order and flexibility: michael malofiy this thesis ... model 2 ... tecture with presence.”2 -...

Order and Flexibility:Their Coexistence as Architectural Principle

Michael Malofiy

This thesis submitted to the facultyof the Virginia Polytechnic Institute & State

University in partial fulfillment of the requirement for the degree

Master of Architecture

July 1998Blacksburg, VA

William Brown, thesis committee chairman

Michael O’Brien

Frank Weiner

ABSTRACT

The designprocess is ameans to an end. Itis the vehicleone uses to reach adestination. It isdriven by pastexperiences, theadvice from othersor intuition.

The thesis is ajourney. Forsome, the destina-tion is knownbefore the journeyeven begins. Forothers, the destina-tion is found some-where along theway. For me, thedestination is insight, yet it con-stantly moves justout of reach. Eachnew discoverydemands furtherexploration.

In the journey, theproject repre-sents all of thediscoveriesmade along theway. Each step for-ward is an attemptto reinforce thatwhich the travellerhas already discov-ered or to informthe traveller tochange directions.

Thus, what isimportant about ajourney is not onlyhow one gets there,but also what is dis-covered along theway.

“...But desire isinsatiable and youcannot ever knowwhat it is. It isrenewed all thetime.”1

Louis Kahn

THESIS TABLE OF CONTENTS

Title Page................................................................................................................................................................................i

Abstract..................................................................................................................................................................................ii

Table of Contents..................................................................................................................................................................iii

I. Introduction.........................................................................................................................................................................1

II. Precedence.......................................................................................................................................................................2

A. Order1. Pantheon................................................................................................................................32. Regulating lines......................................................................................................................4

B. Flexibility1. Schroder House.........52. Fukuoka housing........6

C. When order meets flexibility1. Palace of Emperor Saga.............................................................72. Expanding circular table..............................................................8

III. Project/ProcessA. Beginning: Serious Play.........................................................................................................9

1. Site..................................................................................................................102. Local architectural condition as project generator..........................................113. Wood block studies..................................................................................12-144. Translation of wood blocks into points, lines, planes and volumes..........15-16

B. Development of a single unit...............................................................................................171. Study model 1.................................................................................................182. Study model 2.................................................................................................193. Entry courtyard studies...................................................................................204. Column and beam studies..............................................................................215. Material and detail studies..............................................................................226. Precast panel details.................................................................................23-247. Window studies.........................................................................................25-278. Study of a dining space..................................................................................289. Flexibility within an ordered system..........................................................29-30

C. Combining Units..................................................................................................................311. Joining and stacking units..............................................................................322. Vertical connections........................................................................................33

D. Development of the Site......................................................................................................341. Regulating lines..............................................................................................352. Outdoor spaces and contextual relationships................................................363. Axis.................................................................................................................374. Site..................................................................................................................38

E. Refinement of the single unit and site.................................................................................391. Developing an architectural language out of the triangle - study 1................402. Study model and details.................................................................................413. Perspective studies........................................................................................424. Developing an architectural language out of the triangle - study 2................435. Study model and details.................................................................................446. Site..................................................................................................................457. Detailed unit study..........................................................................................46

F. Sketches...............................................................................................................................47

IV. Endnotes........................................................................................................................................................................48

V. Photographic Credits.......................................................................................................................................................49

VI. Bibliography....................................................................................................................................................................50

VII. Vita................................................................................................................................................................................51

iii

o r d e r

u n i f o r m i t y

f i x i t y

h o m o g e n e i t y

r e g u l a r i t y

c o n c r e t e n e s s

s t i l l n e s s

s i l e n c e

w h o l e n e s s

s i n g u l a r i t y

h a r m o n y

g e o m e t r y

c h a o s

m u l t i - f o r m i t y

f l e x i b i l i t y

v a r i e t y

d i v e r s i t y

a b s t r a c t i o n

m o t i o n

n o i s e

f r a g m e n t a t i o n

p l u r a l i t y

d i s c o r d

d e r a n g e m e n t

I. INTRODUCTION

Two opposing principles neces-sary for architecture to endureare order and flexibility. Orderis a static condition whichestablishes and maintainsorganization. It relates theparts to the whole and con-versely, the whole to the parts.Order provides the rules todefine what something can beand more importantly, what itcannot. Flexibility is a dynamiccondition which offers diversity.It allows a user or inhabitant tomanipulate or control that whichthe designer has provided.Such a condition allows theindividual to become engagedwith or a part of the architec-ture. However, flexibility canoccur within an ordered system.

Architecture existswhere the dualitymeets.

An example to illustrate thistheory is a housing communityfor university students.Because university studentstypically only spend one tothree years in a single resi-dence, a dwelling which can beadapted quickly and with littleeffort to accommodate differentneeds is essential. In this case,movable interior partitions areideal for allowing students tomake changes within theirunits. The interior can bechanged based on how thespaces are used, the time ofday, season, or the number ofstudents or family members liv-ing in the unit(s). Order is fit-tingly created by the structuralsystem. Its static conditionmaintains organization andclarity and juxtaposes itselfagainst the dynamic nature ofthe interior partitions.

Considered separately, bothorder and flexibility languish inthat which makes them flourish.A highly ordered system alonebecomes sterile while a solelyflexible one becomes chaoticand unpredictable. However,the prosperity of the twodepends on their coexistence.

1

2

II. PRECEDENCE

P R E C E D E N C E

3

II. PRECEDENCE

order

“...One element necessary for the crystallization ofarchitecture is pure geometry, as in the Pantheon.This is the base or framework that endows archi-tecture with presence.”2 - Tadao Ando

Pantheon plan and section

In architecture, order is often created by geometry.The operations of translation, rotation and reflec-tion are used to establish an authority which caneither be absolute and unyielding or subject tochange. Whether or not this framework can bealtered depends on other concerns or discoveriesrevealed through the course of the designprocess.

4

II. PRECEDENCE

order

“...An inevitable element of Architecture.The necessity for order. The regulating lineis a guarantee against wilfulness. It bringssatisfaction to the understanding. The regu-lating line is a means to an end. Its choiceand the modalities of expression given to itare an integral part of architectural cre-ation.”3 - LeCorbusier

Notre Dame, Paris

house by LeCorbusier and Pierre Jeanneret, 1923

II. PRECEDENCE

5

1920’sSchroder House

UtrechtGerrit Rietveld

“The concept of flexibility creates a building which is not a fixed enti-

ty, but a palimpsest on which can be inscribed any life style and any

life view.”4 - Gerrit Rietveld, De Stijl

upper floor interior view with partitions partially closed

upper floor interior view with partitions open

flexibility

6

1990’sFukuoka Housing, Japan

Steven Holl

Steven Holl’s concept of “hinged space” gives modern application to theversatility of the traditional Japanese fusuma sliding panel. Light, color-ful wooden walls turn on pivotal hinges, making it possible to combine orisolate spaces according to hour, season and family make-up.

II. PRECEDENCE

interior view with partitions closed (above) and open (below)

interior view with partitions closed (above) and open (below)

flexibility

7

1300’sDaikakuji

Palace of Emperor SagaKyoto City

The origin of movable interior partitions can be traced to theJapanese fusuma. These sliding panels were constructed with awooden frame strengthened by cross battens to which several lay-ers of paper were glued. A layer of decorative paper was then fixedover the whole and the faces were typically painted to depict astory. The fusuma allowed the house to change with the day andseason. Their dynamic nature was sharply contrasted by the staticcondition of the heavy timber posts and beams which brought orderto the whole.

interior view with fusuma closed

interior view with fusuma open

II. PRECEDENCE

when order meets flexibility

II. PRECEDENCE

when order meets flexibility

table expanded

table closed

patent drawing

1800’s-expanding table-Robert Jupe-England

“...like a flower opening it’s petals.”5 - David Linley, Extraordinary Furniture

8

9

III. PROJECT/PROCESS

B E G I N N I N Gp l a ys e r i o u s


10

site

factors, opportunities and constraints:

location:Blacksburg, VAthree blocks east of university campushillside adjacent to historic building

(Built in the 1830’s, the Thomas C. Connery house terminated Lee Streetat Draper Road and marked the boundary of the original sixteen squaresof Blacksburg. Today, it is used for university offices but it’s presencemarking the intersection at Lee and Draper remains.)

-new construction should complement or even enhance existing buildingand not have an overly imposing presence over the relatively small build-ing

-parking lot behind existing building and street parking along Draper Roadto be used by residents

-woods to the rear of the site to be preserved, offer views of nature


11

corner studies

intersection at Roanoke and Main Streets(northwest corner)

intersection at Roanoke and Main Streets(southeast corner)

local architectural condition as project generator

12


wood block studies


wood block studies

13


wood block studies

14

“...A musical instrument has as many possibilities as the uses to which it is put.An instrument must be played. Within the limits of the instrument, it is up to theplayer to draw what he can from it, within the limits of his own ability. Thus, theinstrument and player reveal to each other their respective abilities to complimentand fulfill one another.”6 - Herman Hertzberger, Form as a Musical Instrument


15

translation of wood blocks into points, line planes and volumes


translation of wood blocks into points,lines,planes and volumes

perspective view along trans-verse axis

16

plan diagram (upper level)

section

perspective view along pri-mary axis

plan diagram (lower level)

17


D E V E L O P M E N To f a s i n g l e u n i t

18


view of model (partitions open)

bedroomliving

entry courtyard

cooking

bath

bedroom

living

entry courtyard

cooking

bath

study model 1

view of model (partitions closed)

perspective view from entry courtyard (partitions open)

19


view of model (partitions closed) view of model (partitions open)

bedroom

living

entry courtyardcooking

bath

bedroom

living

entry courtyard cooking

bath

study model 2

perspective view from bedroom (partitions closed) perspective view from bedroom (partitions open)

perspective view from entry courtyard (partitions closed)

variety provided by nature


entry courtyard studies

morning

20

mid-day

afternoon

evening

winter

spring

summer

fall

regularity established by architecture

“...The courtyard is animportant place whereseasonal changes can bedirectly perceived throughthe senses. The expres-sion of nature changesconstantly. Sunlight, windand rain affect the sensesand give variety to life.Architecture in this waybecomes the medium bywhich man comes intocontact with nature.”7

Tadao Ando


21

column and beam studies

One column is used in a variety ofways. Such a strategy providesmoments of architectural richnesswhile at the same time maintaining anoverall unity.

“...In a body, if the bones and theinsides are healthy, then the skin aswell should be healthy. One cannotdetach the problems of the skin fromdeeper unresolved problems. The crit-ical issue is never the facade, butalways the structure.”8 - Mario Botta


sliding panel study

22

stackable precast block

materials and detail studies

section study

early wall section


23

precast panel details

appliances and fixtures “plugged into” voids in precast panels

rain catches installed atop precast panels to receive water from roof

view of model showing rain catches


24

precast panel studies


25

plan

window studies

cutaway axonometric view section


26

window studies

morningafternoon mid-daymorning mid-day

diagramatic light studies

afternoon


louvers adjusted to block out light

27

window studies

louvers adjusted to receive direct light

louvers adjusted to receive indirect light

louvers adjusted to block out light

louvers adjusted to receive direct light

louvers adjusted to receive indirect light

section, elevation and components study

exterior conditions interior conditions

window assembly variations


28

table raised

study of a dining space

table lowered


29

plan view of two units

flexibility within an ordered system

view of model showing eight units


30

flexibility within an ordered system

two units separated, partitions closed (lower left) and open (upper right) two units joined-partitions manipulated to maintain two separate living spaces

two units fully opentwo units joined-partitions manipulated to create one large central living space

“...What has right size is atthe same time both largeand small, few and many,near and far, simple andcomplex, open andclosed; will furthermoreembrace both unity anddiversity.”9

Aldo Van Eyck

31


C O M B I N I N G U N I T S

32


joining and stacking units (diagramatic studies)

33

space becomes a light well

plan showing layering of units and alignment of structure


vertical connections

axonometric view

units separated work area is lit from above units connected

34


D E V E L O P M E N To f t h e s i t e


35

regulating lines

36


outdoor spaces and contextual relationships

site modelaxonometric view showing site and immediate context

detailed plan and elevation of outdoor space detailed axonometric view of outdoor space

37


axis


38

site

site plan

perspective view from street

39


R E F I N E M E N To f t h e s i n g l e u n i t & s i t e


40

developing an architectural language out of the triangle - study 1

-hypotenuse makes its presence as an uninterrupted linear element-acute angles serve as links to indoors or outdoors as well as adja-cent units-right angles act as structural footholds and contain service spaces

1

2

34

5

plan: 1. entry courtyard 2. living 3. cooking 4. sleeping 5. bathroom

41


study model and details

42


perspective studies

view of model along hypotenuse

interior perspective views along hypotenuse wall with partitions fully closed (far left) to fully open (far right)


43

developing an architectural language out of the triangle - study 2

-hypotenuse makes its presence with its thicknessit is essentially a thick wall containing the service

spaces-acute angles serve as links to indoors or outdoors-right angle become links to adjacent units

Alternative B:

sliding partition linksadjacent units on samelevel, requiring an exteri-or stair

B1 - entry porchB2 - livingB3 - cookingB4 - mechanicalB5 - sliding partition con-necting adjacent unitsB6 - sleepingB7 - bathroomB8 - outdoor terrace

Alternative A:

stairs contained withinhypotenuse, linking unitsabove and below

A1 - entry porchA2 - livingA3 - cookingA4 - mechanicalA5 - stairsA6 - sleepingA7 - bathroomA8 - outdoor terrace

A1A2

B7

A3

A4

A6

A7

A5

B1

B2

B3

B4

B5

B6

A8

B8

44


study model and details

detail showing precast corner member precast panel detail


45

site

“...The liberated dweller, like the reader of poetry, is given many fragmentary beginnings and suggestions for meaningful experience, yet is a forcewho, through action, momentarily “completes” something basically incomplete.”10 - Henry S. Plummer, Liberative Space

1. entry 2. cooking 3A. dining table raised 3B. dining table lowered 4. living 5A. partition closed 5B. partition open 6. sleeping 7. bathroom8. outdoor terrace 9A. window louvers closed 9B. window louvers open 9C. window fully open


46

detailed unit study

1

3A

3B

2

1

2

4

4

5A

5B6

6

7

7

8

8

9B

9A

9C

III. PROJECT/PROCESSsketches

47

IV. ENDNOTES

1 Wurman, Richard S., “What Will Be Has Always Been: The Words of Louis Kahn,” RizzoliBooks, New York, 1986, p. 29.

2 Co, Francesco D., “Tadao Ando: The Complete Works,” Phaidon Press Limited, London,1995,p. 456.

3 LeCorbusier, “Towards a New Architecture,” Dover Publications Inc., New York, 1986, p.3.

4 Overy, Paul, “DeStijl,” Thames and Hudson, London, 1991, p. 113.

5 Linley, David, “Extraordinary Furniture,” Harry N. Abrams Publishing Inc., New York, 1986,p. 3.

6 Hertzberger, Herman, “Lessons for Students in Architecture,” Uitgeverij 010, Rotterdam,1991, p.170.

7 Co, Francesco D., p. 449.

8 Knobel, Lance, “Botta Interview,” Architectural Review, July 1981, Vol. CLXX, No. 1013,p. 24.

9 Eyck, Aldo van, “Place and Occasion, Right Size, The Interior of Time,” Forum, 1962-3, p. 43.

10 Plummer, Henry S., “Liberative Space,” JAE, Spring 1987, Vol. 40, No. 3, p.14.

48

V. PHOTOGRAPHIC CREDITS

p. 3: Ward-Perkins, John, “Roman Architecture,” Harry N. Abrams Publishing Inc., New York,

1977, p. 134.

p. 4: LeCorbusier, “Towards a New Architecture,” Dover Publications Inc., New York, 1986, p.

77&80.

p. 5: Overy, Paul, “Rietveld Schroder House,” MIT Press, Cambridge, 1988, p. 10-11.

p. 6: Holl, Steven, “Anchoring: Selected Projects 1975-1991,” Princeton Architectural Press,

New York, 1991, p. 148-9.

p. 7: Kitao, Harumichi, “Shoin Architecture in Detailed Illustration,” Shokokusha Publishing

Co., Tokyo, 1956, p. 87.

p. 8: Linley, David, “Extraordinary Furniture,” Harry N. Abrams Publishing Inc., New York, 1996,

p. 138-9.

49

VI. BIBLIOGRAPHY

Co, Francesco D., “Tadao Ando: The Complete Works,” Phaidon Press Limited, London,1995.

Eyck, Aldo van, “Place and Occasion; Right Size; The Interior of Time,” Forum, 1962-3.

Hertzberger, Herman, “Lessons for Students in Architecture,” Uitgeverij 010, Rotterdam,1991.

Holl, Steven, “Anchoring: Selected Projects 1975-1991,” Princeton Architectural Press,New York, 1991.

Kitao, Harumichi, “Shoin Architecture in Detailed Illustration,” Shokokusha Publishing Co., Tokyo, 1956.

Knobel, Lance, “Botta Interview,” Architectural Review, July 1981, Vol. CLXX, No. 1013.

LeCorbusier, “Towards a New Architecture,” Dover Publications Inc., New York, 1986.

Linley, David, “Extraordinary Furniture,” Harry N, Abrams Publishing Inc., New York,1996.

Overy, Paul, “DeStijl,” Thames and Hudson, London, 1991.

Overy, Paul, “Rietveld Schroder House,” MIT Press, Cambridge, 1988.

Plummer, Henry S., “Liberative Space,” JAE, Spring 1987, Vol. 40, No. 3.

Ward-Perkins, John, “Roman Architecture,” Harry N. Abrams Publishing Inc., New York,1977.

Wurman, Richard S. “What Will Be Has Always Been: The Words of Louis Kahn,” RizzoliBooks, New York, 1986.

50

VII. VITA

Michael Malofiy

March 20, 1972

Fall 1995 - Summer 1998:Virginia Polytechnic Institute & State University

Blacksburg, VAdegree: Master of Architecture

Fall 1990 - Spring 1995Pennsylvania State University

University Park, PAdegree: Bachelor of Science in Landscape Architecture

51

order and flexibility: michael malofiy this thesis ... model 2 ... tecture with presence.”2 -...

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