a) Place Space (Yellow)
spaces which portray a sense of definite location or position.
b) Path Space (Red)
major transition spaces which are directional; corridor/connector/passageway.
c) Transition Space (Green)
spaces which act primarily as joints or fasteners.
can become an articulation between dissimilar elements.
a type of space which defines, separates, or joins.
a space that aids in the definition and/or juxtaposition of spaces or elements of contrasting or continuous character.
d) Servant Space (Blue)
spaces which are support to place spaces, path spaces, and transition spaces. mechanical voids & space occupied by structural elements, built in elements, wet areas, etc.
(Servant space as understood in opposition to Served space)
Wednesday, September 23, 2009
Architectural Programming (Rex, Studio 1412)
'Sequence' notes
Architectural sequence - 3 parts: a) internal - deals with method of work b) external - juxtaposition of spaces c) external - programming
a) Transformational sequence - device, procedure
b) Spatial sequence - occurrences abound history
c) Programming sequence - social and symbolic connotations
-transformation sequences tend to rely on devices
-closed (ending process) and open (infinite in understanding) sequences of transformation
-architecture is inhabited
-any predetermined sequence of events can be made into program
-program has 3 categories: indifferent to-, reinforce-, or work against- spatial sequence
a) indifferent- the battalion marches on the fields
b) reciprocity- the skater skates on the skating rink
c) conflict- the battalion skates on the tightrope
-spatial sequences are independent upon what happens in them
-spatial sequences are generally structural
-events take place. and again. and again.
-by habit, we describe sequence chronologically; some architects desire to be looked at with a glance
-if the spatial sequence inevitably implies the movement of the observer, then the movement can be objectively mapped and formalized - sequentially
-the final meaning of any sequence is dependent upon the relation space/event/movement
-architectural sequences do not equal the reality of the building - the narrative is implied - implicates rituals
-rituals imply one method that cannot be broken
-all sequences are cumulative
-frame: the moments of sequence. examining architecture "frame by frame" as though a film-editing machine
-all transformational devices can apply equally and interdependently to spaces, events, movements
-alternatively, architectural sequences can be made strategically disjunctive
a) Transformational sequence - device, procedure
b) Spatial sequence - occurrences abound history
c) Programming sequence - social and symbolic connotations
-transformation sequences tend to rely on devices
-closed (ending process) and open (infinite in understanding) sequences of transformation
-architecture is inhabited
-any predetermined sequence of events can be made into program
-program has 3 categories: indifferent to-, reinforce-, or work against- spatial sequence
a) indifferent- the battalion marches on the fields
b) reciprocity- the skater skates on the skating rink
c) conflict- the battalion skates on the tightrope
-spatial sequences are independent upon what happens in them
-spatial sequences are generally structural
-events take place. and again. and again.
-by habit, we describe sequence chronologically; some architects desire to be looked at with a glance
-if the spatial sequence inevitably implies the movement of the observer, then the movement can be objectively mapped and formalized - sequentially
-the final meaning of any sequence is dependent upon the relation space/event/movement
-architectural sequences do not equal the reality of the building - the narrative is implied - implicates rituals
-rituals imply one method that cannot be broken
-all sequences are cumulative
-frame: the moments of sequence. examining architecture "frame by frame" as though a film-editing machine
-all transformational devices can apply equally and interdependently to spaces, events, movements
-alternatively, architectural sequences can be made strategically disjunctive
Catalog 02
Masses
- m1-a – statues
- m1-b – hedges (formed to imitate the natural geometry of nature)
- m1-c – villa and other buildings (capella / nettuno, limonaia)
Horizontal Surfaces
- s1-a – bowling green
- s1-b – topiary garden / reflecting pools
- s1-c – paths within events (i.e.: orange garden, lemon garden, theatre…)
Vertical Surfaces
- s2-a – approach avenue entrance to villa
- s2-b – hedges with archways (cut into)
Vertical Elements
- e1-a – bosco (north and south)
- e1-b – allée(s)
- e1-c – hedges with archways (cut into)
Path Elements
- e2-a – approach avenue entrance to villa
- e2-b – bowling green
- e2-c – major axes
- e2-d – minor axes
Mass-less Conditions
- m2-a – loggia (first floor of villa)
- m2-b – natural landscape transformed into an architecturally determined space
- m2-c – perspective equilibrium and continuity
- m2-d – topiary garden as extraction from nature
Catalog 01
Masses
- M1-a – Fountain
- M1-b – Olive grove
Horizontal Surfaces
- S1-a – Bowling green
- S1-b – Pathway grid
- S1-c - Courtyard
Vertical Surfaces
- S2-a – Stairs
- S2-b – Balconies
Vertical Elements
- E1-a – Perimeter Hedges
- E1-b – Interior Hedges
- E1-c – Allee(s)
- E1-d – Archway Hedges
Path Elements
- E2-a – Entry-way path
- E2-b – Circular path @ center fountain
- E3-c – Split-level areas
Mass-less Conditions
- M2-a – Garden Pond
- M2-b – Concentration about abstract window (not centered with center of Villa)
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