage that codes the areas within a

whole as different or separate entities.

For example, a piazza in a city is coded as its own territory by the defined edge of buildings that surrounds it. The nega ve space le in between this edge presents itself as a separate area and people perceive it as something unique and different from its surroundings. The space in the piazza itself is then broken down into subterritories based on the different coding of the

buildings present within the edge condi on. While it may be one con nuous space, an area of the piazza containing a restaurant with tables outside of it will present itself as a place to sit and eat, while an empty space in front of a landmark may become a place to meet friends or take a picture.

Abstrac ng this idea, the observer can then understand each of the five systems of architecture -enclosure, structure, climate, circula on, and public versus private/serve versus service rela onships -- as their own territory within an assemblage. Any assemblage can be broken down into different territories and subterritories that clarify the rela onships of different

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systems to each other.

From this, an observer can then arrange and rearrange various parts of the assemblage in order to achieve a more legible whole, both func onally and psychologically.

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Having now defined architecture as an assemblage of both ar s c expression and func onal systems and subsystems, one can be er grasp the concept of traversing architectural scales and can program their mind to take emphasis off ‘the object’ and instead focus on ‘the whole’. Returning to a running concept, everything is connected. Just as each beam, column, or slab combines to create a structural frame in a building, every building, piazza, or street combines to create the plan of a larger city. From this, single elements may stand out in order to make the comprehensive whole more legible and easily navigable.

In return, the ar cula on of the overall assemblage assists in placing emphasis on important territories that require addi onal focus in order to func on as intended.

These environments shape the social values of the people who live in them and these values go on to shape any new environments created in the future. Thus, the assemblage remains in a constant feedback loop of different influences and values that shape its use over me.

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SPACE -TIME

“

The en re world is a large collec on of objects that are assembled into a certain order. The assembly of these objects is arch ecture, and it’s main manipulator is the human being. .

”

- Jesse Burton

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Up to this point the discussion of mental naviga onal tools has been focused upon desire, values, geometry and assemblages.

Each of these concepts act as the macro condi on of these mental tools. These are then filtered down to simpler concepts — the micro condi ons; desire with the elemental tools, values with the PHIDA, geometry with organiza onal principles, and assemblages with the systems of architecture.

Much of the world has now been translated into definable and measurable means, but one more tool needs to be discussed-space- me.

This final element of spaceme describes two main abstrac ons of experience:

the three-dimensional world and the dimension of me.

The three dimensions — composi on of space — have already been alluded to within the earlier sec ons.

Space is composed of a makeup of desire, values, geometry, and assemblages.

Assemblage acts as the physical por on of an en ty, while desire, values, and geometry give meaning to its crea on. Furthermore, in this context, space refers to both voids and solids.

Anything that lies within space ends up creating its own space.

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This concept is important to recognize as space is no longer just an empty room, but also the area defined by the walls, structure, or objects within a room or en ty. These four mental naviga onal tools focus heavily on the threedimensional defini on of space. This defini on, however, means nothing without the introduc on of me.

Architecture is a vessel for For those familiar with modeling so ware on a computer, this concept of space is easily presented in a digital format but contains no no on of me. Sanford Kwinter in Architectures of Time, states explicitly that “we can no longer see the world as this simple.” He describes the

world as a fourdimensional experience

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by the symbio c rela onship of space and me. Time is the “indefinite con nued progress of existence and events [micro] in the past, present, and future regarded as a whole [macro].” In turn me func ons to define ‘the event’ — the present, ever changing moment. The past has already been defined and the future cannot be predicted. As Kwinter states, “‘...Only that with no history can be defined.’ In other words, once an object or sign is embedded within the streaming, chao c world of force, its so-called meaning must give way to pure affec vity…” What Kubler is sta ng here is that everything exists in ‘the moment’ and therefore is not defined by any no on of history or the possibili es of the future. Architecture becomes the basis of an indefinite ‘event’ as a space

acts as a vessel for life to happen. Architecture is classified as an event.

Architecture as an event furthers the no on: ‘everything is connected.’

What happens within one space inherently effects the next space. Placing this in the context of Orvieto, Piazza Duomo and Piazza del Popolo effect each other heavily. To illustrate this point, each Thursday and Saturday, Piazza del Popolo becomes the vessel of the local market. This market spurs ac vity within the square that draws in ci zens and tourists alike.

This ‘architectural event’ is unique to each occasion.

Each individual vendor, although loosely grounded to a specific spot, occupies a slightly different territory every day. This inherently effects the assemblage, geometry, values, and

desires of both the piazza and the city as a whole.

The changes of these filters in each moment serve to illustrate the plas city of space- me in an environment. On days of the market, the shi ing of flows and energy to Piazza Popolo naturally diminishes the primary focus on Piazza Duomo. Both spaces have been re-coded based off of each other’s influence upon one another. This example, unique to each day, becomes one of millions of symbio c rela onships occuring with each moment within the macro scale. Each event, now understood as a part of the micro scale, then affects the overall assemblage of the macro. The observer can begin to filter the complexi es of space- me.

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life to happen.

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Before concluding the discussion of space- me, it is important to understand that these four dimensions have the ability to reprogram an architect’s workflow to consider the whole (the macro) instead of focusing on an object (the micro scale).

By understanding the addi on of me to space, an observer understands that every decision, shi , or ac on within the three dimensions of space have an effect elsewhere. In other words: “everything is connected” and every observer plays a vital role in shaping the macro through the micro. Only through the combina on of desire, values, geometry, and assemblages can an observer predict and design spaces that will effec vely adapt to me and events.

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Conclusion Desire s ck, stone, wheel, vessel, the inbetween

Values permiability, harmony, imagina on, diversity, and adaptaility

GEometry rhythm, propor on, variety, balance, and repe

on

Assemblages climate, structure, circula on, enclosure, public vs. private, and served vs. service.

SPACE- TIME three dimensions of space, and me

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The Th T he world holds complexi es beyond b beyo ey nd imagina on. As observers, everyone must find a way to abstract these complexi es into simpler, more comprehensible means. Therefore, the mental naviga on tools of desire, values, geometry, assemblage, and space- me give the observer a capability to view the world through different -- coffee -- filters, or as Professor Torgeir Norheim states, “every cup of coffee is always viewed differently.”

Embracing mental naviga onal tools, their filters, and the dualism of the macro/micro, architecture’s focus is now set on the

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collec ve whole. Desire, values, values geometry, and assemblage all cons tute assem the three-dimensional realm thr to which me is introduced whi and the th plas city of space within the moment defines architecture as an event. archite By engaging all five mental eng naviga onal tools and their filters, it is impossible to remain focused solely on the micro scale and ignore mi the ma macro condi ons exis ng n within the world. An observer observ understands the importance for the world to import func on o as a cohesive whole composed of many parts that compo work ccollec vely to improve the overall human condi on. ov

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119 Psychological

Mental Navigation Tools The discussion of mental naviga onal tools has made it clear that architecture extends far beyond three dimensions and analy cal discussions. Func oning as elements through which the universe is simplified, each of these tools possess a subdivision referred to as filters that allow an observer to break down complexity one element at a me. These filters

provide ovide dee measurable me meas m u able ura be methods ettth thood ods for foor o abstraction; raa however, they are not the only lenses e through which

the world can be quan fied. The psychological effect within space must s ll be defined as it adds the final level of complexity to the observed world.

The psychological, much the same as space- me, becomes a difficult concept to grasp in the context of the universe as it is the addi on of experience within an environment. By this defini on, experience resembles me as plas city is introduced and nothing can be defini vely predicted. The key reason for this plas city within experience is the individual as they possesses a unique outlook upon the world based on their personal interpreta on of desire, values, geometry, and assemblages. To further this individual interpreta on, every member of society holds a different posi on in space at any given moment of me; lending a completely unique decoding of the universe per each individual basis. What this means is that every person, en ty, or being created within the physical plane of existence interprets experience differently. By embracing the mental naviga onal tools introduced earlier, an observer can see and decode

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“the world based on their personal interpretation�

Although these pa erns cannot predict the exact outcome within space because of the nature of me and the individual, they can shed light on most situa ons. An example used earlier about me was the layout of the Orvieto market. The market is an architectural event, meaning that on thursdays and friday a unique assemblage occurs in the space of Piazza Popolo as compared to any other mes in the week. This assemblage of the market, although always unique, possesses common pa erns in which vendors typically inhabit a similar territory in the space.

The same manifesta on of pa erns exhibited here can be produced in respect to experience as well.

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DESIRE

Desire broken down into the filters of art and tools becomes an addi onal source of abstrac on next to tha geometry, and the assemblage. Art is desired through an expansion of consciousness while the tool is desire its u litarian convenience. With the development of composite tools an inter-connec vity of both tools and to develop. This dualism is the product of form and func on. The func on of art may be to expand consciou however, as can be seen in Bernini’s sculptures or Da Vinci’s drawings, this expansion of consciousness has ability to become a tool that holds insight into knowledge, propor on, geometry, etc. The same may be said contrary. A tool such as a building has a level of art through its plas city of space. Thanks to form, space can molded in the same manner that a sculptor develops folds within clay.

What does desire have to do with the psychological realm of thought within an individual? To answer this, t work of the American psychologist Abraham Maslow is appropriate to introduce. In 1943 he developed ‘Ma Hierarchy of Needs’ by describing five levels of human necessity. The elemental tools, created by the desire survive, relate to the first two levels within the hierarchy. These primi ve tools provided for man’s basic nee within the world. As psychological needs were fulfilled man reached self actualiza on and art was manifeste new object type in the world. At this level all needs/desires had been met, leading man to develop intellectu allowed for the development of oneself, depicted by Maslow by: “What is necessary to change a person is t awareness of himself.”

Psychologically humans require the fulfillment of four basic needs in order to reach a level of self-actualiza Maslow’s idea of needs parallels the idea of desire. As Maslow states, “It is quite true that man lives by brea is no bread. But what happens to man’s desires when there is plenty of bread and when his belly is chronica needs emerge and these, rather than physiological hungers, dominate the organism. And when these in turn needs emerge and so on...” What this means is that human psychology is dominated by the level at which th hierarchy. Embracing this, one can begin to understand the concep on of tools and art and comprehend ho art (and vice versa).

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t of values, ed through d art began usness, the on the n be

he aslow’s to eds ed as a ually. Art to change his

on of oneself. d alone -- when there ally filled? ...At once other n are sa sfied, again new heir needs lie within this ow tools have now become

Self Actualization Esteem needs Belonging needs Safety needs Physiological Needs

123 12 23 Ps Psychological P syc ycho cho hologi logi lo giccaal

Values Looking through the lens of individual experience within an environment,

values ignite change.

Values allow for the overall culture and ideas of a place to be presented to an observer. This in turn allows the need for change to be recognized. Psychology becomes the vehicle to allow for the evalua on of an environment.

Within Orvieto, the introduc on of the car created a shi in values that shaped the environment in which one lives. Values were

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no longer focused upon living within the city wallss om as the ability to travel from the suburban periphery was introduced at a cheaper price rs of living. Shopping centers llowed for and large retailers allowed und in n everything to be found ulated d the one place and s mulated ould o nly local market that could only be u lized twice a week. The ce too okk value of convenience took he v va lue e focus over that of the value of community. e The introduc on of the Ideal City by Piero dellaa pple Francesca created a rip ripple urcch h, eect in which the chu church, uncc on o ns state, and societal func ons n eq qual were all placed at an equal rchy y. Th T hiss level within a hierarchy.

This zed balance of power finali nalized n so ociie iety t . individualism within society. h Psychologically, each en al al individual had the pote poten iza on. on n. n. to reach self-actualiza onsstraaiin ntts No longer did the constraints hat co ou ulld of society bound what could

be done within architecture, arts, or science. Shi ing values through evalua on of the environment has now given the ability to create without limits. It has given the individual power within society and shaped the world on an individual basis.

Values, when explored in the psychological realm, give limitless poten al based upon the concept of evalua on.

Values allow for anything to be measured through worth. It is through this measurement that levels of success can be evaluated in every unique situa on. By embracing historical examples and shi ing them to any context, the poten al that values have to shape society become limitless.

125 Psyc Psychological cholo ho ollo ogi giccaal

geometry Geometry is broken down from organiza onal principles of rhythm, propor on, variety, balance, and repe on. Psychologically geometry is centered around the no on of the human scale. Human scale can be said to be the values of space expressing its rela on to human propor on. If an environment

allows an individual to feel comfortable within space then it can be said to relate to the human scale. Through this lens gives space the power and ability to speak.

Within architecture, values and desire play a large role in the crea on of space.

An example of geometry coding behavior and human psychology within space is the Italian church. In the values sec on it was discussed that the church was a major power in the history of Italy. Architecture, through geometry, reinforced this power of the church within the urban landscape.

By manifes ng a larger propor on of space within a city, the duomo of Sienna and Orvieto alike depict the overall values of the city. The geometric propor on depicts the power and wealth of such an en ty within the landscape. In the context of desire, this geometric propor on of space alludes to Maslow’sHierarchy of

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Needs.

It states that the power and wealth of this object and state of the church will offer protec on and security -basic human needs within society. Many architectures depict this idea in which propor on o en becomes the driving force through scale.

Geometry is now seen as a primary mean to aect psychology of a society.

Through the organizing principles, behavior has the ability to be coded within an environment. Propor on, for example, can depict power and wealth of an en ty within an environment and engages values and desire within an individual. By embracing geometry the individual has the power to impose values and desires within the environment.

127 Psychological gical

assemblage

On a psychological basis, the assemblage composes human experience within the environment through systems. s. These systems are the three dimensional manifesta on of space through desire, values, and geometry. What this means ans is that the assemblage effects an individual on all levels of the prior discussed mental naviga onal tools through the five systems of architecture: structure, enclosure, climate, served/service /service & private/public, and circula on.

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The systems of architecture affect the psychological primarily through territories -- the spa al defini on that an object, en ty, or space gives. What this means is that territories can be defined in physical defini on (like the territory a single brick creates) or by void (like the territory of a piazza defined by a boundary or edge). A social territory defined by a group of people alludes to desire and Maslow’s hierarchy of needs, while at the same me is dependant on the concept of space- me with the fluidity of such territories. Psychologically this means that the systems of architecture are constantly affec ng behavior and defining the stage of life.

In order to illustrate an assemblage’s effect on the environment, Pienza’s Piazza Pio II will be discussed.

This piazza, which is an architecture based upon the Ideal City, is an assemblage that has profound effects upon an individual. The square acts as a perfect balancing point of the city in which all values have been distributed evenly.

The church, town hall, and palaces around the square harmonize the space through propor on and geometric principles discussed. The values in turn affect desire as the PHIDA value of imagina on allows the mind to explore self-actualiza on and the produc on of new ideas. It is through the assemblage of systems that the city developed as an

129 Psychological holog

example for the world through its Unesco classifica on as a World Heritage Site in 1996. This square affects every level of human psychology through its assemblage.

SPACE-TIME Space- me defines the three dimensions of space combined with the dimension of me. With this combina on comes the endless, fluid present moment. This moment cannot be defined with certainty and is constantly shi ing. From this plas city, architecture can be defined as an event.

Looking just within Orvieto, the hilltown has changed over me in a profound way.

As more and more of the popula on moves to the valley below, the hilltown is le to adapt to a new value of tourism. Abandoned complexes are in the process of being restored or repurposed as tourist lodging.

The once residen al street of Via Dei Magoni has

transformed into a retail strip of local vendors and cra smen with housing s ll preserved above. Even with these considera ons in mind, much of the city’s once inhabited structures are s ll vacant and in need of repurposing. Space- me has shi ed values from the local community to that of outside visitors in an a empt to recreate the once thriving hilltown atmosphere. This in turn affects behavior as the city is o en busy within the confines of the day while seeing li le to no ac vity through the night. This is just one example in which spaceme affects the behavior within a community.

Space- me is the river that encompasses all life to happen. The flows of the

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river change with me and the currents shi as new ew external forces are added ded to the system. In the case ase of this book, space- me e is the river and the mental al naviga onal tools discussed ussed are the shi ing currents. ts.

If the mental tools are abstracted then the currents rrents affect the shape or behavior havior of the river banks, creaa ng change and shi ing flows. ws.

In the real world, the banks anks could represent architecture ecture and currents shaping itt become the major stepping pping stones such as the ideaa of The Ideal City. Space- me inhibits change in the system.

Behavior can be seen as fluid and ever changing overr me.

It is the job of the observer erver to no ce this and predict ict how to remodel a scenario ario to fit change over me.

Space-time is the river that encompasses all life to happen.

131 Ps 131 13 Psychological sy yccho holog log lo giica cal al

Conclusion Mental naviga onal tools have the poten al to shape each individual’s psychology, or behavior, within an environment. Each tool, lending its own concepts to the breakdown of complexity in the world, give hints and pa erns affec ng behavior through repe on within the environment. Desire encompasses human needs within and has the power to become an extension of consciousness. Values then allow the environment to be evaluated and ranked, allowing for values to be reassessed constantly. This constant reassessment ensures the environment is yielding to the desires of society at large. Geometry then lends a way of interpre ng the three dimensional world and

emphasizing moments within the landscape through the organizing principles. As assemblage is introduced, systems are seen to be the manifesta on of the three dimensional world. This manifesta on affects every aspect of life through the architectural systems of structure, enclosure, climate, circula on, and private/ public & served/service.

Finally, space- me affects every being’s psychology through the present moment.

At every moment in me the defini ons of space are changed and warped.

Behavior over me in effect changes with the shi of the other mental naviga onal tools. The environment must respond to this shi before it has happened and predict ways of incorpora ng

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1 2 3 4 5

Desire Value Geometry Assemblage Architecture as An Event

change over me. Psychology has now been seen to affect every aspect of the environment.

1133 13 33 P Psychological Ps sycho ycho yc hologi log lo giicaal

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At the beginning of this book, a statement of purpose was made documen ng the hopes that these wri ngs would inspire designers to ‘reformat thought pa erns in order to abstract lessons of exis ng architecture and to use acquired insight to redefine the contemporary environment.’ The end of this book will bring this idea to comple on by touching on these two points. First, the lessons of exis ng architecture that this studio has learned from Orvieto over the course of the study abroad.

Through the use of mental naviga onal tools and their subdivision of filters, this class came to understand five abstracted insights from our

135 Conclusion

surrounding environments that will hereby be referred to as the ‘Five Secrets of Orvieto’ 1.Designing for the Human Scale 2.Encouraging Ac ve Design 3.U lizing Geometric Principles to create Clarity 4.Everything is Connected 5.Architecture that is Built to Last

Orvieto is excep onally enjoyable par ally because of it strong desire for environments to remain focused on the human instead of the vehicle.

As touched on in the introduc on, Orvieto headquarters the interna onal ci aslow movement, promo ng the philosophy that ‘good living come from ci zens’ ability to live in their town in an easy and pleasant manner’ This quan fies a deep desire from the residents of Orvieto to improve their quality of life by slowing down the overall pace of their city and bringing the focus back to people.

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Policies work to improve producer/vendor rela onships and to bring locally grown food and ar sanal products back into the town. Main public spaces and thoroughfares are also closed to vehicular traďŹƒc to encourage a

sense of safety and community.

Thus, the town is ar culated to adjust to change though ully over the course of me, fully engaging the concept of architecture as an event.

In addi on to this, the architecture of the urban fabric also supports the desire for be er living by being tailored to the human scale instead of the vehicular.

Many streets here are narrow

and winding in nature, be er fi ng the flows of pedestrians and inspiring their curiosity to discover what is around the next bend. Through the use of values, geometric principles, and territories the assemblage of the city is compiled in such a way as to improve the experiences of ci zens.

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A prevailing value in Orvieto is the design of environments that ac vely encourage health, movement, and social connec ons.

The urban plan of Orvieto is based o of the Roman City Planning Diagram with a two central thoroughfares ac ng as the main axes for circulatory flows within the city. For the sake of convenience and fostering community, most retail shops line these two main streets while prominent landmarks or public spaces func on as nodes at the end of each axis.

Taking this basic structure, a system of values is forma ed

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onto the city to add worth to dierent areas and further develop this idea of ‘ac ve design’. The increased permeability of streets closer to public spaces, as well as the diversity and imagina on of territories and structures within these areas places an emphasis upon them and invites users in. This, combined with the restric on of vehicular flows in these spaces,

encourages citizens to walk to desired destinations.

It also fosters an environment of sociability and community, with the en rety of the town consistently passing through

this specific set of territories.

Through this, individuals are encouraged to stay ac ve physically, mentally, and poli cally within the community.

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The use of simple geometry in an urban plan benefits the city greatly by crea ng eďŹƒcient pathways of flows that are easily navigated through a progression of public spaces ac ng as nodes.

Using the basic idea of the five geometric organizing principles -- rhythm, propor on, variety, balance, and repe on -- the layout such as:

streets ARE easily navigable and accommoda ng for most pedestrians. An emphasis on public spaces in the

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city, then creates a series of recognizable nodes that ci zens are able to navigate by.

Adding in the phenomenon of compression and release between narrow streets and larger piazzas, the geometry of these spaces emphasize the importance of public areas and physically compel people forward un l they reach one of these open, community areas.

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Everything is connected. A desire for be er living can be achieved by reforma ng thought to traverse mul ple scales and focus on an assemblage as a composite whole.

Observing one’s surroundings in orvieto, one begins to understand how the

different elements of the city work together to create a

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functioning whole.

Ideas such as climate, enclosure, structure, circula on, and public vs. private/serve vs. service rela onships transverse scales from the micro to the macro, to help the city func on as an en ty instead of separate elements forced together. For example, any new structures that are added act as smaller subsystems of the whole and must be ar culated to a strict code that allows them to fit into the exis ng fabric of the city. Considering Orvieto in this sense, the desire for be er living is closer to being achieved due to the combina on of dierent systems and the harmonious whole that they work to produce.

4 143 Conclusion

In order for a town to survive and prosper, assemblages must be considered in the context of me. Thus, architecture should be considered as an event and all en es should be adaptable and built to last.

No ma er the city, Orvieto or otherwise, if it desires to increase the quality of living of its residents, it

must be prepared to adapt to mul ple dierent condi ons throughout the course of me. Considering

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architecture as an event, the three dimensional assemblage of an en ty is introduced to the fourth dimension of me and evaluated on how it provides for the mul ple dierent desires of humanity. If the assemblage of a city is structured of parts that are cheaply made or unable to accommodate diversity, the city is doomed to fail even at its concep on.

t

Transversing the streets of Orvieto, one can observe buildings that were created centuries ago but are s ll opera onal and useful within the context of the city today. Such architecture accommodates the changing desires of the city while s ll maintaining its original form and func on. Thus, the city is given a solid founda on that connects strongly to its culture and heritage, yet

it is s ll able to grow and prosper in the ever changing condi ons of the modern world.

5 145 Conclusion

The takeaways within this book include the shaping of the environment through mental naviga onal tools. Society is full of complexi es that must be broken down in order to simplify the world, and these mental tools lend aid for this simplifica on. n.

With this in mind and having simplified many concepts within the context of Italy, a discovery has been made. What happenss nto nt o when all of this complexity within ci es can be broken down into its parts? The observer then has an acute sense of how much of society func ons and the layout of such socie es. Because of this acute sense, the observer has now gained the ability to recognize flaws and imperfec ons that have the ability to be adjusted or fixed. This creates a new idea of the RCPD³.

RCPD³, or put into context, the Roman City Planning Diagram cubed describes the future poten al of city planning in the three dimensions and becomes one more concept taken away y form the content of this book. Simply described, the RCPD³ is a system much the same as the Ideal City was to Italy. It is a system of organizing a city in a coherent, harmonious way, while hile hi le promo ng everyday life to thrive within the self-actualiza on piece of Maslow’s pyramid. In order to fully grasp this conceptt of the RCPD³, it will be broken down into filters, much the same as the mental naviga onal tools were broken into filters to measure ure ur e the complexity within the world.

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147 114 47 Co Conclusion C on ncclu lussiio on n

S tch - The s tch is any element that traverses mul ple strata or creates transporta on in the ver cal direc on along the z-axis -a stair, elevator, etc.

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Strata - The strata describes levels within the ver cal dimension that set the RCPD³ apart from the Roman City Plan through the engagement of three dimensions. This dictates hierarchy and the levels within space.

Urban Floor - The urban floor describes the “public arena,” a space defined by the public, for the public.

In the case of a city this includes any horizontal, inhabited plane that an individual can access, for example park spaces or roads.The urban floor is not defined within one strata and can extend in the Z-axis.

Superfloor - The superfloor is “two horizontal planes that extend the possibili es of a space.” What is meant by this phrase is that the superfloor is a flexibility within structure. By defining two horizontal planes -example: floor and ceiling -- a user defines a space.

Fabric - The fabric is the connec vity of elements within the study/system.

This connec vity is not just in the physical manner, but also that of geometry, values, and other spiritual en es.

149 Conclusion

Reaching the end of this book, there remains one question left to address -- so what?

Why does all this ma er? How does this influence us as designers? Using mental naviga on tools, this book has established architecture as a construct boundless in nature.

In doing so, it has not only elaborated upon the realm of architectural possibility within these wri ngs but expanded it as well. With careful thought and understanding, a product of design can transcend scales, calm the human mind, and combat the ravages of me itself. Through these observa ons, architecture becomes limitless.

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W

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151 Conclusion

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Contributions Editors Jacob Frazier Peter Nguyen Julia Switlik

Writers Samantha Davies Chris na Sanchez Erin Murphy

Graphic Designers Catherine Gutman Jubilee Kao Kelsey Kohlmeier

153 Conclusion

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Media Contributions Zach Billings Bryan Bruckner Jesse Burton Roger Clark Brandon Cole Samantha Davies Yuvraj Dodiya Colin Esworthy Jacob Frazier Catherine Gutman James Jones Jubilee Kao Kelsey Kohlmeier Erik Loya Erin Murphy Peter Nguyen Chris na Sanchez Julia Switlik Pricilla Valenzuela Prof. Torgeir Norheim

155 Conclusion