000▣ ROGER H.CLARK MICHAEL PAUSE PRECEDENTS IN ARCHITECTURE ANALYTIC DIAGRAMS,FORMATIVE IDEAS,AND PARTIS FOURTH EDITION
PRECEDENTS IN ARCHITECTURE Analytic Diagrams, Formative Ideas,and Partis Fourth Edition Roger H.Clark Michael Pause WILEY JOHN WILEY SONS.INC
PRECEDENTS IN ARCHITECTURE Analytic Diagrams, Formative Ideas, and Partis Fourth Edition Roger H. Clark Michael Pause JOHN WILEY & SONS, INC
CONTENTS Prefaces/v Andrea Palladio /164 Thomas Phifer /172 Introduction/xiii Henry Hobson Richardson /176 Alvaro Siza /184 Analysis /1 James Stirling /188 Louis Sullivan/196 Alvar Aalto /8 Yoshio Taniguchi /204 Tadao Ando/16 Giuseppe Terrangi/208 Erik Gunnar Asplund /20 Ludwg Mies van der Rohe /216 Stephane Beel/28 Robert Venturi/224 Peter Q.Bohlin /32 Frank Lloyd Wright /232 Mario Botta/40 Peter Zumthor /240 Filippo Brunelleschi/48 David Chipperfield /56 Sverre Fehn/60 Formative Ideas/245 Romaldo Giurgola/64 Nicholas Hawksmoor/72 Plan to Section or Elevation/260 Herzog de Meuron /80 Unit to Whole /267 Steven Holl/84 Repetitive to Unique /274 Toyo Ito/88 Additive and Subtractive 280 Louis I.Kahn /92 Symmetry and Balance /282 Tom Kundig/100 Geometry /288 Le Corbusier /104 Configuration Patterns /302 Claude Nicholas Ledoux /112 Progressions /312 Sigurd Lewerentz /120 Reduction/316 Edwin Lutyens/124 Brian MacKay-Lyons/132 Richard Meier/136 Index/321 Rafael Moneo /144 Charles Moore/148 Index by Architect/321 Glenn Murcutt/156 Index by Building /330 Jean Nouvel /160 近
Prefaces / v Introduction / xiii Analysis / 1 Alvar Aalto / 8 Tadao Ando / 16 Erik Gunnar Asplund / 20 Stephane Beel / 28 Peter Q. Bohlin / 32 Mario Botta / 40 Filippo Brunelleschi / 48 David Chipperfield / 56 Sverre Fehn / 60 Romaldo Giurgola / 64 Nicholas Hawksmoor / 72 Herzog & de Meuron / 80 Steven Holl / 84 Toyo Ito / 88 Louis I. Kahn / 92 Tom Kundig / 100 Le Corbusier / 104 Claude Nicholas Ledoux / 112 Sigurd Lewerentz / 120 Edwin Lutyens / 124 Brian MacKay-Lyons / 132 Richard Meier / 136 Rafael Moneo / 144 Charles Moore / 148 Glenn Murcutt / 156 Jean Nouvel / 160 Andrea Palladio / 164 Thomas Phifer / 172 Henry Hobson Richardson / 176 Alvaro Siza / 184 James Stirling / 188 Louis Sullivan / 196 Yoshio Taniguchi / 204 Giuseppe Terrangi / 208 Ludwg Mies van der Rohe / 216 Robert Venturi / 224 Frank Lloyd Wright / 232 Peter Zumthor / 240 Formative Ideas / 245 Plan to Section or Elevation / 260 Unit to Whole / 267 Repetitive to Unique / 274 Additive and Subtractive 280 Symmetry and Balance / 282 Geometry / 288 Configuration Patterns / 302 Progressions /312 Reduction / 316 Index / 321 Index by Architect / 321 Index by Building / 330 CONTENTS iii
PREFACES PREFACE TO THE FIRST EDITION The intentions of this study are to assist the understand- ing of architectural history,to examine basic similarities of This book is about architecture. architects'designs over time,to identify generic solutions to In particular,it focuses on a way of thinking about archi- design problems which transcend time,and to develop tecture that emphasizes what is in essence the same.rather analysis as a tool for design.Of importance is the develop- than different.Our concern is for a continuous tradition that ment of a vehicle for the discussion of ideas through the use makes the past part of the present.We do not wish to aid the of example.The understanding of history derived from this repetition or revival of style whether in whole or part. kind of investigation can only be obtained by far greater Rather,by a conscious sense of precedent that identifies pat- labor than that involved in acquiring a knowledge of history terns and themes,we hope to pursue archetypal ideas that that focuses on names and dates.The reward for this effort might aid in the generation of architectural form. is a design vocabulary that has evolved and been tested over While architecture embodies many realms,we concen- time.We believe designers benefit from a comprehensive trate on built form.Without apology,we make no attempt to understanding of formative ideas,organizational concepts, discuss the social,political,economic,or technical aspects and partis. of architecture.The domain of design ideas lies within the As a resource,this book offers factual graphic informa- formal and spatial realm of architecture,and thus it is this tion on 64 buildings,a detailed analysis of each of these arena that is explored in this book. buildings,a range of designs by individual architects,a com- Obviously,a sound architectural idea will not,as a tool pilation of formative ideas for design generation,a collec- for design,inevitably lead to a good design.One can imagine tion of architectural images,and a reference for a technique many undesirable buildings which might originate with of analysis.Some of this information is not readily available formative ideas.To be sensitive to the potential of archetyp- in other sources. al pattern in design does not lessen the importance of con- We are indebted to the Graham Foundation for cern for other issues or for the building itself.However,one Advanced Studies in the Fine Arts for support to make this commonality shared by the great buildings of this era with study possible. those of the past is a demonstrated understanding of basic Any effort of this nature is the fruit of many encounters architectural ideas which are recognizable as formative pat- with individuals and ideas,but one debt in particular stands terns. out as significant.Through a series of conversations with Our analysis and interpretations are of built form and, George E.Hartman,Jr.,several years ago,some of our therefore,may not necessarily coincide with the architect's thoughts and ideas about architecture and history were intentions or the interpretations of others.The analysis is focused.Since that time,he has continuously and enthusias- not all-inclusive in that it is limited to characteristics which tically offered support and encouragement.James L.Nagel, can be diagrammed. Ludwig Glaser,William N.Morgan,and the late William
PREFACE TO THE FIRST EDITION This book is about architecture. In particular, it focuses on a way of thinking about architecture that emphasizes what is in essence the same, rather than different. Our concern is for a continuous tradition that makes the past part of the present. We do not wish to aid the repetition or revival of style whether in whole or part. Rather, by a conscious sense of precedent that identifies patterns and themes, we hope to pursue archetypal ideas that might aid in the generation of architectural form. While architecture embodies many realms, we concentrate on built form. Without apology, we make no attempt to discuss the social, political, economic, or technical aspects of architecture. The domain of design ideas lies within the formal and spatial realm of architecture, and thus it is this arena that is explored in this book. Obviously, a sound architectural idea will not, as a tool for design, inevitably lead to a good design. One can imagine many undesirable buildings which might originate with formative ideas. To be sensitive to the potential of archetypal pattern in design does not lessen the importance of concern for other issues or for the building itself. However, one commonality shared by the great buildings of this era with those of the past is a demonstrated understanding of basic architectural ideas which are recognizable as formative patterns. Our analysis and interpretations are of built form and, therefore, may not necessarily coincide with the architect's intentions or the interpretations of others. The analysis is not all-inclusive in that it is limited to characteristics which can be diagrammed. The intentions of this study are to assist the understanding of architectural history, to examine basic similarities of architects' designs over time, to identify generic solutions to design problems which transcend time, and to develop analysis as a tool for design. Of importance is the development of a vehicle for the discussion of ideas through the use of example. The understanding of history derived from this kind of investigation can only be obtained by far greater labor than that involved in acquiring a knowledge of history that focuses on names and dates. The reward for this effort is a design vocabulary that has evolved and been tested over time. We believe designers benefit from a comprehensive understanding of formative ideas, organizational concepts, and partis. As a resource, this book offers factual graphic information on 64 buildings, a detailed analysis of each of these buildings, a range of designs by individual architects, a compilation of formative ideas for design generation, a collection of architectural images, and a reference for a technique of analysis. Some of this information is not readily available in other sources. We are indebted to the Graham Foundation for Advanced Studies in the Fine Arts for support to make this study possible. Any effort of this nature is the fruit of many encounters with individuals and ideas, but one debt in particular stands out as significant. Through a series of conversations with George E. Hartman, Jr., several years ago, some of our thoughts and ideas about architecture and history were focused. Since that time, he has continuously and enthusiastically offered support and encouragement. James L. Nagel, Ludwig Glaser, William N. Morgan, and the late William v PREFACES
Caudill each generously sponsored our efforts to secure designs.This approach continues to be useful and there was assistance from the Graham Foundation.Roger Cannon, no apparent need to revise the information.Instead,the sec- Robert Humenn,and Debbie Buffalin provided valuable help ond edition gave us the opportunity to enrich the content of in locating material and information.For their assistance the analysis section by adding the works of seven architects. and support we thank several persons in the School of They were chosen initially to augment the content of the Design:Dean Claude E.McKinney,Winifred Hodge,the sec- original sixteen architects.Some were selected for historical retaries,and the librarians.The students in our classes have significance,some for lack of widespread documentation of enriched,stimulated,and challenged our ideas,and encour- their work.Others were picked because of emerging reputa- aged us to record them in this volume.We fully acknowledge tions and the production of a meaningful body of work since our debt to them. the publication of the first edition.All were selected because A special acknowledgment is reserved for Rebecca H. of the strength,quality,and interest of their designs.It is our Mentz and Michael A.Nieminen,whose considerable talents intent to continue to show that design ideas transcend cul- were used to draw the sheets reproduced in this volume. ture and time.Keeping the same format,we have added fac- Without their skill,patience,diligence,and dedication this tual and analytic information on two or four buildings by volume would not have been possible. each of the seven new architects. Our gratitude is extended to our families who have aided While some may find this book useful for information our efforts through sacrifice,devotion,and understanding. about a particular architect or building,it is not our primary To all other persons who have encouraged or in some purpose to present any one building or architect exhaustive- way contributed to this study we collectively give thanks. ly (e.g.,photographs,written descriptions,or contract docu- By making available the information that is presented in ments).Rather,our intention is to continue to explore the this volume,we hope to expand the understanding of prece- commonality of design ideas through comparison.To dents in architecture;to illustrate an educational technique achieve this we have used the diagrammatic technique that that is useful to students,educators,and practitioners:and was developed in the original study.While some of the archi- to demonstrate an analytic technique that can have impact tects and architectural authors have used diagrams to on architectural form and space decisions. explain or inform others about the buildings included in this volume,the diagrams in this book are our own creation. In addition to the acknowledgments cited in the preface PREFACE TO THE SECOND EDITION of the first edition the following have helped make this edi- tion a reality.The Graham Foundation for Advanced Studies The success of the first edition indicated that there was a in the Fine Arts supported our work for a second time;for need for conceptual and analytic information about archi- this we are grateful.Van Nostrand Reinhold also contributed tecture.Our experience with the first edition over the past grant money to make this edition possible.Both of these decade demonstrated that the material has been useful as a sources aided our research and allowed for the production tool for teaching architecture.It has provided a vocabulary of the drawings. for analysis that helps students and architects understand While difficult to acknowledge all individuals who have the works of others and aids them in creating their own contributed to or influenced our ideas,certain people's vi
Caudill each generously sponsored our efforts to secure assistance from the Graham Foundation. Roger Cannon, Robert Humenn, and Debbie Buffalin provided valuable help in locating material and information. For their assistance and support we thank several persons in the School of Design: Dean Claude E. McKinney, Winifred Hodge, the secretaries, and the librarians. The students in our classes have enriched, stimulated, and challenged our ideas, and encouraged us to record them in this volume. We fully acknowledge our debt to them. A special acknowledgment is reserved for Rebecca H. Mentz and Michael A. Nieminen, whose considerable talents were used to draw the sheets reproduced in this volume. Without their skill, patience, diligence, and dedication this volume would not have been possible. Our gratitude is extended to our families who have aided our efforts through sacrifice, devotion, and understanding. To all other persons who have encouraged or in some way contributed to this study we collectively give thanks. By making available the information that is presented in this volume, we hope to expand the understanding of precedents in architecture; to illustrate an educational technique that is useful to students, educators, and practitioners; and to demonstrate an analytic technique that can have impact on architectural form and space decisions. PREFACE TO THE SECOND EDITION The success of the first edition indicated that there was a need for conceptual and analytic information about architecture. Our experience with the first edition over the past decade demonstrated that the material has been useful as a tool for teaching architecture. It has provided a vocabulary for analysis that helps students and architects understand the works of others and aids them in creating their own designs. This approach continues to be useful and there was no apparent need to revise the information. Instead, the second edition gave us the opportunity to enrich the content of the analysis section by adding the works of seven architects. They were chosen initially to augment the content of the original sixteen architects. Some were selected for historical significance, some for lack of widespread documentation of their work. Others were picked because of emerging reputations and the production of a meaningful body of work since the publication of the first edition. All were selected because of the strength, quality, and interest of their designs. It is our intent to continue to show that design ideas transcend culture and time. Keeping the same format, we have added factual and analytic information on two or four buildings by each of the seven new architects. While some may find this book useful for information about a particular architect or building, it is not our primary purpose to present any one building or architect exhaustively (e.g., photographs, written descriptions, or contract documents). Rather, our intention is to continue to explore the commonality of design ideas through comparison. To achieve this we have used the diagrammatic technique that was developed in the original study. While some of the architects and architectural authors have used diagrams to explain or inform others about the buildings included in this volume, the diagrams in this book are our own creation. In addition to the acknowledgments cited in the preface of the first edition the following have helped make this edition a reality. The Graham Foundation for Advanced Studies in the Fine Arts supported our work for a second time; for this we are grateful. Van Nostrand Reinhold also contributed grant money to make this edition possible. Both of these sources aided our research and allowed for the production of the drawings. While difficult to acknowledge all individuals who have contributed to or influenced our ideas, certain people's vi