Impressions

IMPRESSIONS

IMPRESSIONS: RE-INTRODUCING MEANING TO ARCHITECTURAL COMMUNICATION

Impressions A Thesis presented to the Undergraduate Faculty of NEWSCHOOL OF ARCHITECTURE AND DESIGN

In Partial Fulfillment of the Requirements for the degree of BACHELOR OF ARCHITECTURE

By DAVID GARCIA June 2015 San Diego, CA

Copyright Š 2015 DAVID GARCIA

All rights reserved. No part of this book may be reproduced in any form, except for the inclusion of brief quotations in review, without permission in writing from the author/publisher.

This thesis explores the communication of architecture and design. Styles are not only analyzed and criticized but experiments explore the general consensus of contemporary design, the importance of meaning and the communication of symbols.

A Thesis presented to the Undergraduate Faculty of NEWSCHOOL OF ARCHITECTURE AND DESIGN

By DAVID GARCIA

Approved by:

Undergraduate Chair:

Len Zegarski

Date

Studio Advisor:

Raúl Díaz

Date

Acknowledgments

The project has been one of exploration and discovery. Yet the exploration and end result would not have reached the level of achievement if weren’t for my Thesis Advisor Raúl Díaz. I am very grateful for his guidance and advice. I would like to offer my thanks to my family who have been very patient and supportive through this process and lastly to my cohorts and coworkers who have assisted in the completion of my thesis.

Dedication

Dedicated to my son, Levi.

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Table of Contents

ABSTRACT

4

CHAPTER I Research

22

CHAPTER II Thesis Studies

42

114 164 WORKS CITED

CHAPTER III Research Methods

CHAPTER IV Results/Design Prototype

CHAPTER V Conclusion

ABSTRACT

Three men walk into a bar, the first gentlemen heads straight to the bar for a drink. The second man pauses for a few seconds as he enters. He recognizes a distinct sentiment about the place and wonders what it is about the setting that is interesting; then continues toward the bar for a

drink. The third man, however, looks around at the space, and takes a few steps while gazing around and is taken back by what he sees. He chuckles and says, “since when do churches start serving drinks?!� as he walks out.

Does Symbolism stimulate the human psyche and how do we communicate the abstraction of symbolism to be more understood?

Meaning allows us to play with the imagination, allowing free thought and emotions to create a personal meaningful connection.

This imagination is the soul in art. To be creative and think beyond reality.

The importance of meaning is being lost in Architecture today in practice and education.

Meaning is the element needed for the occupant to make a transcendental connection to the architecture. This connection allows the human psyche to bridge between the subconscious and the conscious evoking emotion and stimulating thought.

By understanding the progression of how our discipline has put an overbearing focus on functionalism and whether meaning is lost or merely being communicated differently, the focus of this thesis will be to look at the importance of symbolism in contemporary architecture. By looking into literal and esoteric symbolism through studies and experiments and the design of a memorial, the hope is to arrive at a conclusion that illustrates the importance of meaning in our built environment, which can be enhanced by way of symbolic application.

THE STORY These three men represent three types of people, we all interact with the built environment, nevertheless, the way the built environment speaks to us will vary greatly on the individual and their conditioning through experience. The three classes reflect the type of interaction people can have with architecture. To refer to the story, Group A represents the first man who walks in. He walks in solely based on function, it is a bar and he is there for a drink. The second person, representing Group B, is also there for a drink, yet on his journey towards his destination,

he’s distracted, or stimulated enough to need to pause and think. A small connection is made, not knowing what it is, what it means, or why it’s there, his interests are stirred. Group C represents the person who not only is engaged, but arrives at an understanding of the space.

Regardless of his opinion of the meaning, in this case, the man decided to walk away. Another person in the same level of understanding might think it’s a radical change and might be excited for the space. The meaning, nevertheless, is the same.

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CHAPTER I

RESEARCH: SYMBOLISM & THEORY

THE ISSUE Throughout the years we have seen many styles and movements which have helped lead us towards evolutionary achievements in Architecture and Design. The tools developed have added extensively to the way we design.

They’ve allowed us to design faster and in many instances design with programs and scripts which facilitate intricate and near impossible simulations before the projects are built. This, however, has also led to the inculcation of the importance of functionalism in the way we think, design, and teach. In our contemporary age, the meaning in our works, is beginning to lose value as a role in design while performance and functionalism are the guiding standards to good design. The function of architecture is essential.

For were it not useful, it would merely be a sculpture. The keystone to architecture is the people which it is designed for. One can agree that functionalism is a required denominator in design, nevertheless, tools should be used as instruments and not as a point of departure. An axe cannot wield itself without the human, like so, one cannot base design on algorithms and rules simply awaiting for something provocative to occur. Architecture is not a skill, but a talent.

The importance to connect with our buildings through meaning is vital for Architecture to remain a valued profession and more importantly to allow people to have transcendental experiences in quality architecture.

An over reliance of technology at the cost of meaning.

Algorithmic Architecture www.evolo.us/

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THE DOMINANCE OF FUNCTIONALISM Contemporary Architecture doesn’t necessarily follow a set of rules, nevertheless, it is a product of the resistance or continued reliability on architectural movements which have led us to our age. It would be a mistake to not compare Architecture to History of Art since Art has always been a leading influence in Architecture and other Fine Arts. The parallel between Science and Art must be noted to show their shared progression in where we are today. Much of this perspective is shared by Architect Historian, Alberto PerezGomez, whose book “Architecture and the Crisis of Modern Science� has led to much investigation and served as a form of reference towards the argument. The Greek, Roman and Renaissance ages relied heavily on deity. The Cosmos were not only a point of inspiration for their art but also a part of their life and culture. Their art and architecture illustrates their faith in Gods and the supreme power of the enigmatic. The famous Michelangelo, who belonged to the Renaissance, illustrates the paradigm in many of his works. The Sistine Chapel depicts the power of God as the creator of Adam and is painted at the center of

the ceiling. The spiritual and religious meanings the painting contains illustrates the high faith in God. Other pieces of art which share context include: David, The Last Judgment, Moses, Crucifix, Separation of Light and Darkness, and many other works. Other Artist include Donatello, Raphael, and Boticelli. At this time, Science was a phenomenon yet the connection between the mechanisms of nature and astronomy were an enigma attributed to the Gods. Culture relied heavily on Deity and the Cosmos due partly to their lack of understanding. As science began to unravel the mysteries of heaven and earth, Deity became less essential in the lives of the learned.

Baroque, Neoclassicism and Romanticism did not remove themselves from the religious roots, nevertheless, with the increasing inventions and discoveries by great scientist and astronomers like Galileo, man began to see their mortal life different than what was traditional. As time continued, Impressionism, Cubism, Modernism led to the removal of deity altogether, something which happened soon after Galileo and his findings.

The creation of Adam by Michaelangelo - Fig.1.1 www.vatican.com/

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Perez-Gomez writes, “Geometry descended from the heavens and lost its sacred character as a result of the epistemological revolution brought about by Galileo’s speculations during the first decades of the seventeenth century” (Perez-Gomez, 10). This speculation allowed for interpretation of the heavens, as a sort of torn veil between the unknown and reality. These findings of science began to change the way people viewed the world, and instead of allowing the new discoveries to be supported by faith as a deeper understanding of God, it became a basis to destroy the existing knowledge and preconceived ideas of the universe. PerezGomez continues with the effects on Architecture.

“Around 1800 a second great transformation took place. Faith and reason were truly divorced.

Scientific thought came to be seen as the only serious and legitimate interpretation of reality denying any need for metaphysics. Euclidean

geometry was functionalized…Geometry and mathematics were now purely formal disciplines, devoid of meaning, value, or power except as instruments, as tools of technological intentionality” (Perez-Gomez, 11).

The intentions of the paradigm shift varied.

Some to go against the traditional values of architecture, while others considered this to be closer to meaning of life and deity. Perez-Gomez points out the replacement of classical orders and proportions were replaced by the Euclidean solids and symmetry, which were motivated by a “symbolic intention”, being considered as the most correct to reconcile man to Nature (PerezGomez, 159). The innate need to understand the enigmatic has always been present in mans’ psyche. Nevertheless, what we do with those findings is as much of importance as the matter itself.

Past

Present

Future

Transcendence: Deity, Cosmos, Spirituality, Art, and Meaning Science: Functionalism, Math, Efficiency, Performance.

Diagram representing the relationship between Science and Transcendence throughout time with a desired outcome.

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The methods to which design was based upon became very reflective of the scientific methods used to perform research and form hypothesis.

Only “real” data could be analyzed and taken into consideration. Due to this geometric method, that which was not understood or considered as reality, could not be part of the equation until further understood which led to discredit anything unreasonable. Nevertheless, the flaw then becomes to discredit anything unknown, and while man continues to discover, those truths will not be part of our equation until further understood. This limit made by man is needed in science, for only precise data, can we come to a truth. “When the new science rejected the superiority of the heavens, the universe was transformed into a whole comprised of common elements and governed by universal laws.

Earth became the ‘field’ of an exact science, as precise as the one that studied the motions of the stars. Modern physics thus originated in the application of exact, immutable notions of an abstract order (mathemata) to the sphere of reality (Perez-Gomez, 166). Only by these methods could science be better understood, and the need to be devoid of symbolism and meaning

is acceptable to study science. Some of the greatest architects from this time still considered meaning as form of freedom and expression that is necessary. Francois Blondel, an engineer and architect in the 1600’s “still understood theory primarily as a transcendental justification of practice, recognizing a profound and noncontradictory continuity between both aspects.

He emphasized the importance of personal expression and decision in architecture (PerezGomez, 42). Some of the attributes that bled into design from science include geometry and rules. Proportionality become a very important constant. Rules were set and expedited as a way of design. This led to a higher level of thinking in the way perspectives and drawings were understood, such as Anamorphisis (Fig.2-3) and other detailed perspectives that remained true to form. Claude Perrault, a Parisian architect form the same time period believed that rules were necessary to remove the idea each individual has on beauty. That through rules, it would establish a correct form and correct idea, where if the rule was not found in nature, it was the responsibility of humans to provide them (Perez-Gomez, 36).

Fig. 1.2

Fig. 1.3

Anamorphosis drawings engage the viewer to find the correct angle for the complete image to be best viewed. The methodology is derived through mathematical computation.

Holbein’s The Ambassador painting - Fig. 1.2 www.wga.hu/ Graphical Projection of Anamorphosis - Fig. 1.3 www.wikipedia.com/

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Perrault’s ideas included the importance of setting rules to create a simple and universal system of architectural proportions “that any architect, regardless of talent, could easily learn, memorize and apply” (Perez-Gomez, 31). This same ideology one can see is later expressed in modernism. The simplicity of functionalism is important, yet the removal of individual, artistic intuition is necessary for it to work. Today, to divorce from tradition is acceptable, since it is the only way to experiment and continue learning. Especially in architecture when customization is very laborious and expensive, ornamentation as a vital part of the building was not necessary. However, this trend can be seen again and again through the ages. We see it in art, culture, and societies. The trends to return to something of the past because of meaning will always be an innate part of human beings. One can witness the trend in today in the return to hand crafted, custom made objects, or the retro design American auto companies made in the early 2000’s to resurrect the meaning of power and strength regardless of economical and functionalism. Yet the conflict between religion and science, math and art, mythos and logos have been and may remain battling forces as each of these continue to affect human beings

and the built environment with positivism as the guiding standard. This governing forces not only influences math, but also the way people think, many schools teach a system of critical thinking based upon the scientific theory. From probability and statistics in psychology to using a math to formulate an argument. Although the conflict is present, the efforts for meaning and symbolism is generally deemed mere fantasy.

Perez-Gomez believes that “architects have opted for the extreme expressions of rationalism or romanticism, formulating design decision for either positivistic reasoning or romanticism, formulating design decisions from either positivistic reasoning, or intuition. For the last two centuries, a reconciliation of the spheres of logos and mythos has been, explicitly or implicitly, deemed impossible” (Perez-Gomez, 314).

He continues to suggest that, “symbolization remained possible only so long as epistemology accepted the ambiguous, irreducible, and enigmatic character of human life. With the increasing irrelevance of metaphysical speculation in science, rationalized symbols became allegories” (Perez-Gomez, 146).

The 2005, fifth generation Mustang Body style (right) was called retro-futurism incorporating major body style similarities between the 1960’s model (left).

Ford Mustang www.fordcars.com/

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Certain Symbols “carry implicit meaning for all members of our species, codified in our brains and psyches as a consequence of having evolved in the environmental circumstances typical of this planet?”

- Anthony Stevens

Anthony Stevens, A Jungian analyst and psychiatrist from the 20th century also illustrates this point in the neuro science profession. “The philosophers’ espousal of logical positivism resulted in a further devaluation of symbolism to the status of an ‘inferior’ form of intellectual activity. And the influential French developmental psychologist Jean Piaget made matters worse by arguing that symbolic thinking was fundamentally ‘autistic’ – that is was wholly subjective and ‘not adapted to reality’” (Stevens, 9).

as a viable means of study or concept regardless of its veracity. On the contrary, with what is found to be true, is only used as data to break what is unknown, and understand the mysteries that innately intrigue humans. “The mission of the philosopher was to discover the mathematical laws that governed all phenomena and their possible casual interrelations. The cosmos was losing its mystery, for nothing was bound to remain enigmatic when it could be scrutinized logically” (Perez-Gomez, 272).

Stevens inclines towards the importance of symbolism and meaning. He references a publication by Walter Burkett on the study of religion. “A religion, Burkett argues, is a system of symbols incorporating ideas and beliefs which are emphatically accepted as true even though they cannot be verified empirically. They are confirmed, however, through meditation, trance, and ecstatic experiences which purport to establish a direct encounter with supernatural forces” (Stevens, 20).

The idea of trying to understand something to disprove any false patterns, especially the enigmatic, is always applauded. Yet the idea of proving science to divorce any transcendental element, or supernatural force our world can’t yet understand, is absurd and unreasonable, for it is with this same meaningful thinking that creativity allowed these great scientist to break the traditional set of guidelines and rules and seek for something more. It is to this creative and ingenious thinking that so much discovery has happened. Yet many forget, science and technology are methods they are tools to allow for greater creativity and achievement. The real power is in the mind, which allows for dreaming and aspiring to achieve the unknown.

The issue with positivism and functionalism is exactly that; the need to call something supernatural because empirically, it cannot be proved and therefore understood. If the subject matter is not understood, it then cannot be used

The vitality of symbolism and its ability to stimulate the human psyche is very important.

Perez-Gomez writes, “Two hundred years after Galileo and Descartes, architecture lost its metaphysical dimension…But symbolization is a profound human need and is indispensable for the perpetuation of culture. Man’s humanity depends on nothing less than his ability to come to terms with the infinite in terms of the finite, precisely through symbols, whether totems or magnificent churches” (Perez-Gomez, 323).

By the removal and discretization of metaphysics, the spiritual, and enigmatic, meaning began to diminish as a byproduct of modernizing the built environment.

The focus on necessity and convenience allowed the arts to become more literal and abstract, stripping itself from elements which seem to only add unnecessary expenditures.

Post-modernism sought to replace modernism in its simplistic, and to some, meaningless architecture. Robert Venturi,

in Complexity and Contradiction in Architecture writes, “Architects can no longer afford to be intimidated by the puritanically moral language of orthodox Modern architecture…I am for richness of meaning rather than clarity of meaning; the implicit function as well as the explicit function.

A valid architecture evokes many levels of meanings and combinations of focus” (Venturi, 16).

Postmodernism, although its focus is on meaning, uses literal communication with borrowed symbols, implying a sometimes shallow meaning or merely trying too hard to communicate an idea with meaning while disregarding the importance of function. Symbols became signs and the importance of meaning was not well understood.

These efforts continue as the manner in which contemporary architecture communicates meaning, being ineffective due to its diminished value in academic and professional disciplines.

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Philip Johnson’s post modern Sony Tower built in 1984 challenging Modernism by defying the need for functionalism and efficiency through an ornamental form of a grandfather clock.

Sony Tower by Philip Johnson - Fig. 1.4 www.architectural-review.com/

The Dancing House was a controversial project as it is located in Prague, with neighboring buildings being famous for their Art Nouveau, Baroque, and Gothic characteristics. The form, although it can be reinterpreted, is representative of a pair of dancers and designed in a Deconstruction Style. Function and efficiency was not the guiding concept.

The Dancing Tower by Frank Gehry - Fig. 1.5 www.galinsky.com/

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The importance of meaning and symbolism will be the focus of this study. To try to marry the two worlds and show that symbolism is as important as function. The understanding of why something exists creates a connection in our minds that follow us wherever we go. Symbolism can be seen everywhere, nevertheless, symbols are not created but experienced. The context of a person will be the platform of what is made manifest through the symbol.

Exposing some flaws in functionalism will allow the gaps to be filled with meaning and help determine the value of symbolism in our current communicative age. This allows architects to play with imagination, allowing free thought and emotions to create a personal and meaningful

connection. This imagination is the soul in art.

To be creative and think beyond reality makes the surrounding architecture richer in our lives.

The basis of evaluation for the research will be through three main signifiers—literal, complex and esoteric. These values will be tested on different scales through art installations and object comparison to social surveys and behavioral studies. Also, by deciphering traditional and contemporary symbolism, I hope to understand patterns and effects to be able to apply them in design.

Symbolism is the key to great design, and an important aspect that is being overlooked in how Architecture is designed today.

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CHAPTER II

THESIS STUDY

“What is the beauty of building today?..The same as the beautiful face of a woman lacking spirit: something mask-like.� - Friedrich Nietzsche

RE-THINKING There are two driving ideas which make up the whole work of my study. The first is the belief that architecture has continued modernistic ideology to the point of ridding itself from important elements; resulting in a decline in the value of the architect. The second is showing the need of those important elements, the importance of meaning, and showing its effects on the built environment.

Even though beauty is subjective, we have been

conditioned due to media, culture, and society, what beauty is supposed to look like. When one thinks of well-designed objects, it is inevitable to think of clean, slick, and simple designs.

This generation is infatuated by geometric order, simplistic beauty, fluid movements and unadorned, monochromatic aesthetics. All of which are not euphemism for bad design, the point however, is that one can trace the major parts of this ideology to Modernism.

Modern objects which are considered beautiful, clean, and simple. Meaning is either lost or not well communicated.

Apple mouse - Fig. 2.1 www.apple.com Apple I phone - Fig. 2.2 www.apple.com Modern Desk - 2.3 www.homedosh.com

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THE COFFE TABLE SURVEY I wanted to test the idea of value. The understanding of how much value a person gives an object is important to comprehend, for it is this value that sparks interest in the person. Value can be categorized into different types, such as monetary, emotional, useful, or beneficial. Yet, the assessment of such value is very personal.

Humans are conditioned differently depending on their childhood, culture, experience, and personal interest and choices. Nevertheless, in understanding this notion of individuality, there are similarities between the way certain things speak to human beings; things that have a common language when it comes to aesthetics, or materiality, or shape and form.

The survey illustrates four different tables, each labeled with equivalent qualities such as weight, cost, and load capacity, yet each of these tables differ in style, shape, and materiality.

250+ people who participated in the survey were asked questions regarding how the table communicated to them. Questions such as, which table would you give as a gift? Which recipient would be the most appropriate to receive the tables? Describe each table in three words?

These questions gave results which speak to patterns, aesthetics, and materiality, but also to the importance of meaning in an object.

6/12/2015

The Coffee Table

The Coffee Table Survey 1: Arch Thesis

1. If you were to give one of these coffee tables as a gift, which table would you choose?

Mark only one oval.

Table A Table B Table C Table D

2. Did the detailing or lack of detail have any influence on your selection?

Mark only one oval.

Yes No 3. Did the geometry/shape of the table have any influence in your choice?

Mark only one oval.

Yes No 4. What was the guiding thought(s) behind your selection?

Choose all that apply Check all that apply.

Function and usefulness Aesthetics Significance of gift Complexity Interesting Simplicity Material 5. Would knowledge of the history of each table have changed your selection?

Mark only one oval.

Yes No

Coffee Table Survey pg. 1 of 5

https://docs.google.com/forms/d/1vzgOK_boA4WteOM8_uqN­mxSd1AyT7R2jle8k­­gFwg/printform

1/3

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The results show that the majority of the people first choose aesthetical qualities over functional and meaningful qualities, with it’s meaning and history being the least desired.

The survey demonstrated the value placed on first impressions or visual satisfaction over any

other characteristic from all types of ages and backgrounds.

When asked what the top three characteristic were , 76% of the people had aesthetics as number one, 62% had Simplicity as number two and Functionality at 59%.

100

I

S

F

A

A: Aesthetics 76% S: Simplicity 62% F: Functionality 59%

Coffee table results graph

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The Modernist movement, which is said to have started as early as the 1850’s, wanted to rid itself of all history, traditional beliefs and divorce itself from any theology which instilled transcendence in design among many other things. By removing all traditional thought, the artist/designer could start with a clean slate and not be limited, guided, and measured upon old beliefs. “Make it new” is the slogan that was given to Modernism by Poet Ezra Pound in 1934. That slogan was carried through time and even found in Peter Gay’s book Modernisms: The Lure of Heresy where he writes, “In short, modernists considered Ezra Pound’s famous injunction, ‘Make it New!,’ a professional, almost sacred obligation.” This “make it new” obligation was important since the only way for progression is to question the past and present. To try to find new methods and strive for the impossible.

Modernism allowed for new movements to be

introduced, for old rules to be broken and new rules to be set. As Thomas F. Staley states, “As a movement, Modernism pushed the boundaries of what was artistically possible…an attempt not of definition, but of discovery and rediscovery of an artistic era that exploded with creativity and excitement.”(www.hrc.utexas.edu) This new ideology for creativity is celebrated as progression and technology continue. Many people believe Modernism is no longer an existent movement. Postmodernism followed, yet its effects are seen today and the philosophy has not been abandoned. Modernism is seen clearly in Minimalism, where minimalists remove all unnecessary elements for maximum result, being led by the phrase “less is more”, a phrase adopted by famous Modernist and Minimalist Architect Mies van de Rohe.

An example of simplicity in architecture representing modern characteristics Farnsworth House by Mies van de Rohe - Fig. 2.4 www.farnsworthhouse.org

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Change, progression, and evolution is embraced for as we find through science and technology that the more we know, the more we can do.

Nevertheless, as these principles of design continue to rid themselves of the traditional and of the past, we have started to see the negative effects of starting new.

In Architecture, through trial and error and years of evolution of cities, we have learned the importance of context. One should not design a building without taking the context into consideration; to disregard the site for sake of complete design freedom. To be ignorant of everything outside of oneself and the design, has led to many failures. Modernism cannot comprehend the complexity of social dynamics in cities and neighborhood scales, resulting in the destruction and redesigning of many modernist buildings.

Minimalist design, although subjective, is clean, simple, and beautiful, yet the meaning became

esoteric. Meaning was vague and only for the elite on the subject. The removal of the presumed unnecessary elements such as meaning allowed the distinction between art and architecture, for art continued to be expressive and meaningful, where architecture is based on functionality and aesthetics governed by modern and minimalist principles.

The renowned minimalist artist, Donald Judd writes, “The configuration and the scale of art cannot be transposed into furniture and architecture. The intent of art is different from that of the latter, which must be functional. If a chair or a building is not functional, if it appears to be only art, it is ridiculous. The art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness and scale as a chair...A work of art exists as itself; a chair exists as a chair itself.� (www.juddfoundation.org)

Chairs by Donald Judd - Fig. 2.5 (top) www.minimalistwoodwork.com “Minimal Myth”, Art by Donal Judd - Fig. 2.6 (bottom) www.contemporaryarchdaily.com

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There is a difference between art and architecture, nevertheless, because architecture is an object or place for use, it should not neglect the need for meaning and connection. For it to only focus on functionalism assumes the objects to be made for robots without cognitive or emotional elements. Many believe that simplicity is beauty and to see the pure function also creates beauty, yet, the combination of beauty and function should not be all that is required in architecture.

Although, beauty is subjective, and functionality and efficiency is not, one can pose the question, what else does the object do outside the realms of aesthetics and functionalism? How else does it communicate to its user and create value outside of it use? I believe people like to make connections, especially connections that are meaningful to their being. By communicating meaning, this connection will enhance architecture and our interaction with the built environment.

only taints the proven, and modernism charges it unnecessary. It is difficult to not think of early scientific theorists and philosophers which gave beliefs in systems not seen and unproven; theories of forces not yet understood, such as gravity and the rotation of the earth. For other scientist and astronomers such as Tycho Bahe claimed that “if the Earth was postulated to move, the effects would then create ‘violent’ motions that would cause the Earth to explode.” (PerezGomez, 178). These early ideas were regarded as radical and sometimes irrational theories.

To the naked eye, such ideas would also seem crazy. It was for hundreds of years that we lived among microorganism without any knowledge of their existence, or the vast universe we are a part of. Nevertheless, it is all inconceivable until otherwise proven. The difficulty of meaning is that is happens neurologically, at this time we are unable to measure its efficiency as we can to functionality.

Connections are not always of the past but also of the present and future. These meaningful connections add value to architecture, making it more than just a useful object. This connection also allows the user to imagine the unseen. For it is truly imagination that fuels creativity and allows the mind to wander, to think, and to experience. I believe it is through these fantasies and enigmatic philosophies that creativity is driven into futuristic reality. As science discredits the necessity of the transcendence, as a sort of weight which

The importance of meaning is an element that is being lost in architecture. Meaning in an object can create a strong emotional and physic bond adding value to an object or place.

The scope of this study is to analyze humans’ desire and inclination towards signifiers which create connections in architecture. To explore transcendent experiences stemming from the thoughts and imaginations perceived in the built environment. To study the need for a connection through symbolism and its communication.

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“A thing is a thing. Its symbolic value is derived from the meanings and emotions it evokes in us. In other words, a thing becomes a symbol when something has been added to it. This does not alter the nature or its practical significance: it loads it with an increased weight of meaning.”

- Anthony Stevens

THE SYMBOL Symbolon is a Greek noun referring to a token or object broken in half or separated. The two pieces would be given to two people, each holding one half of the broken token. (Fig.4) The object, then, became an device to verify identification between two people (members of a club for example). To verify identity, each would produce the object and if they were a perfect

match, then allegiance was confirmed. This is important because the object takes on meaning to represent a connection between two things or people; a bridging and bonding. In the same way, Symbolism is able to make a connection resulting in “something unconscious to connect with the unconscious, resulting in the experience of a new meaning.” (Stevens, 13)

Francesco Clemente: Symbolon - Fig 2.7 www.drawpaintprint.tumblr.com

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There are many type of Symbols and the way they communicate to us depend on the type of symbol.

There are religious symbols, iconic, social and cultural symbols. Symbols to advertise and ones, that I believe, have to do with our primitive human

self. These symbols, although can be distorted, have a universal language. For example, the color black is attributed to darkness, death, and therefore evil where as the color white is universal for light, deity in many religions and therefore life.

Symbols of the Indian Nation - Fig. 2.8 (top) www.ya-native.com/ Ancient Symbols - Fig. 2.9 (bottom) www.blainsouthern.com/

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SEMIOTICS Study of meaning through...)

Symbols speak to us differently, nevertheless, there are three levels of understanding that will be explored and understanding of the users measured.

1. Literal and primary level of use. It’s functionality 2. Same level of functionality yet psyche

Metaphor Signs

Symbolism

stimulation occurs through thought, imagination, and or wonder. Some understanding may be possible, but not all.

3. Esoteric. Very low percentage of people see the cues and understand the full meaning being communicated, i.e. Architects, clients, and experts.

TYPE OF SYMBOLS Advertising Religious Nature Iconic Signs Advertisement Iconic

MEANING Signs Natural

Religious

Through the understanding of meaning, enhancement of the design will take place.

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CHAPTER III RESEARCH METHODS

In order for design to be influenced by symbolism, more studies and experiments were explored to recognize the impact such elements have on people. Experiments 1 & 2 are experiments which track the engagement people can have with obscure surroundings. For experiment 1, the statement “LOOK UP” was spelled phonetically. The words contain a simple phrase that everyone can read, nevertheless, it is written in a peculiar and unclear manner. The 3x4 foot board was hung at eye level next to the entrance doors of the school’s Library. The location added an obscure element with a hidden meaning in the surrounding path of a person crossing the library.

The experiment would study the effect such an element can have on a person. If the object would attract their attention, give them interest, pull them from their task for engagement and ultimately solve the mystery. If the person was successful in reading the board, directly above

on the high ceiling was a hidden note which said “Good Job, Have a nice day”. See Figures 3.13.4 Experiment 2 is similar, yet the placement and words change. The text after it is solved reads, “Go see Lucy” who is the librarian and the board is hung 7 feet in the air directly in front of the library. The experiment would hopefully show a contrast of engagement and understanding, yet because it is longer the text was changed from an easier to read Times New Roman to a more difficult Old English letters (see Figures 3.5-3.6).

If the person was successful, Lucy would give them a piece of candy once the person went into the Library to see her. Due to placement on the viewers path, the number of people who saw it and were engaged increased drastically (see Illustration 3.1) .

Sign next to the Library entrance - Fig. 3.1 (left) Hidden note above the sign - Fig. 3.2 (right)

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Creation of signs - Fig. 3.3 (left) & Fig. 3.4 (right)

Sign 2 “Go See Lucy” - Fig. 3.5 (left) Sign 2 in front of Library - Fig. 3.6 (right)

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Video sequence illustrates a participant who was engaged after leaving the library. She saw the sign, and as she was walking away, noticed the letters had a hidden meaning and backtracked to read the full sign. She read the sign, and continued on her way while thinking about

the message. As she was walking away she understood the hidden meaning and returned to look above the sign. Her total engagement time was 63 seconds. See Figure 3.7

Video sequence - Fig. 3.7

48

After 28 hours of footage, the video challenged the results of the table survey. Although the majority of the population did not care about the significance or meaning behind an object, this project proved to show that it will engage the viewer and their interest is heightened on meaning. The experiment did not explore whether this interest is innate or on a subconscious level.

Nevertheless, the engagement was very high once the signs were discovered.

The first experiment showed that 92% of people did not notice the sign and therefore had 0 interaction. Out of those 8% who noticed the

sign, 1 in 6 were engaged and 1 in 3 cracked the code and understood the hidden message.

Experiment 2 is a different dynamic as the sign is placed in front of their path. Allowing the sign to be in a visual place increased the chance to acknowledge the symbols where 59% of the people walking by saw it, but also 1 in 3 were engaged compared to 1 in 6. This is due to the duration of time. The sign placed in direct path was visible for a longer period of time and therefore, as the information registered longer on the viewer, interest was also heightened.

6

I U

A D

I: Indirect interest 8% approx. 4s U: Interest and engaged 16% approx. 8s D: Direct interest 33% approx.20s

Experiment results graph

50

A second survey was designed to explore shape, form and communication. The survey had 23 types of “architectural entries�, all of which had to be labeled from three choices, Obscure,

Friendly, and Formal. The goal of this survey is to recognize patterns (if any) which relate to how these shapes and forms communicate to the user.

Choose the most appropiate adjective for each entry.

Obscure Friendly Formal

Obscure Friendly Formal

Obscure Friendly Formal

Obscure Friendly Formal

Obscure Friendly Formal

Obscure Friendly Formal

Obscure Friendly Formal

Obscure Friendly Formal

Obscure Friendly Formal

Obscure Friendly Formal

Obscure Friendly Formal

Obscure Friendly Formal

Entries - Survey 2 Sample

Obscure Friendly

Obscure Friendly

Obscure Friendly

Obscure Friendly

52

The survey revealed clear results when it comes to shape and its communication.

These architectural entry ways are thresholds used by different cultures, The openings traditionally vary in sizes, yet the scale of each entry was removed to focus on lines and shapes.

The entries are both common and unique with a combination of both of rectilinear and curvilinear characteristics.

The results showed that anything which is purely rectilinear is understood as a formal entry while anything curves translate as friendly. A mix of both becomes obscure and an entry with a different shape on top is also obscure.

Formal entries = Rectilinear Shape Friendly entries = Curvilinear Shape Obscure entries = A mixture of both or an entry with a raised opening above.

Fo

Fr

O

Entries results graph

54

CONCLUSION From the surveys and experiments, I learned that even though people say they do not add a great importance to meaning behind objects, the unknown is something which is intriguing to many people. Meaning enhances the experience once understood yet what interests the users I believe, is the challenge and possibility of a hidden message, one that is easy enough to understand but invisible without thought.

I also learned that aesthetics in general is a very valuable characteristic.

This data has verified the need for meaning as it has proven engaging at a very simple level.

It has also highlighted importance of taste and aesthetics which will be used in this project as a means to direct attention, while having the meaning hidden behind the mask of aesthetics.

56

During the process of understanding how symbols interact with the people, I also looked at buildings which intend to communicate

information on different levels. There following precedents, although a different typography, have literal and esoteric means of communication.

58

THE DUCK HOUSE

Duck House - Fig. 3.8 www.farnsworthhouse.org

The duck was chosen as classic piece of theoretical architecture mentioned by Robert Venturi. The building represents a duck, that which is symbolically similar to it’s function.

The term duck or decorated shed was coined

by Robert Venturi to represent any building that symbolically represented it’s functional aspect.

This is important because it deals with the literal interpretation of the symbol. It speaks in a very literal way towards symbolism in advertisement.

The building served as a shop to sell duck eggs and ducks. It was located near Riverhead, then later relocated to be closer to the duck Ranch.

The building now serves as a Historical building.

The big duck by Martin Maurer

Built in 1931, in Flanders, New York ( 40.9N, -72.6W) 540 Sq. Ft. 20 Ft. tall and built as a ferro cement building.

Literal symbolism is everywhere. This building decided to advertise in a very literal matter. One does not need to think about what it means or represents, but rather it is there to easily communicate to prospective customers and tourists.

This example illustrates symbolism without the need for abstraction. However, this literalism removes the interest in the mystery, to question or imagine. A symbols used too literally with a shallow significance of simplicity in architecture representing modern characteristics

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THE WEXNER ARTS CENTER

Wexner Center by Peter Eisenman - Fig. 3.9 www.archdaily.com/

Wexner Center for the Arts designed by Peter Eisenman in 1983, Columbus, Ohio.

Climate zone is humid continental and humid subtropical located 39.9N, 82.9W.

symbolism connecting the building to the site.

There are a few levels of symbolism and meaning within the building which work in different levels of understanding.

This case study was chose due to it’s monumental significance in the deconstruvism style as well as Peter Eisenman’s theory. The building contains a lot of theory based symbolism but also historical

The building is a massive 108,000 Sq. Ft. 3 story building built in a Deconstruvism Architectural style.

THE GRID

MEANING: Existing grid of the University Campus, and of the City.

MEANING 2: The superimposed grids represent competitive tension existing between campus and the community.

HOW: The symbolism is not very literal as one needs to make the connection through the plan. This symbols works as a hidden symbols that is there, and not too many know they are a part of.

the the

62

SCAFFOLD

Wexner Center by Peter Eisenman - Fig. 3.10 www.archdaily.com/

MEANING: To represent an unfinished part of the building.

Something exposed and very construction-like MEANING 2: The grid structure also breaks the allusion of the planes and beguile those people standing on the base level to wonder where the next level is.

Floor plates

HOW: Repetition and scale.

A 540-foot long scaffolding structure as a simple grid extruded three-dimensionally and placed through the middle of the building and extending to towards the entrance. The scaffold is left white to stand out and the scale does not follow any floor plates.

Scaffold Structure

64

OLD TURRET

Original Castle located at site -Fig. 3.11 (top) www.archdaily.com/ Wexner Center by Peter Eisenman - Fig. 3.12 (bottom) www.archdaily.com/

MEANING: To represent a historic relic, the old Armory was demolished in 1959.

MEANING 2: The Turret is deconstructed in a way that represents that past being broken and the building and school being able to represent something better than its precedent.

HOW: Form representation.

The tower is erected, and even though it is deconstructed, it remains in the shape of the original of the symbol.

66

ANGKOR WAT

Angkor Wat - Fig.3.13 www.theguardian.com/

Angkor Wat design by King Suryavarman II in Angkor Cambodia (13N, 103.5E) Built in the 12th Century Angkor Wat is said to be the biggest religious city ever to be constructed. It’s size is expansive, yet this was chosen due to its connection to the religious, cultural, and natural symbols that seep out the pores of this structure. Even though the

typology is big, the analysis of its meaning and effects are not only valid but very advantageous.

500 acres and 700ft in height, wearing the Classic Style of Khmer Architecture.

The spatial organization include a square, and a quincunx created with the five main towers.

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NYMPHS, ASPARAS, DEVATAS

Dancing Asparas - Fig. 3.14 (left) www.lonelyplanet.com/ Asparas of Angkor Wat - Fig. 3.15 (right) www.lonelyplanet.com/

MEANING: The whole city is covered with thousands of nymphs, apsaras, and devatas. These symbolic sculptures represent myths, legends, wars, and religious beliefs which create the place more meaningful. This literal symbolism is found on balustrade, bridges and walls.

HOW: This type of symbolism is called bas-relief.

Simply by carving out part of the wall differing from sculptures carved out of stone becoming independent from the rock.

This symbolism is very literal, although some knowledge is necessary to understand the characters, the symbols is very visual.

70

“One who performs his duty without attachment, surrendering the results unto the Supreme Lord, is unaffected by sinful action, as the lotus leaf is untouched by water.”

-- Bhagavad Gita 5.10

NATURAL CONTEXT

The lotus flower represents beauty and nonattachment in Hinduism. Because this flower’s roots grow in muddy water, this is representative

of the self being able to detach him/herself from the world.

Angkor Wat - Fig. 3.16 (left) www.theguardian.com/ Lotus Flower - Fig. 3.17 (right) www.dreamstime.com/

TOWERS

MEANING: These towers represent Mount Meru which has five peaks. This mountain symbolizes the center of all deity in it’s physical form.

HOW: The erection of the towers do not mimic the outline of the mountain, yet show the basic form and are not too literal.

Mount Meru - Fig. 3.18 (left) www.lonelyplanet.com/ (altered by author) Angkor Wat - Fig. 3.19 (right) www.theguardian.com/ (altered by author)

72

CENTRAL SANCTUARY MEANING: The main tower provides a connection between the realms of heaven and earth.

HOW: Due to it’s location and proportional difference, the tower is stand in the middle of a quincunx pattern. The tower also stands taller than all the four surrounding it.

HEAVEN

EARTH

CHURNING OF THE SEA OF MILK

MEANING: The wall depicts a thousand year battle between good and evil. The God Vishnu is in the middle, who orders the two forces to work together, both tugging on a Naga-serpent. The serpent wraps around the world and while they tug, it churns milk to achieve their goal.

HOW: The story is shown through bas-relief on a 145 foot long wall. It is literal symbolism with necessary knowledge to read the story.

Churning of the sea of milk - Fig. 3.20 (top) www.travel.com/ (altered by author)

74

THE SEASONS

Day of the Gods

Battle scene from Mahabharata

Churning of the sea of milk

Kingdom of Yama

MEANING: The wall depicts a thousand year battle between good and evil. The God Vishnu is in the middle, who orders the two forces to work together, both tugging on a Naga-serpent. The serpent wraps around the world and while they tug, it churns milk to achieve their goal.

HOW: The story is shown through bas-relief on a 145 ft. long wall. It is literal symbolism with necessary knowledge to read the story.

Summer

Spring

Autumn

Winter

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ASTRONOMY - COSMOS

Sun during the Spring Equinox - Fig. 3.21 www.travel.com

MEANING: The city of Angkor Wat represents Heaven on Earth. Through the understanding of Astronomy, the Ancient Architects and Engineers used their knowledge to design by the cosmos. During the Spring Equinox, the central tower aligns with the sun.

HOW: Through orientation of the site and the use of natural elements (sun and time) effects are created to enhance place and sight.

MEANING 2: The temple entrance faces west. Traditional Hindu temples face East and Burial places face west, which is believed this is the tomb of the God Vishnu.

N

TE E

W

3/4° off due East

S

Rotation directly realted to the degrees off the Earth’s axis.

Rotation directly realted to the degrees off the Earth’s axis.

78

27

27 Asparas on the bridge - Fig. 3.22 www.lonelyplanet.com

MEANING: It takes 27 days for the moon to orbit the earth.

27x2 = 54. 54 Years for the Earth to return to it’s original orbit around the Sun.

HOW: The number 27 is used through out as 27 Asparas along side the main bridge. 54 Total per bridge. 27 is also the total number of chambers and the height for some buildings.

27 27 days for the moon to orbit the Earth.

27 Asparas per side 54 total Asparas per bridge

80

TIME PERIODS MEANING: Four Hindu time periods, as if walking through time.

Cubits of measurement is equal to years. The four distances represent the four Hindu time periods as follows:

HOW: Cubits, units of measurement are applied directly to distances on the temple grounds. This symbolism is not visual but allows the visitor to walk through and experience the symbol.

1. Kali Yuga, 432 years = 432 cubits 2. Dv apara-Yuga, 864 years = 867 cubits 3. Treta-Yuga, 1296 years = 1296 cubits 4. Krita-yuga, 1728 years = 1734 cubits

4 3 2 1

Time Period distances - Fig. 3.23

DRACO CONSTELLATION MEANING: Literal meaning that Heaven is on Earth.

HOW: Each temple is precisely located in direct correlation with a star belonging to the Draco Constellation. This is also a very esoteric symbol, acting as a hidden symbol, only found through much exploration.

Time Period distances - Fig. 3.24

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TYPOLOGY The typology that will highlight the objective the most is one which allows for high public usage. A house for example will can be used, yet the amount of public interaction the interior of the house receives is very low. A church on the other hand, was a viable option due to the amount of symbolism the church deserves and the significance required. This option, however, would not help my argument, since it would be maintain symbolism in all religious or sacred typologies, discrediting architecture as a whole.

Therefore, from this process, the appropriate typology became one which centers on the general public and allows the architecture to communicate to the users. A memorial center became a clear option to host a diverse group

of people, while allowing for a program to be expansive and multipurpose.

To highlight the effects of symbols, these traditional programs were analyzed to understand basic and necessary spaces. The intention is to distinguish the augmentation of symbolism and allowing the study to be notable. Presidential libraries are memorials which contain a combination of uses and suffice to give projecting data for a unique yet ordinary program.

Ronal Reagan Presidential Library Clinton Presidential Library JFK Presidential Library.

HOUSE

CHURCH

High symbolism Required meaning Selective group of people

Private residence Excessive privacy

MEMORIAL CENTER

84

RONALD REAGAN PRESIDENTIAL LIBRARY

The largest of the 13 presidential libraries measuring at 243 total sq. ft. Located in Simi Valley, CA. Built in 1991 by King Stubbins, the library boasts a 90,000 sq. ft. Air Force One Paviion hanger along with other major exhibits. A

full-scale Oval Office replica and over 50 million pages of presidential documents.

This library was an attractive choice for program due to its overlooking views, and expanse over the site.

FLOOR PLAN & ADJACENCIES

PROGRAM CLUSTER

PUBLIC

PRIVATE

ADMINISTRATION SERVICES

86

CLINTON PRESIDENTIAL LIBRARY

Program Cluster

Plan and Adjacencies

CLINTON FLOOR 1

CLINTON FLOOR 2

Located in Little Rock, AR. This 152,000 sq. ft. facility designed by Polshek Partnership in 2004 is elevated and assigned two main floor decks for permanent and temporary exhibitions.

The sq. ft. floor plan is only 68,698, yet it is

CLINTON FLOOR 3

the second largest presidential library after the Reagan Library.

This Library was chosen due to its programmatic organization.

CLINTON FLOOR 4

PUBLIC

PRIVATE

CLINTON FLOORS 5 & 6

ADMINISTRATION SERVICES

88

JFK PRESIDENTIAL LIBRARY

Program Cluster

Plan and Adjacencies

JFK FLOOR 1

JFK FLOOR 2

JFK Library located in Boston, MA is 115,000 Sq. Ft. Designed by I.M. Pei, the Library houses a twostory 230-seat theatre, 115 ft. high pavilion and an 18,000 sq. ft. exhibition area. The building

rises to nine floors with a simple program on the first three floors open to the public.

The program was analyzed due to it’s comparable size and it’s waterfront location.

(repeats for 5 stories)

JFK FLOOR 3

JFK FLOOR 4-9

90

PROGRAM ADJACENCIES The case studies informed patterns of programmatic values such as spatial placement and adjacencies. The importance of the Exhibit spaces and also the height of the Administrative levels.

By comparison, the vertical program shows a majority of service spaces on the lower levels, while Administrative spaces on top. Although not shown, the Clinton Library contains the first two floors underground, putting the Public spaces on the first two floors..

EXHIBIT CLASSROOMS GARDEN THEATRE RECEPTION LIBRARY PAVILION

EXHIBIT CLASSROOMS GARDEN THEATRE RECEPTION LIBRARY PAVILION

STAIRS ELEVATORS RESTROOMS MECHANICAL ROOMS SHOP-WOOD,PAINT, ELEC STORAGE KITCHEN LOADING DOCK

STAIRS ELEVATORS RESTROOMS MECHANICAL ROOMS SHOP-WOOD,PAINT, ELEC STORAGE KITCHEN LOADING DOCK

DOCUMENT STORAGE OFFICE DIRECTOR’S OFFICE ARCHIVIST OFFICE

DOCUMENT STORAGE OFFICE DIRECTOR’S OFFICE ARCHIVIST OFFICE

SEMINAR AUDIO VISUAL RESEARCH STORAGE COLLECTION STORAGE LOUNGE VOLUNTEERS LABS CONFERENCE ROOMS

SEMINAR AUDIO VISUAL RESEARCH STORAGE COLLECTION STORAGE LOUNGE VOLUNTEERS LABS CONFERENCE ROOMS

CLINTON

JFK

92

THE USERS There are two lenses for categorizing users. For functional use, the primary users for the center are administration, scientists, and visitors; where volunteers and service are secondary users.

Administration will be running the memorial, the scientist will be there for research while visitors will include the general public and groups to tour and visit the memorial, attend conferences or

rent the space.

The second lens with which to look at users is by the ability to view and understand signifiers.

As described earlier in the book, there are three different users: Utility, Exploratory, and Understanding. In which intelligence, education, knowledge, and experience affect our ability to read and interpret symbolism.

ADMINISTRATION

SCIENTISTS

VISITORS

VOLUNTEERS

Office Kitchen Lounge Reception Storage Archives Conference Rooms Theatre

Kitchen Lounge Labs Storage Archives Conference Rooms Theatre

Reception Exhibits Library Garden Pavilion Theatre Classroom

Lounge Classrooms Reception Exhibits Theatre Garden Pavilion

The four prominent users being Administration, Scientists, Visitors, and Volunteers were analyzed to understand their spatial uses.

By understanding what they do, programmatic spaces were recognized.

their

PROGRAM REQUIREMENT

ROOMS

QTY.

SQ.FT.

TOTAL

PUBLIC

EXHIBIT 1 10000 10000 CLASSROOMS 4 750 3000 GARDEN 2 1000

2000 THEATRE 1 3200 3200 RECEPTION 1 150

150 LIBRARY 1 9600 9600 PAVILION 1 5000 5000

SERVICE

STAIRS 75 3 225 ELEVATORS 75 4 300 RESTROOMS 8 350

2800 MECH. ROOMS 1 3000

3000 FAB SHOP 1 800 800 STORAGE 10 80 800 KITCHEN 2 300 600 LOADING DOCK 1 1800 1800

ADMIN.

DOCUMENT STORAGE 5 700 3500 OFFICE 6 700 4200 DIRECTOR’S OFFICE 1 500 500 ARCHIVIST OFFICE 1 350 350

PRIVATE

SEMINAR 2 2000

4000 AUDIO VISUAL 1 400

400 RESEARCH 3 800

2400 STORAGE 4 80

320 COLL. STORAGE 2 600

1200 LOUNGE 2 700

1400 VOLUNTEERS 1 400 400 LABS 4 500 2000 CONF. ROOMS 3 400 1200

Floor Plan Total Sq. Ft. = 65,145 Underground Parking = 40,000 2 Main Levels at 33,000 sq.ft. each.

94

LOADING DOCK MECH. ROOM

THEATRE

SHOP

LIBRARY STAIRS RECEPTION

PUBLIC

KITCHEN

SERVICES

RESTROOMS STORAGE

CLASSROOM

ELEVATORS PAVILION

EXHIBIT GARDEN

CONF. ROOMS SEMINAR

PRIVATE STORAGE AUDIO VISUAL

OFFICE

LOUNGE DIRECTOR’S OFFICE LABS RESEARCH

ADMIN

DOCUMENT STORAGE

ARCHIVIST OFFICE

VOLUNTEERS COLLECTION STORAGE

After understanding the programmatic requirements of each user, the spaces were divided and organized illustrating the hierarchy of each of the spaces along with their possible adjacencies.

PRIVATE

ADMIN

EXHIBITS

REFLECTION SPACE

ENTRANCE

SERVICE

GARDEN

96

JONAS SALK MEMORIAL CENTER The Jonas Salk Memorial is a multi-use memorial center specifically designed as a vehicle to study symbolism in Architecture. The site is located in La Jolla California, adjacent to the Salk Institute for Biological Studies.

The site is effectual due to the deep connection

between Jonas Salk, Louis Kahn, and La Jolla; offering an ideal space to create a meaningful memorial to enrich the site. The use of symbols in the memorial is not only appropriate but will set forth a model for the effects of symbolism in Architecture.

LA JOLLA, CALIFORNIA

site

SITE

1”=400’

98

CODES, ZONING AND SITE Group R-1 Residential occupancies containing sleeping units where the occupants are primarily transient in nature, including: Boarding houses (transient) with more than 10 occupants, Congregate living facilities (transient) with more than 10 occupants.

Groups include Assembly A3 and a Business.

Allowable Floor Area: 14,000 Sq. ft.

Location on Property: 3420104500 PAR4 Max. Height: 3 stories (25ft)

Protection of Ext. Walls: Type III A 2 hour Path of Exit Travel: 75ft Occupancy Load Factor/Number of occupants: 49 max occupant load. 11gross 30 net Separation of exits: 200ft Number of Exits: 3 Accessible routes within the site shall be provided from public transportation stops; accessible parking; accessible passenger loading zones; and public streets or sidewalks

1

2

Image 1 from the Salk to the street. - Fig. 3.25 (left) Image 2 looking West from the Salk - Fig. 3.26 (right)

100

3

4

Image 3 from the street looking south - Fig. 3.27 (left) Image 4 looking SE of the Salk - Fig. 3.28 (right)

5

6

Image 5 in existing parking lot - Fig. 3.29 (left) Image 6 in existing parking lot - Fig. 3.30 (right)

102

7

Image 7 East, South, West Panorama - Fig. 3.31 (right)

104

8 Image 8 View of the Ocean from the Salk - Fig. 3.32 (right)

106

SITE DEVELOPMENT The site is influenced by sustainable systems dealing addressing the wind, solar and water efficiency as the site sits on a cliff.

The major considerations for the site are maintaining views of the Salk to the Ocean and

views from the site into the Salk courtyard. The site will allow for connections to be made from the Institute, through the Memorial and to the Conference Center.

A

B

5

Existing site untouched for future Master Plan designed by Louis Kahn. The space will be a Conference Center

Bioswale along the south perimeter connecting to the original idea of the Master Plan

R-

AP

7

10’ Set B

The site allow for passive cooling strategies due to high breeze, and natural sunlight. See section

Water collection systems and bioswales on the pe will be used to reduce run off water, protect the cliffs, and reduce water usage.

A

108

R-1 Zone Transient Residential 30 ft. max height

Section A

110

R-1 Zone Transient Residential 30 ft. max height

Section B

Half of parcel will be utilized

SECTION B 1:260’

112

CHAPTER IV

RESULTS / DESIGN PROTOTYPE

Following program and site analysis, design and concept development followed. Although Symbolism and it’s communication would be driving the formal aspects of design, consideration of what was to be communicated

and how was became the task. By created concepts which communicate ideas in both literal and esoteric aspects, I was able to apply my hypothesis and part of the data I had found to create formal geometry.

116

Preliminary sketch depicting conceptual design for depth of meaning through depth of layers in all axis. By using acrylic to represent different lenses and wood to represent the meaning being communicated. Fig. 4.1

A progressed conceptual sketch containing only program. Fig. 4.2

acrylic pieces in a linear

118

Experience became most valuable. By first understanding experiential progression, I was able to choreograph sequence, spaces, and circulation.

Circulation and light progression - Fig. 4.3 (top) Light table for circulation - Fig. 4.4 (bottom)

Light and dark progression sketch - Fig. 4.5

120

THRESHOLDS The model represents the linear progression of heightened sense of emotions based on information given by the program. The visitor begins at a neutral welcome, is informed of the

0

3

3

3

events surrounding Jonas Salk and leading up to his heroic discovery. The planes represent the thresholds, while the colors represent the emotions.

5

5

3

1

1

Thresholds Model - Fig. 4.6

122

BRACES This concept represent the literal representation of symbolism. Jonas Salk was able to free people, especially the young with his life saving vaccine.

Polio was especially grave on children and would lead to paralysis. Leg braces became a common

and fearful part of life. With the creation of the vaccine, the braces were not needed, as shown with the building breaking free from the need of construction braces.

Concept sketch for the braces model - Fig. 4.7

Braces Model - Fig. 4.8

124

Braces Model - Fig. 4.9

Braces Model - Fig. 4.10

126

TRIANGLE The concept involves a variety of symbols encoded in the model. The information is in sight, yet the meaning needs to be deciphered. The model represents the depth of meaning which can be found embedded through symbolism.

TRIANGLE AS THE VACCINE: The triangle symbolizes many things in different cultures, nevertheless, I used the geometry to

represent the Vaccine Salk used to find success.

The virus is a killed virus with inactive pathogens, something which was different and revolutionary.

The contrast of using something dead to allow life is represented in the triangle since the following symbols all represent life and death, all sharing the geometric shape.

Triangle concept sketches - Fig. 4.11

TE

THREE LEAVES OF LIFE MIND, BODY AND SOUL

CELTIC SYMBOL FOR DEATH

ALCHEMY SYMBOL FOR WATER

SYMBOL OF BIOHAZARD, VIRUS AND BACTERIA

ety of symbols encoded in is in sight, yet the meaning The model represents the can be found embedded

NE:

many things in different d the geometry to represent nd success. The virus is a athogens, something which nary. The contrast of using life is represented in the ymbols all represent life and etric shape.

esent symbols containing a needed. One of the triangle erted while another one has

Triangle Model - Fig. 4.12

128

HIDDEN DATE: The Roman Numerals represent symbols containing a value to give the information needed. One of the triangle faces has the numbers inverted while another one has an

anamorphic perspective. Yet only one view will give the correct sequence of the date.

IV-XII-MCMLV = 4-12-1955 being April 12th, 1955 the day Salk discovered a vaccine for Polio.

Triangle Model - Fig. 4.13

130

STORY LINE It was important to define the information to communicate in order to apply symbolism. The task of laying out a story line took priority over defining program layout as communication of symbols will become a foundation leading to design.

STORY PROGRESSION JONAS SALK POLIO STORY PROGRESSION • Childhood JONAS SALK

History Childhood • No interest in Science History but humanity No interest in Science • Education but humanity Education

• Its effect on society POLIO

•

• • • •

FEATURES FEATURES

America’s biggest fear Its effectLung on society • Iron America’s • Death biggest fear Iron Lung Death

CURE • 04/12/55 CURE

•

• • • •

• • • • •

POLIO • How Polio Attacked POLIO

1. Central Nervous System • How Polio deterioration Attacked 2. Muscle 1. Central Nervous System 3. Paralysis 2. Muscle 4. Deathdeterioration 3. Paralysis • Video 4. Death • Dark • Video • Slow • Dark • Iron Lungs • Slow • Iron Lungs

• “Miracle Worker” 04/12/55 • How the virus work “Miracle • “Safe,Worker” Effective, Pot How the virus worked • Admnisitered his fam “Safe, Effective, Poten to test Admnisitered his family to test

CURE • Light CURE • • •

• Framed views to th Light exterior Framed views to the • Quotes exterior Quotes

n society biggest fear ociety gest fear

Attacked ervous System acked terioration us System oration

CURE • 04/12/55 CURE

“Miracle Worker” 04/12/55 • How the virus worked “Miracle Worker” • “Safe, Effective, Potent” How the virus worked • Admnisitered his family “Safe, Effective, Potent” to test Admnisitered his family to test

optional

• • • •

LIFE EXHIBITS

• “Could you patent the LEGACY

• Replica of his Lab LIFE EXHIBITS

•

•

•

•

optional

LEGACY

• •

sun?”

“Could you patent • Died in La Jolla,the CA sun?”

• Kahn’s vision and Diedinfluence in La Jolla, CA Kahn’s vision and influence

• • • • •

CURE • Light CURE

Framed views to the Lightexterior Framed views to the • Quotes exterior Quotes

LEGACY • Outside space LEGACY

•

• • •

• FDR / March of Dimes Replica of his Lab health • Biggest public FDRexperiment / March of Dimes Biggest public health • Married Picasso’s experiment mistress Married Picasso’s • Family mistress • Salk Institute Family Salk Institute

• • • • •

• Reflection area Outside space • Orange Tree Reflection area • Views to the ocean Orange Tree • Views to the Salk Institute Views to the ocean Views to the Salk Institute

s

132

EXPERIENTIAL PROGRAM

Mapping of spaces and their symbolic programmatic effect.

The graphic shows key spaces represented by emotions, symbols, and possible design.

134

CONCEPT LAYOUT The concept designates the exhibit progression in the center of the building while maintaining views to the canyon where the exhibits and

gardens lead to the Jonas Salk Memorial in the southwest corner of the site.

Layout concept sketch 1 - Fig. 4.14

The second concept incorporates the landscape as the majority of the site, while the building being pushed farther north of the site. The concept

also gives way for a major pedestrian walkway on the south border of the site allowing access from Salk Institute to Conference Center.

Layout concept sketch 2 - Fig. 4.15

136

The chosen design has eight foot thick walls of concrete which work as transitional elements as the story is told through progression. The

majority of the design features are based upon information which related to Jonas Salk.

Section sketch - Fig. 4.16

"Could patent you the sun ?"

CONFERENCE CENTER: Louis Kahn Master Plan

SALK INSTITUTE FOR BIOLOGICAL SUTIDES 1”=20’

Site Plan - Fig. 4.17

138

Wall Section B

Initial Floor Plan

Elevator Shop B Garden Patio

Hidden Garden 2

Exit Exhibit

Exhibit 1: Jonas Salk

Hidden Garden 1

Restrooms

Lobby Entrance

Green Wall

Exhibit 3: Polio

A Exhibit 2 Theatre/Auditorium

Restrooms

Exihibit 4: The Cure Classrooms

Anamorphic Wall

Garden

Eternal Garden

1”=16’

SECTION A

1”=20’

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LITERAL SYMBOLISM This type of symbolism speaks to the general public and is designed to easily communicate information without obscurity.

SALK QUOTE The text is designed to introduce visitors to the character of Salk while engaging their interest on the wall and floor.

NUMERICAL STATISTICSDesigned as a literal form of communication to give context of achievements, specifically to visitors who do not have previous knowledge of Jonas Salk.

BAS RELIEF WALLProceeding the Numerical Statistics, a bas-relief wall was designed to communicate the statistics on a tangible level.

THEATRE Literal means of communication through video yet very effective and informative.

LEG BRACE The Leg Braces are incorporated to allow visitors to see the reality of Polio and what effects it had on children IRON LUNG The Iron Lung is incorporated to allow visitors to see the reality of Polio SALK’S LABORATORY The Lab allows the visitors to go back in history and experience the lab where Salk worked and discovered a cure STATUEThe statue serves as a literal symbol of who Salk was and incorporating his efforts that have become legendary.

Dime Wall - Statistics shown in a contemporary bas-relief manner where every dot is a Dime, each Dime represents 10, 000 people who diagnosed with Polio.

The wall is statistical graph illustrating the before and after effects of the Salk’s accomplishment with the Polio Vaccine. See Fig. 4.18

Dime Wall sketch - Fig. 4.18

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ESOTERIC SYMBOLISM This form of symbolism contains hidden information through abstraction or with obscure methods to figure out it’s meaning.

ENTRANCES The main entrance is designed to be inviting yet intriguing. The tall entrance boldly communicates the emerging threshold.

MATERIAL The characteristics of solid concrete and planar materiality of wood are apparent at the Salk Institute. Nevertheless, at the memorial, the two materials switch roles, making the concrete the planar element while the wood create the solids.

The idea behind the entry would be to create a symbol which the visitor had to cross or penetrate. The entrance would draw attention to the opening while admitting the visitor into the space.

Entry sketches- Fig. 4.19

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CONCRETE SCREENS The screens serve as a shading device and set a tone for the environment. If carefully studied, each screen is designed with a different symbol which represent a different aspect of Salk’s life.

For example, the screen before Exhibit 3 is made up of the Polio virus shape.

The wall at the entrance will also clearly display a quote on April 12, the discovery anniversary of the killed virus.

POLIO EXHIBIT I believe experience is enhance when the user not only read the symbol, but becomes a part of it. The Polio exhibit represents the way Polio attacks the human body. It is the only part in the program which turns diagonally to slow the visitors, a characteristic of polio.

The symbol for the concrete screens is the nervous cell. While the concrete screen by the Polio Exhibit is the same screen superimposed with a viral shape as seen above.

Nerve and Polio cell sketches- Fig. 4.20

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BRIDGE The bridge was designed to create a drastic move between thresholds. This symbolizes a connection to Polio and the human being, but also to prepare the visitors for a light and mood progression.

MIRROR Mirrors were used in Exhibit 4 to represent the eternal effects the vaccine has produced. The mirrors serve as means to reflect upon one self and upon the experience.

TUNNEL The tunnel s is a key transitional space from the somber Polio exhibit to the bright exhibit which illustrates the cure and celebrates the opportunity of a Polio free life.

The bridge connection the theatre to the Polio Exhibit - Fig. 4.21

Immediately following the Polio exhibit, circulation directs the visitor to a dark hallway with light at the end of the tunnel. Gradient light would span the hallway.

Fig. 4.22

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WALLSThe walls represent the thresholds between the experiential program. The walls also sustain all the service, which work similar when compared to Khan’s vierendeel truss.

ORANGE TREEAn orange grove in the middle of the Salk Institutes’s courtyard was the original design.

The design is being adopted where one orange tree will become the focal element of the Garden overlooking the horizon.

Wall illustrating the main entrance wall and its opening Fig. 4.23 (top).

Sketches showing program penetrating through the walls Fig. 4.24 (bottom).

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POOLThe reflecting pool at the end of the exhibit represents a variety of things.

Water symbolizes something living. The water becomes a symbol to Salk’s achievement in contribution to life. It is also symbolizes his works are yet very alive through all of humanity.

The shape of the pool is an alchemy symbol for life as well as a tribute and homage to Khan’s geometry found in the Meeting Center.

Concepts for the reflection garden/pool - Fig. 4.25

The reflecting pool - Fig. 4.26

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First design shown in Axonometric Southwest Perspective.

The Red line represents Administration circulation while the solid blue shows visitor circulation through the exhibit

spaces or the garden ending at the Jonas Salk Garden. The blue dash line represents the circulation to return to the lobby.

154

The finalized design has eight foot thick concrete walls which work as transitional elements as the story is told through progression. The wall is designed with different levels of meaning. The wall is 30 feet tall. This massive wall works as barrier between the inside and outside of the building, creating an important threshold as one crosses the wall. On the south side, the wall turns into a thinner mesh allowing some visibility and light to pass. The first part of the interaction happens when letters are shown as upside and a little distorted.

One does not easily understand what it says, yet it provokes thought. The letters spell out

the famous quote by Jonas Salk “Could you patent the sun?� The quote was a response to a question by a news writer if he had patented the vaccine. The quote gives a glimpse of the character of Salk and is introduction to who he was. On April 12, at 5 pm the sunlight will shine through the anamorphic letters writing out the letters with the sun on the ground in the front of the building. The wall represents the ideas which have been explored in this thesis. It shows the engagement, the literalism and the hidden meaning while maintaining its function.

Light wall perspective- Fig. 4.27

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The results have allowed the clarification that there are not three types of understanding but only a pendulum where on one end, there is symbolism that is very literal and on the other is obscure meaning. By studying this topic, I have learned that there is an interest in meaning, nevertheless, the interest is not on the conscious level. This type of communication, if designed

correctly can increase the interest people have with the environment and what the building is trying to communicate.

There is work to be done and designs to be rethought, yet, the effects of well communicated symbols are present.

Statue vignette - Fig. 4.28

Screen walls vignette - Fig. 4.29

158

Nerve cell screen concept - Fig. 4.30

Polio Wall screen concept - Fig. 4.31

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First Model - Jonas Salk Memorial - Fig. 4.32

First Model top - Jonas Salk Memorial - Fig. 4.33

162

CHAPTER V

CONCLUSION

Final Floor plan

Gift Shop Patio UP

Hidden Garden

Exhibit 5: The man

Orange Grove

Exhibit 3: Polio

Exhibit 4: The Vaccine

Tunnel

Exhibit 5: Reflection Pool

March of Dimes

166

Section

168

=

+

Polio Wall

Polio Wall - Fig. 5.1

170

Lobby Rendering - Fig. 5.2

Reflection Pool Rendering - Fig. 5.3

172

Light Wall Rendering - Fig. 5.4

Tunnel Rendering - Fig. 5.5

174

CONSTRUCTING THE FINAL MODEL The topography model is made from 5 layers of MDF Wood and routed through Computer

Numerical Control (CNC). The Building Model is made from bass wood.

Model Construction - Fig. 5.6

176

Final Model - Jonas Salk Memorial

178

Model - Lobby View - Fig. 5.7

Model - Stair inhabiting wall - Fig. 5.8

180

Model - Administration Wing - Fig. 5.9

Model - Anamorphic Light Wall - Fig. 5.10

182

Model - Anamorphosis of the Wall - Fig. 5.11

Model - Wall Shadow - Fig. 5.12

184

Model - Bridge - Fig. 5.13

Model - Polio Wall - Fig. 5.14

186

Model - Polio Exhibit, Labyrinth - Fig. 5.15

Model - Wall opening at tunnel - Fig. 5.16

188

Model - Orange Grovel - Fig. 5.17

Model - Series of views back - Fig. 5.18

190

192

194

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“Algorithmic Architecture: Inhabitable Bridge in Tokyo - EVolo | Architecture Magazine.” EVolo Architecture Magazine RSS. Web. 14 Nov. 2014. <http://www.evolo.us/architecture/algorithmic-architecture-inhabitable-bridge-in-tokyo/>.

Allen, Stan. Practice: Architecture, Technique Representation. Expanded 2. ed. Abingdon: Routledge, 2009. Print.

“An Architecture for Our Time:.” Preservation Institute: An Architecture for Our Time. Web. 14 Nov. 2014. <http://www.preservenet.com/archtime/ArchTime.html>.

“Angkor Wat.” Wikipedia. Wikimedia Foundation, 11 Dec. 2014. Web. 14 Nov. 2014. <http:// en.wikipedia.org/wiki/Angkor_Wat>.

“Angkor Wat - 7th Wonder of the World - Angkor Archeological Park - Angkor Wat Guide | Tourism Cambodia.” Tourism of Cambodia. Web. 14 Nov. 2014. <http://www.tourismcambodia.com/attractions/angkor/angkor-wat.htm>.

“Angkor Wat - 7th Wonder of the World - Angkor Archeological Park - Angkor Wat Guide | Tourism Cambodia.” Tourism of Cambodia. Web. 14 Nov. 2014. <http://www.tourismcambodia.com/attractions/angkor/angkor-wat.htm>.

“Angkor Wat | Tien Chiu.” Tien Chiu. Web. 14 Nov. 2014. <http://www.tienchiu.com/travels/cambodia/the-ruins-of-angkor/angkor-wat/>.

“Artist’s Collective.” David Boynton. Web. 15 June 2015.

Barrie, Thomas. The Sacred In-between: The Mediating Roles of Architecture. Milton Park, Abingdon, Oxon: Routledge, 2010. Print.

Broadbent, Geoffrey. Signs, Symbols, and Architecture. Chichester [England: Wiley, 1980. Print.

“Dancing House Prague by Frank Gehry.” Dancing House Prague by Frank Gehry. Web. 15 June 2015.

Dormer, Peter. The Meanings of Modern Design: Towards the 21st Century. London, Eng.: Thames & Hudson, 1990. Print.

“Francesco Clemente.” Blain|Southern. Web. 14 Nov. 2014. <http://www.blainsouthern.com/artists/francesco-clemente/selected_works/39386-symbolon>.

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Kahn, Louis I., and James Steele. Salk Institute. London [u.a.: Phaidon, 2002. Print.

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“Reflections on the Relationship Between Lou Kahn and Jonas Salk.” - DesignIntelligence. Web. 15 June 2015.

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LIST OF FIGURES Fig. 1.1 The creation of Adam by Michaelangelo Pg. 8 Fig. 1.2 Holbein’s The Ambassador Pg.12 Fig. 1.3 Graphical Projection of Anamorphosis Pg.12 Fig. 1.4 Philip Johnson Pg. 17 Fig. 1.5 Dancing Tower Pg. 18 Fig. 2.1 Apple Mouse Pg. 24 Fig. 2.2 Apple I phone Pg. 24 Fig. 2.3 Modern Desk Pg. 24 Fig. 2.4 Farnsworth House Pg. 30 Fig. 2.5 Chairs Pg. 32 Fig. 2.6 Minimal Myth Pg. 32 Fig. 2.7 Symbolon Pg. 36 Fig. 2.8 Symbols of the Indian Nation Pg. 38 Fig. 2.9 Ancient Symbols Pg. 38 Fig. 3.1 “Look up” Sign Pg.44 Fig. 3.2 “Good Job” Sign Pg. 44 Fig. 3.3 Creation of sign 1 Pg. 45 Fig. 3.4 Creation of sign 2 Pg. 45 Fig. 3.5 “Go See Lucy” sign Pg. 46 Fig. 3.6 Sign Location Pg. 46 Fig. 3.7 Video sequence Pg. 48 Fig. 3.8 Duck House Pg. 59 Fig. 3.9 Wexner Center Pg. 61 Fig. 3.10 Wexner Center Entrance Pg. 63 Fig. 3.11 Old Turret Pg. 65 Fig. 3.12 Contemporary Turret Wexner Center Pg. 65 Fig. 3.13 Angkor Wat Pg. 67 Fig. 3.14 Dancing Asparas Pg. 69 Fig. 3.15 Asparas of Angkor Wat Pg. 69 Fig. 3.16 Angkor Wat Pg. 71 Fig. 3.17 Lotus Flower Pg. 71 Fig. 3.18 Mount Meru Pg. 72 Fig. 3.19 Angkor Wat Pg. 72 Fig. 3.20 Churning of the sea of milk Pg. 74 Fig. 3.21 Angkor Wat tower sun Pg. 77 Fig. 3.22 Bridge Pg. 79 Fig. 3.23 Time Period distances Pg. 81

Fig. 3.24 Draco Constellation Pg. 82 Fig. 3.25 Image 1 Pg. 100 Fig. 3.26 Image 2 Pg. 100 Fig. 3.27 Image 3 Pg. 101 Fig. 3.28 Image 4 Pg. 101 Fig. 3.29 Image 5 Pg. 102 Fig. 3.30 Image 6 Pg. 102 Fig. 3.31 Image 7 Pg. 103 Fig. 3.32 Image 8 Pg. 104 Fig. 4.1 Transparency sketch Pg. 117 Fig. 4.2 Concept Sketch 1 Pg. 118 Fig. 4.3 Circulation sketch Pg. 119 Fig. 4.4 Light table sketch Pg. 119 Fig. 4.5 Light and dark sketch Pg. 120 Fig. 4.6 Threshold Model Pg. 122 Fig. 4.7 Braces concept sketch Pg. 123 Fig. 4.8 Braces Model Pg. 124 Fig. 4.9 Braces Model Pg. 125 Fig. 4.10 Braces Model Pg. 126 Fig. 4.11 Triangle Sketches Pg. 127 Fig. 4.12 Triangle Model Pg. 128 Fig. 4.13 Triangle Model Pg. 130 Fig. 4.14 Layout 1 sketch Pg. 131 Fig. 4.15 Layout 2 sketch Pg. 132 Fig. 4.16 Section Sketch Pg. 137 Fig. 4.17 Site Plan Pg. 138 Fig. 4.18 Dime wall sketch Pg. 142 Fig. 4.19 Entry sketches Pg. 144 Fig. 4.20 Nerve and Polio sketch Pg. 146 Fig. 4.21 Bridge sketch Pg. 147 Fig. 4.22 Reflection space Pg. 148 Fig. 4.23 Wall sketch Pg. 150 Fig. 4.24 Wall penetration Pg. 150 Fig. 4.25 Pool concepts Pg. 151 Fig. 4.26 Pool sketch Pg. 152 Fig. 4.27 Light wall perspective Pg. 156 Fig. 4.28 Statue Vignette Pg. 157 Fig. 4.29 Screen walls vignette Pg. 158 Fig. 4.30 Nerve cell concept Pg. 159

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Fig. 4.31 Polio Wall concept Pg. 160 Fig. 4.32 First Model Pg. 161 Fig. 4.33 First Model top Pg. 162 Fig. 5.1 Polio Wall rendering Pg. 170 Fig. 5.2 Lobby rendering Pg. 171 Fig. 5.3 Reflecting pool rendering Pg. 172 Fig. 5.4 Light Wall Rendering Pg. 173 Fig. 5.5 Tunnel Rendering Pg. 174 Fig. 5.6 Model Construction Pg. 176 Fig. 5.7 Lobby View Pg. 179 Fig. 5.8 Stair in the wall Pg. 180 Fig. 5.9 Administration Wing Pg. 181 Fig. 5.10 Anamorphic Wall Pg. 182 Fig. 5.11 Anamorphosis of the wall Pg. 183 Fig. 5.12 Wall Shadow Pg. 184 Fig. 5.13 Bridge Pg. 185 Fig. 5.14 Polio Wall Pg. 186 Fig. 5.15 Polio Exhibit Pg. 187 Fig. 5.16 Wall Opening Pg. 188 Fig. 5.17 Orange Grove Pg. 189 Fig. 5.18 Series of views back Pg. 190

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LIST OF ILLUSTRATIONS Algorithmic Architecture- design 2 Pg. 6 Algorithmic Architecture -design 5 Pg. 6 Science vs Cosmos Evolution Pg. 10 1960 Ford Mustang Pg. 14 2005 Ford Mustang Pg. 14 Coffee Table Survey Pg. 26 Coffee table results graph Pg. 28 Focus of study diagram Pg. 40 Experiment results graph Pg. 50 Entries survey Pg. 52 Entries results graph Pg. 54 Literal Building Diagram Pg. 60 The Grid Pg. 62 Scaffolding Diagram Pg. 64 Turret Diagram Pg. 66 Bas-relief Diagram Pg. 70 Sanctuary diagram Pg. 73 Bas-relief Diagram 2 Pg. 74 The Season Pg. 75 The seasons diagram Pg. 76 Degrees diagram Pg. 78 27 Diagram Pg. 80 Pendulum diagram Pg. 84 Ronald Reagan Library Pg. 85 Floor plan & adjacencies Pg. 86 Program Cluster Pg. 86 Clinton Presidential Library Pg. 87 Program Cluster Pg. 87 JFK Presidential Library Pg. 89 Program Cluster Pg, 90 Program Stacking Pg. 92 Program Bubble Diagram Pg. 95 Program Diagram Pg. 96 Site Plan Pg. 98 Site Analysis Pg. 108 Section A Pg. 109 Section B Pg. 111

Concept sketches Pg. 116 Light model diagram Pg. 121 Triangle Diagram Pg. 130 Experiential Program Pg. 133 Wall Section B Pg. 139 Initial Floor Plan Pg. 140 Section A Pg. 140 Initial Axon Pg. 154 Final Floor Plan Pg. 166 Section Pg. 168 Polio Wall Diagram Pg. 169 Final Model Pg. 178 Final Model top Pg. 192

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