INTRODUCTION The renewed and growing interest in architectural history utilized in this volume is applicable to groups of buildings,this and historic architectural example has focused the need to study is limited to single works of architecture. clarify the link between history and design.History studied The information available for the selected buildings con- in the academic sense of seeing our place within a continu- tained inconsistencies in some areas.When discrepancies um,or in the strictly scholarly sense of knowing the past, did occur,every effort was made to verify the accuracy of can limit our knowledge as architects to little more than the information.If it could not be totally verified,then rea- names,dates,and style recognition.Seeing between and sonable assumptions were made.For example,a site plan beyond the layers of historical styles,within which architec- was never drawn by Robert Venturi for the Tucker House; ture is generally categorized and presented,can make histo- therefore,the site plan indicated in this volume is inferred ry a source of enrichment for architectural design. from other information. The search,in this study,is for theory which transcends In some instances,particular buildings are cited in the the moment and reveals an architectural idea.The technique literature by more than one name.For example,La Rotonda for this search is the careful examination and analysis of by Andrea Palladio is often referred to as Villa Capra.Less buildings.The desired result is the development of theory to frequently it is called Villa Almerico,after the name of the generate ideas with which to design architecture. family for whom it was originally built.In cases where such This volume is organized into two parts.The first con- multiplicity occurs,buildings are identified in the body of centrates on the analysis of 118 buildings which are present- this study by the most frequently used name and in the index ed in both conventional drawings-site plan,plan,and ele- by the several names used. vation-and diagrams.The second identifies and delineates Opinion also differs about dates attributed to several formal archetypal patterns or formative ideas from which buildings.Because of the length of time it takes to complete architecture might evolve.It can be observed that certain a building or because of the imprecision of recorded history, patterns persist through time,with no apparent relationship it is often difficult to establish an exact date or series of to place. dates for a building.The significance of the date is simply to Buildings that represent a range of time,function,and place the work in a chronological context.When conflict did style,and architects who exemplify seemingly different occur between sources,the date that is ascribed most often approaches to architecture were selected.This selection is the one used. was tempered by availability of information;some architects Undoubtedly,the complexity of architecture often and some buildings were not included because the material makes it difficult to attribute a building to a single person.It available did not permit thorough analysis is clear that buildings,regardless of when executed,are the Preference was given to built buildings in lieu of projects, products of partnerships or collaborations and the result of which are included in the second part only when they represent inputs from several persons.However,for the sake of clari- pertinent examples of an idea.While the analytic technique ty,the buildings in this study are assigned to the person who xiii
The renewed and growing interest in architectural history and historic architectural example has focused the need to clarify the link between history and design. History studied in the academic sense of seeing our place within a continuum, or in the strictly scholarly sense of knowing the past, can limit our knowledge as architects to little more than names, dates, and style recognition. Seeing between and beyond the layers of historical styles, within which architecture is generally categorized and presented, can make history a source of enrichment for architectural design. The search, in this study, is for theory which transcends the moment and reveals an architectural idea. The technique for this search is the careful examination and analysis of buildings. The desired result is the development of theory to generate ideas with which to design architecture. This volume is organized into two parts. The first concentrates on the analysis of 118 buildings which are presented in both conventional drawings—site plan, plan, and elevation—and diagrams. The second identifies and delineates formal archetypal patterns or formative ideas from which architecture might evolve. It can be observed that certain patterns persist through time, with no apparent relationship to place. Buildings that represent a range of time, function, and style, and architects who exemplify seemingly different approaches to architecture were selected. This selection was tempered by availability of information; some architects and some buildings were not included because the material available did not permit thorough analysis. Preference was given to built buildings in lieu of projects, which are included in the second part only when they represent pertinent examples of an idea. While the analytic technique utilized in this volume is applicable to groups of buildings, this study is limited to single works of architecture. The information available for the selected buildings contained inconsistencies in some areas. When discrepancies did occur, every effort was made to verify the accuracy of the information. If it could not be totally verified, then reasonable assumptions were made. For example, a site plan was never drawn by Robert Venturi for the Tucker House; therefore, the site plan indicated in this volume is inferred from other information. In some instances, particular buildings are cited in the literature by more than one name. For example, La Rotonda by Andrea Palladio is often referred to as Villa Capra. Less frequently it is called Villa Almerico, after the name of the family for whom it was originally built. In cases where such multiplicity occurs, buildings are identified in the body of this study by the most frequently used name and in the index by the several names used. Opinion also differs about dates attributed to several buildings. Because of the length of time it takes to complete a building or because of the imprecision of recorded history, it is often difficult to establish an exact date or series of dates for a building. The significance of the date is simply to place the work in a chronological context. When conflict did occur between sources, the date that is ascribed most often is the one used. Undoubtedly, the complexity of architecture often makes it difficult to attribute a building to a single person. It is clear that buildings, regardless of when executed, are the products of partnerships or collaborations and the result of inputs from several persons. However, for the sake of clarity, the buildings in this study are assigned to the person who xiii INTRODUCTION
is normally recognized as the designer.For instance,Charles reduce the building to its essentials,the diagrams have been Moore is listed rather than the several associations which intentionally simplified.This elimination of all but the most might be included for each building.Similarly.Romaldo important considerations makes those that remain both Giurgola is acknowledged instead of the firm in which he is dominant and memorable. a partner. For the analysis,it was necessary to establish a graphic In the analysis part of the study,the plan,elevation,and standard so that comparison could be made between the dia- section for any individual building are drawn at the same grams.In general,heavy lines are used in each diagram to scale.However,the scale between any two buildings varies accent a particular issue.In the formative idea part of the depending upon building size and presentation format.Site study,the plan,elevation,or section of the building is drawn plans are oriented to correspond generally to the orientation lightly for orientation purposes,while the issue being ana- of the floor plan,and north is indicated where known. lyzed and compared is indicated by heavy lines or shading. To communicate the analysis of the buildings and the The following legend indicates the specific graphic standard formative ideas in this study,a diagram or a set of diagrams used for the diagrams in the analysis section. is utilized.The diagrams are drawings that,as abstractions. This study is not exhaustive;rather,examples are includ- are intended to convey essential characteristics and rela- ed to illustrate the nuances of the idea.It is rare to find a tionships in a building.As such,the diagrams focus on spe- building configuration which embodies a single formal cific physical attributes which allow for the comparison of theme in absolute purity.More normal is a variety of pat- that attribute between buildings independent of style,type, terns layered upon one another-the consequence of which function,or time.The diagrams are developed from the is the potential for the richness that can evolve from multi- three-dimensional form and space configurations of the ple interpretations.In this study dominant patterns have building.They take into account more information than is been identified,but this is not to suggest that others do not normally apparent in a plan,an elevation,or a section.To exist xiv
is normally recognized as the designer. For instance, Charles Moore is listed rather than the several associations which might be included for each building. Similarly, Romaldo Giurgola is acknowledged instead of the firm in which he is a partner. In the analysis part of the study, the plan, elevation, and section for any individual building are drawn at the same scale. However, the scale between any two buildings varies depending upon building size and presentation format. Site plans are oriented to correspond generally to the orientation of the floor plan, and north is indicated where known. To communicate the analysis of the buildings and the formative ideas in this study, a diagram or a set of diagrams is utilized. The diagrams are drawings that, as abstractions, are intended to convey essential characteristics and relationships in a building. As such, the diagrams focus on specific physical attributes which allow for the comparison of that attribute between buildings independent of style, type, function, or time. The diagrams are developed from the three-dimensional form and space configurations of the building. They take into account more information than is normally apparent in a plan, an elevation, or a section. To reduce the building to its essentials, the diagrams have been intentionally simplified. This elimination of all but the most important considerations makes those that remain both dominant and memorable. For the analysis, it was necessary to establish a graphic standard so that comparison could be made between the diagrams. In general, heavy lines are used in each diagram to accent a particular issue. In the formative idea part of the study, the plan, elevation, or section of the building is drawn lightly for orientation purposes, while the issue being analyzed and compared is indicated by heavy lines or shading. The following legend indicates the specific graphic standard used for the diagrams in the analysis section. This study is not exhaustive; rather, examples are included to illustrate the nuances of the idea. It is rare to find a building configuration which embodies a single formal theme in absolute purity. More normal is a variety of patterns layered upon one another—the consequence of which is the potential for the richness that can evolve from multiple interpretations. In this study dominant patterns have been identified, but this is not to suggest that others do not exist. xiv
LEGEND WALLS UNIQUE LOCAL SYMMETRY COLUMNS RELATED CONFIGURATION 网网@ REPETTTTVE 9 MAJOR BEAMS OVERHEAD 8F器 REMAINDER LOCAL OF BUILDING BALANCE REFERENCED CUMPUNENTS 口 POINT AND COUNIERPOINT STRUCTURE PLAN TO SECTION REPETITIVE TO UNIQUE SYMMETRY AND BALANCE CHRC LATION LUSTV DIRECT ☑ SQUARE SUBTRACTION DIFFUSED USE-SPACES INDIRECT WHOLg 14 RECTANGLE INTERIOR VERTICAL 3PAe宝， CIRCULATION UNITRACEIVE 16 RECTANGLE NATURAL LIGHT CIRCULATION TO USE-SPACE ADDITIVE AND SUBTRACTIVE ANGLE ⊙ NORTH GRID LINES INDICATOR MOST DOMINANT ELEVATION UNITS RADIUS CENTER SECTION SECONDARY TO MASSING LFSS DOMINANT FACTUAL SHEET UNIT TO WHOLE GEOMETRY HIERARCHY xv
xv
ANALYSIS Alvar Aalto /8 Romaldo Giurgola/64 Town Hall,Saynatsalo Adult Learning Research Laboratory.Bryn Mawr Vouksenniska Church,Imatra Lang Music Building.Swarthmore Enso-Gutzeit Company Headquarters,Helsinki Student Union,Plattsburgh Cultural Center,Wolfsburg Tredyffrin Public Library,Strafford Tadao Ando /16 Nicholas Hawksmoor /72 Chapel on Mt.Rokko,Kobe Easton Neston,Northamptonshire Church on the Water,Tomamu St.George-in-the-East,Wapping Erik Gunnar Asplund /20 Christ Church,Spitalfields Snellman House,Djursholm St.Mary Woolnoth,London Woodland Chapel,Stockholm Herzog de Mueron (Jacques Herzog Lister County Courthouse,Solvesborg and Pierre de Mueron)/80 Stockholm Public Library,Stockholm Goetz Collection Museum,Munich Stephane Beel /28 Dominus Winery,Yountville Villa Maesen,Zedelgem Steven Holl/84 Villa P.Rotslaar Kiasma,Museum of Contemporary Art,Helsinki Peter Q.Bohlin/32 Chapel of St.Ignatius,Seattle Weekend Residence for Mr.and Mrs.Eric Q.Bohlin.West Toyo Ito /88 Cornwall Shimosuwa Municipal Museum,Nagano,Suwa,Japan Gaffney Residence,Romansville Nagaoka Lyric Hall,Nagaoka House in the Adirondacks,New York State Louis I.Kahn/92 Guest House,Gates Residence,Medina Alfred N.Richards Medical Research Building,Philadelphia Mario Botta/40 Salk Institute of Biological Studies,La Jolla Single Family Residence.Riva San Vitale Kimball Art Museum,Fort Worth Church of San Giovanni Battista,Mogno Library,Exeter Bianda Residence,Losone Tom Kundig /100 The Church of Beato Odorico.Pordenone Delta Shelter.Mazama Filippo Brunelleschi/48 Chicken Point Cabin,Hayden Lake Old Sacristy.Florence Le Corbusier/104 Ospedale degli Innocenti,Florence Villa Savoye,Poissy Church of San Maria degli Angeli,Florence Unite d'Habitation,Marseilles Church of San Spirito,Florence Notre Dame du Haut Chapel,Ronchamp David Chipperfield /56 The Palace of Assembly,Chandigarh Gallery Building am Kupfergraben 10.Berlin Claude Nicholas Ledoux/112 Liangzhu Culture Museum,Hangzhou Hotel de Montmorency,Paris Sverre Fehn/60 Hotel Guimard,Paris Villa Busk,Bamble Theater,Besancon The Glacier Museum,Fjaerland Director's House.Saltworks of Arc and Senans 1
Alvar Aalto / 8 Town Hall, Saynatsalo Vouksenniska Church, Imatra Enso-Gutzeit Company Headquarters, Helsinki Cultural Center, Wolfsburg Tadao Ando / 16 Chapel on Mt. Rokko, Kobe Church on the Water, Tomamu Erik Gunnar Asplund / 20 Snellman House, Djursholm Woodland Chapel, Stockholm Lister County Courthouse, Solvesborg Stockholm Public Library, Stockholm Stephane Beel / 28 Villa Maesen, Zedelgem Villa P, Rotslaar Peter Q. Bohlin / 32 Weekend Residence for Mr. and Mrs. Eric Q. Bohlin, West Cornwall Gaffney Residence, Romansville House in the Adirondacks, New York State Guest House, Gates Residence, Medina Mario Botta / 40 Single Family Residence, Riva San Vitale Church of San Giovanni Battista, Mogno Bianda Residence, Losone The Church of Beato Odorico, Pordenone Filippo Brunelleschi / 48 Old Sacristy, Florence Ospedale degli Innocenti, Florence Church of San Maria degli Angeli, Florence Church of San Spirito, Florence David Chipperfield / 56 Gallery Building am Kupfergraben 10, Berlin Liangzhu Culture Museum, Hangzhou Sverre Fehn / 60 Villa Busk, Bamble The Glacier Museum, Fjærland Romaldo Giurgola / 64 Adult Learning Research Laboratory, Bryn Mawr Lang Music Building, Swarthmore Student Union, Plattsburgh Tredyffrin Public Library, Strafford Nicholas Hawksmoor / 72 Easton Neston, Northamptonshire St. George-in-the-East, Wapping Christ Church, Spitalfields St. Mary Woolnoth, London Herzog & de Mueron (Jacques Herzog and Pierre de Mueron) / 80 Goetz Collection Museum, Munich Dominus Winery, Yountville Steven Holl / 84 Kiasma, Museum of Contemporary Art, Helsinki Chapel of St. Ignatius, Seattle Toyo Ito / 88 Shimosuwa Municipal Museum, Nagano, Suwa, Japan Nagaoka Lyric Hall, Nagaoka Louis I. Kahn / 92 Alfred N. Richards Medical Research Building, Philadelphia Salk Institute of Biological Studies, La Jolla Kimball Art Museum, Fort Worth Library, Exeter Tom Kundig / 100 Delta Shelter, Mazama Chicken Point Cabin, Hayden Lake Le Corbusier / 104 Villa Savoye, Poissy Unite d’Habitation, Marseilles Notre Dame du Haut Chapel, Ronchamp The Palace of Assembly, Chandigarh Claude Nicholas Ledoux / 112 Hotel de Montmorency, Paris Hotel Guimard, Paris Theater, Besançon Director’s House, Saltworks of Arc and Senans 1 ANALYSIS
Sigurd Lewerentz/120 Allegheny County Courthouse,Pittsburgh Chapel of the Resurrection,Stockholm J.J.Glessner House,Chicago Church of St.Peter,Klippan Alvao Siza/184 Edwin Lutyens/124 Santa Maria Church.Marco de Canaveses Homewood.Knebworth Van Middelem-Dupont House,Oudenburg Nashdom,Taplow James Stirling 188 Heathcote,Ilkley Engineering Building,Leicester The Salutation,Sandwich History Faculty Building,Cambridge Brian MacKay-Lyons /132 Florey Building,Oxford Messnger House II,Upper Kingsburg Olivetti Training School,Haslemere Hill House,Kingsburg Louis Sullivan 196 Richard Meier/136 Auditorium Building,Chicago Smith House.Darien Wainwright Building,St.Louis The Atheneum,New Harmony Carson Pirie and Scott Store,Chicago Ulm Exhibition and Assembly Building.Ulm National Farmers'Bank,Owatonna Weishaupt Forum,Schwendi Yoshio Taniguchi/204 Rafael Moneo /144 Shiseido Art Museum,Kakegawa Don Benito Cultural Center,Badajoz Kasai Rinkai Park View Point Visitors Center,Tokyo Murcia Town Hall,Murcia Giuseppe Terragni/208 Charles Moore/148 Novocomum Apartment House,Como Moore House,Orinda Casa del Fascio,Como Condominium I Sea Ranch Sant'Elia Nursery School,Como Hines House,Sea Ranch Villa Bianca,Seveso Burns House,Santa Monica Canyon Ludwig Mies van der Rohe /216 Glenn Murcutt /156 German Pavilion at International Exhibition,Barcelona Magney House,Bingie Point Tugendhat House,Brno Simpson-Lee House,Mt.Wilson Farnsworth House,near Plano Jean Nouvel/160 Crown Hall,Chicago Institute of the Arab World.Paris Robert Venturi/224 Cartier Foundation,Paris Vanna Venturi House,Philadelphia Andrea Palladio /164 Fire Station Number 4.Columbus Villa Foscari,Malcontenta Peter Brant House,Greenwich Church of San Giorgio Maggiore,Venice Carll Tucker III House.Mount Kisco La Rotonda,Vicenza Frank Lloyd Wright/232 Redentore Church.Venice Unity Temple.Oak Park Thomas Phifer/172 Frederick G.Robie House,Chicago Millbrook House,Millbrook Fallingwater(Edgar J.Kaufmann House),Ohiopyle Salt Point House,Salt Point Solomon R.Guggenheim Museum,New York Henry Hobson Richardson/176 Peter Zumthor /240 Trinity Church,Boston Chapel of St.Benedict,Sumvitg Sever Hall,Cambridge Art Museum (Kunsthaus)Bregenz,Bregenz
Sigurd Lewerentz / 120 Chapel of the Resurrection, Stockholm Church of St. Peter, Klippan Edwin Lutyens / 124 Homewood, Knebworth Nashdom, Taplow Heathcote, Ilkley The Salutation, Sandwich Brian MacKay-Lyons / 132 Messnger House II, Upper Kingsburg Hill House, Kingsburg Richard Meier / 136 Smith House, Darien The Atheneum, New Harmony Ulm Exhibition and Assembly Building, Ulm Weishaupt Forum, Schwendi Rafael Moneo / 144 Don Benito Cultural Center, Badajoz Murcia Town Hall, Murcia Charles Moore / 148 Moore House, Orinda Condominium I, Sea Ranch Hines House, Sea Ranch Burns House, Santa Monica Canyon Glenn Murcutt / 156 Magney House, Bingie Point Simpson-Lee House, Mt. Wilson Jean Nouvel / 160 Institute of the Arab World, Paris Cartier Foundation, Paris Andrea Palladio / 164 Villa Foscari, Malcontenta Church of San Giorgio Maggiore, Venice La Rotonda, Vicenza Redentore Church, Venice Thomas Phifer / 172 Millbrook House, Millbrook Salt Point House, Salt Point Henry Hobson Richardson / 176 Trinity Church, Boston Sever Hall, Cambridge Allegheny County Courthouse, Pittsburgh J. J. Glessner House, Chicago Alvao Siza / 184 Santa Maria Church, Marco de Canaveses Van Middelem-Dupont House, Oudenburg James Stirling / 188 Engineering Building, Leicester History Faculty Building, Cambridge Florey Building, Oxford Olivetti Training School, Haslemere Louis Sullivan / 196 Auditorium Building, Chicago Wainwright Building, St. Louis Carson Pirie and Scott Store, Chicago National Farmers’ Bank, Owatonna Yoshio Taniguchi / 204 Shiseido Art Museum, Kakegawa Kasai Rinkai Park View Point Visitors Center, Tokyo Giuseppe Terragni / 208 Novocomum Apartment House, Como Casa del Fascio, Como Sant’ Elia Nursery School, Como Villa Bianca, Seveso Ludwig Mies van der Rohe / 216 German Pavilion at International Exhibition, Barcelona Tugendhat House, Brno Farnsworth House, near Plano Crown Hall, Chicago Robert Venturi / 224 Vanna Venturi House, Philadelphia Fire Station Number 4, Columbus Peter Brant House, Greenwich Carll Tucker III House, Mount Kisco Frank Lloyd Wright / 232 Unity Temple, Oak Park Frederick G. Robie House, Chicago Fallingwater (Edgar J. Kaufmann House), Ohiopyle Solomon R. Guggenheim Museum, New York Peter Zumthor / 240 Chapel of St. Benedict, Sumvitg Art Museum (Kunsthaus) Bregenz, Bregenz 2