Analysing ARCHITECTURE the Universal Language of Place-Making FIFTH EDITION, REVISED and with NEW CHAPTERS

analysing ARCHITECTURE the universal language of place-making FIFTH EDITION, REVISED AND WITH NEW CHAPTERS

‘Probably the best introductory book on architecture.’ Andrew Higgott, Lecturer in Architecture, University of East London, UK

‘A truly amazing book on how to analyze a building. A must read for all young architects.’ Fatema, Goodreads.com

Many people find it difficult learning to do architecture. Initially it can be like asking your brain to do something for which it has no frame of reference. Generally speaking, pre-university education does not prepare the creative mind for the peculiar challenges of architecture. I have known intelligent people – A-grade students in literary or science subjects, unused to academic difficulty – whose confidence has been knocked when faced with the challenges of architecture. Back in the 1990s, I wrote this book to help and, through subsequent editions, revised and expanded it to make it better. This is the fifth edition, complete with new chapters and a subtitle which is explained in the Introduction. The theory of architecture the book presents remains the same. Even so, in response to comments gleaned from a survey of users conducted by my publisher, I continue to try to express it more clearly and thoroughly. There are a few significant changes. The Case Studies at the end of previous editions have been omitted and much of the material contained in them redis- tributed amongst earlier chapters. Alternative and more thorough case studies can be found in the sister book Twenty-Five Buildings Every Architect Should Understand (2017). The Case Studies have been replaced by a completely rewritten chapter on ‘How Analysis Can Help Design’, moved from its position early in the book and placed at the end, where references can be made back to examples in earlier chapters. The chapter on ‘Temples and Cottages’ has been moved near the end too, for similar reasons. In addition, four extra chapters have been added under the banner ‘Themes in Spatial Organisation’: on ‘Axis’, ‘Grid’, ‘Datum Place’ and ‘Hidden’. Other themes relating to Analysing Architecture can be found, treated at greater length, in the separate volumes of the Analysing Architecture Notebook series (see back cover). Simon Unwin, July 2020

Simon Unwin is Emeritus Professor of Architecture at the University of Dundee, Scotland. He has lived in Great Britain and Australia, and taught or lectured on his work in China, Israel, India, Sweden, Turkey and the United States. Analysing Architecture’s international relevance is indicated by its translation into various languages and its adoption for architecture courses around the world. Now retired, Simon Unwin continues to teach at The Welsh School of Architecture in Cardiff, UK.

AA5.indd 1 06/10/2020 14:15 Some reviews of analysing ARCHITECTURE (previous editions):

‘The most lucid and readable introduction to architecture I have read.’ Professor Roger Stonehouse, Manchester School of Architecture

‘Simply the best! I have just gone through the first three chapters of this book and find myself compelled to write this review. I can simply say it is the best and a MUST to everyone in the field of architecture. Students, teachers, and practitioners alike will all find inspirations from this book.’ Depsis, Amazon.com

‘Unwin chooses to look at the underlying elements of architecture rather than, as is more usual, at the famous names, styles, movements and chronology of the genre. This rejection of the conventional art-historical approach can lead to interesting conclusions… It is all presented cogently and convincingly through the medium of Unwin’s own drawings.’ Hugh Pearman, The Sunday Times

‘In clear, precise diagrams and thoughtful text, author Simon Unwin offers an engaging methodology for the study of architecture and aesthetic systems. Time-tested buildings from classical temples to traditional Japanese homes and early modernist masterpieces, are explored in this wide ranging, but focused study. Unwin demonstrates that while architectural styles change over time, the underlying principles that organize quality designs remain remarkably consistent. This book is a must for all architectural students interested in acquiring the visual skills needed to understand a wide variety of design methodologies.’ Diane78 (New York), Amazon.com

‘The text has been carefully written to avoid the use of jargon and it introduces architectural ideas in a straightforward fashion. This, I suspect, will give it a well-deserved market beyond that of architects and architectural students.’ Barry Russell, Environments BY DESIGN

‘From the camp sites of primitive man to the sophisticated structures of the late twentieth century, architecture as an essential function of human activity is explained clearly, and illustrated with the author’s own excellent drawings. Highly recommended as a well-organized and readable introduction.’ [email protected], Amazon.com

‘This book establishes a systematic method in analyzing architecture. It explains how architectural elements are combined together to form designs that could relate an appropriate sense of ‘place’ specific to the programme as well as the environment surrounding it. The book is well illustrated with diagrams and examples. An extremely useful introductory guide for those who want to learn more about the basics of architecture.’ [email protected], Amazon.com

‘This book needs to be praised and appreciated… and provides an excellent overview of the subject. There are beautiful and clear line drawings throughout… and very substantial text that’s TRYING TO TEACH YOU SOMETHING. A very sensitive and thorough treatment of a difficult and challenging subject, I highly recommend this and its companion piece An Architecture Notebook. Both are tremendous studio books, and will always have valuable insights to offer when you take them off the shelf.’ Curt Dilger, Amazon.com

‘This was super helpful to me in first year! I still reference it the odd time when I’m looking for ideas for a precedent or when I’m looking for inspiration! It reduced everything back to the basics which can be helpful if you’re stuck in a rut. I would recommend it to anyone in first or second year studying architecture!’ Lara, Amazon.co.uk

‘Simon Unwin’s book has been so influential on architectural education that it has attained the place of scripture… Enjoy this book for what it is supposed to be: an engaging read by a writer whose only purpose is to illuminate his subject, a task he achieves with aplomb.’ Mr Simon McGuinness, Amazon.com

‘This is an excellent book, recommended to anyone seriously interested in architecture. Its starting point is Unwin’s ability to draw well – to think through his hands, as it were. This is fundamental to architectural skill and Unwin has used it to “talk back to himself” and describe the architecture around him. He uses this skill to romp through a huge number and variety of buildings and architectural situations in order to describe architectural strategies. Unwin has at the heart of his book a definition and understanding of architecture that we thoroughly endorse: to be dealt with in terms of its conceptual organisation and intellectual structure. But he adds to this potentially dry definition an emotive overlay or parallel: architecture as the identification of place (“Place is to architecture as meaning is to language”). Thus he takes on the issue of why we value architecture.’ architecturelink.org.uk/GMoreSerious2.html

AA5.indd 2 06/10/2020 14:15 ‘Analysing Architecture should become an essential part of all architectural education and an informative guide to the powerful analytical tool of architectural drawing.’ Howard Ray Lawrence, Pennsylvania State University

‘Excellent in every way – a core book, along with An Architecture Notebook.’ Terry Robson, Teaching Fellow, University of Bath, UK

‘O livro nos dá instrumentos para melhor analisar obras de arquitetura. Quando aprendemos a destrinchar projetos, também aprendemos como desenvolver nossas próprias criações.’ (‘The book gives us tools to analyze architectural works better. When we learn to untangle projects, we also learn how to develop our own creations.’) Larissa Tollstadius, Goodreads.com

‘I think this is an excellent book and I will continue to recommend it to my students.’ Professor Donald Hanlon, University of Wisconsin-Milwaukee, US

‘Many of the architecture world’s most promising students began their studies with this very book. Analysing Architecture by Simon Unwin is one of the finest introductions in print to architecture and its technique. While a book like this may not be an obvious choice for a fan of architecture, there is no better way of learning the ins and outs of architectural development than from a book like this. Even if you don’t ever see yourself drawing up blueprints or hiring contractors (unless you’re designing the master shed office!), this book can extend an understanding of architecture that only a studied professional could eclipse.’ thecoolist.com/architecture-books-10-must-read-books-for-the-amateur-archophile/ (January 2013)

‘A good overview of architecture for the layperson with a casual interest. Goes over the fundamentals of architecture, what it proposes to achieve, and some of the aesthetic considerations that architects must take into account. An unexpected insight I gained from this book, is how fundamental architecture is to humans. Architecture does not necessarily mean “buildings”.’ Arjun Ravichandran, Goodreads.com

‘As a professor who teaches first year architecture students, Simon Unwin’s Analysing Architecture is required reading – a primary textbook for our students. Beautifully illustrated with drawings from the author’s own notebooks, it also manages to balance legibility with depth: this is a superbly lucid primer on the fundamental principles of architecture. I recommend this book wholeheartedly, for readers both new to architecture, and experienced architects as well. A joy to read, a thing of beauty.’ G.B. Piranesi, Amazon.com

‘First, beautiful illustrations. It is hard to believe every single illustration was hand-drawn… I think this book might have helped me more if I had read it last year (barely beginning my architecture studies). But all is good. This book shed some light and helped expand my basic knowledge of architecture. It also offered a very poetic perspective of architecture in a simplified and tangible way. Mr Unwin, instead of talking vaguely about architecture, spoke quite simply and understandably through words and drawings. It is something to be commended on. I like the idea of architecture as identification of place. That is something I have contemplated but not really gotten into, it was a mere feeling and an idea, rather than a formalized thought. Mr Unwin created words for what I was trying to express.’ Wei Cho, Goodreads.com

‘One would have no hesitation in recommending this book to new students: it introduces many ideas and references central to the study of architecture. The case studies are particularly informative. A student would find this a useful aid to identifying the many important issues seriously engaged with in Architecture.’ Lorraine Farrelly, Architectural Design

‘What is striking about the book is the thoughtfulness and consideration which is present in each phrase, each sentence, each plan, each section and each view, all contributing to an overarching quality which makes the book particularly applicable and appropriate to students in their efforts to make sense of the complex and diverse aspects of architecture… Unwin writes with an architect’s sensibility and draws with an accomplished architect’s hand.’ Susan Rice, Rice and Ewald Architects, Architectural Science Review

‘Simon Unwin’s sketches are fascinating. He includes simplified and thematic drawings, floorplans with associated views, details and three dimensional drawings to illustrate the principles of “identification of place.” He doesn’t judge architects, but discusses works in their context through thematic perspectives. It is exactly what he says it is; one broad system of analysis. A comprehensive and valuable overview of architecture as a whole.’ TheGriffinReads,Goodreads.com

AA5.indd 3 06/10/2020 14:15 Analysing Architecture Notebooks (these Notebooks are supplements to the present volume)

Metaphor: an exploration of the metaphorical dimensions and potential of architecture Curve: possibilities and problems with deviating from the straight in architecture Children as Place-Makers: the innate architect in all of us Shadow: the architectural power of withholding light

(Keep an eye on routledge.com/Analysing-Architecture-Notebooks/book-series/AAN for further additions to this series.)

Other books by Simon Unwin

An Architecture Notebook: Wall Doorway Exercises in Architecture: Learning to Think as an Architect Twenty-Five Buildings Every Architect Should Understand The Ten Most Influential Buildings in History: Architecture’s Archetypes

ebooks (available for iPad from Apple Books)

Skara Brae The Entrance Notebook Villa Le Lac The Time Notebook The Person Notebook

Simon Unwin’s website is at simonunwin.com (Some of Simon Unwin’s personal notebooks, used in researching and preparing this and his other books, are available for free download from this site.)

routledge.com/textbooks/9780415489287/

AA5.indd 4 06/10/2020 14:15 analysing ARCHITECTURE the universal language of place-making FIFTH EDITION, REVISED AND WITH NEW CHAPTERS

AA5.indd 5 06/10/2020 14:15 Fifth edition published 2021 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN

and by Routledge 52 Vanderbilt Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis Group, an informa business

The right of Simon Unwin to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Publisher’s Note This book has been prepared from camera-ready copy provided by the author.

First edition published by Routledge 1997 Fourth edition published by Routledge 2014

British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data Names: Unwin, Simon, 1952- author. Title: Analysing architecture : the universal language of place-making / Simon Unwin. Description: 5. | Abingdon, Oxon ; New York : Routledge, 2021. | Includes bibliographical references and index. Identifiers: LCCN 2020037811 (print) | LCCN 2020037812 (ebook) | ISBN 9780367523572 (hardback) | ISBN 9780367524432 (paperback) | ISBN 9781003058007 (ebook) Subjects: LCSH: Architectural design. | Architectural design--Case studies. Classification: LCC NA2750 .U58 2021 (print) | LCC NA2750 (ebook) | DDC 729--dc23 LC record available at https://lccn.loc.gov/2020037811 LC ebook record available at https://lccn.loc.gov/2020037812

ISBN: 978-0-367-52357-2 (hbk) ISBN: 978-0-367-52443-2 (pbk) ISBN: 978-1-003-05800-7 (ebk)

Designed and typeset in Georgia and Arial by Simon Unwin

AA5.indd 6 06/10/2020 14:15 for Gill

and in memory of David McLees

AA5.indd 7 06/10/2020 14:15 AA5.indd 8 06/10/2020 14:15 CONTENTS

PREFACE TO THIS NEW EDITION 3

INTRODUCTION 5 ARCHITECTURE AS INTELLECTUAL STRUCTURE AND IDENTIFICATION OF PLACE 11 BASIC ELEMENTS OF ARCHITECTURE 21 MODIFYING ELEMENTS OF ARCHITECTURE 35 ELEMENTS DOING MORE THAN ONE THING 49 USING THINGS THAT ARE THERE 59 PRIMITIVE PLACE TYPES 71 ARCHITECTURE AS MAKING FRAMES 93 GEOMETRIES OF BEING 105 IDEAL GEOMETRY 137 THEMES IN SPATIAL ORGANISATION 1 SPACE AND STRUCTURE 165 2 PARALLEL WALLS 179 3 AXIS 191 4 GRID 203 5 DATUM PLACE 213 6 STRATIFICATION 223 7 TRANSITION, HIERARCHY, HEART 233 8 IN-BETWEEN 241 9 INHABITED WALL 249 10 HIDDEN 257 11 REFUGE AND PROSPECT 267 TEMPLES AND COTTAGES 277 HOW ANALYSIS CAN HELP DESIGN 291 POSTSCRIPT 307

ACKNOWLEDGEMENTS 312 BIBLIOGRAPHY AND REFERENCES 313 INDEX 319

AA5.indd 9 06/10/2020 14:15

analysing ARCHITECTURE the universal language of place-making FIFTH EDITION, REVISED AND WITH NEW CHAPTERS

AA5.indd 1 06/10/2020 14:15 ‘The search is what everyone would undertake if he were not stuck in the everydayness of his own life. To be aware of the possibility Walker Percy – The Moviegoer (1961), quoted in Lawrence Weschler – Seeing is Forgetting of the search is to be on to something. Not to be on to something is the Name of the Thing One Sees: a Life of to be in despair.’ Contemporary Artist Robert Irwin, 1982.

‘But why think about that when all the golden lands ahead of you and all kinds of unforeseen events wait lurking to surprise you and make you glad you’re alive to see?’ Jack Kerouac – On the Road (1957), 2000.

AA5.indd 2 06/10/2020 14:15 PREFACE TO THIS NEW EDITION

ou will notice that I have given this fifth edition of Analysing Architecture a Ysubtitle: the universal language of place-making. This needs a little explanation. Words can be treacherous. As Humpty Dumpty famously asserted, ‘When I use a word, it means just what I choose it to mean – neither more nor less.’* I need to explain what I choose to mean by each of the significant words in my subtitle. More substantial explanations are provided in the early chapters, but here I feel I should suggest a few caveats, friendly warnings to you the reader not to impose on my words your meanings! Let’s start at the end. ‘Making’ is an abbreviation for a number of activities, intellectual and physical. We think of ‘making’ as fashioning material into something. This sense of the word is of course important in architecture; after all, we build walls with bricks, etc. But here, ‘making’ can mean something more subtle: as when we ‘make’ (establish) a place merely by choice or occupation; as when we stand atop a rock or sit under a tree. Architecture is always consequent on this latter meaning, though obviously it also very often involves the former – we build We see Paris as a place. We see London, Rome, Cardiff, Tokyo, New York, Beijing, where we recognise the opportunity. Delhi… the Sahara desert, the Lake Next, ‘place’. Often when I speak of ‘place’ people infer that I mean Paris, District, the Nullarbor Plain, the Andes… London or Rome. That sense of the word is not irrelevant here but again my as places too. meaning is subtly different. It is more akin to that suggested in the old adage, ‘a place for everything and everything in its place’. I am at this moment sitting at my desk, the ‘place’ where I work. The Eiffel Tower may well represent, as a symbol, the place ‘Paris’ but it is also a ‘place’, a platform from which the wide city can be viewed; that place being supported by a massive steel structure. This meaning of ‘place’ speaks to our direct engagement with and inhabitation of the physical world in which we find ourselves. And it is essential to my explanation of the next word (working backwards through my subtitle), ‘language’. I am often frustrated that there does not seem to be a word for what I want to say. My use of the word ‘language’ is a compromise.** I suggest later in this book that ‘place is to architecture as meaning is to language’: i.e. where ‘meaning’ is what In a different sense, we see a rock on the beach as a place to sit. Architecture we might call the essential burden of language, ‘place’ is the essential burden of originates in this more immediate sense of architecture. The essential burden of a house is that it is a ‘place’ where someone place; the sense in which we occupy and engage directly with our surroundings. lives, and contains all the complex of places that people inhabit as frames for their The Eiffel Tower is a place in this domestic existence. This simple truth has profound ramifications. It means that latter sense too. As an object it may be a symbol of the French capital but its architecture possesses all the potential for making sense of the world that language topmost platform is an elevated place from has, if not more. But where language carries its with words, architecture carries its which we can survey the whole city. with topography, materials, the arrangement of elements, spatial organisation… The word ‘universal’ is perhaps the least problematic. It is widely accepted as a synonym for common, applicable everywhere. At this point you might protest that architecture is not the same everywhere: Chinese architecture differs from * Lewis Carroll – Through the Looking Glass (1896). Greek; Classical from Gothic; timber from concrete… And of course that is true ** In architectural literature there are many in terms of appearances, materials used, construction techniques etc. This might instances of what are termed ‘linguistic analogies’. In this book I do not use the word seem a fatal challenge to the claim implicit in my subtitle. But I maintain it is not. ‘language’ to suggest an analogy. For those different architectures, and the many I did not mention, can all be seen *** There is a recognised field of architectural to share a common ‘language’ – a ‘metalanguage’ – that underlies their differences analysis called ‘space syntax’. In this book I am in culture, style, construction. One might describe it as (continuing the linguistic not using the word in the same way. metaphor) the grammar, the syntax,*** the organisational strategies etc., that those The ways I do use ‘language’ (or ‘metalanguage’) and ‘syntax’ are explained in superficially disparate architectures share. the text.

AA5.indd 3 06/10/2020 14:15 That metalanguage of architecture – the universal language of place- making – is the subject of this book. Everyone understands it. We all know how to interpret and interact with a circle drawn on the ground, with walls and doorways, with windows, stairs, furniture, table settings, street organisations, office and schoolroom layouts… Generally we all have a sense of when somewhere is private or public, though sometimes the signs may be difficult to read. We can all read the identity of places and respond accordingly. Either intuitively or through learning as we grow up, we know how to interpret the physical world around us and to situate ourselves in it. Everyone uses the universal language of place-making too. But only to a degree. On the beach for example, we are all capable of making a place for ourselves, even with as little as a towel, or maybe with an arrangement of windbreaks and parasols. To be able to use, to ‘speak’, the language fluently and ‘say’ sophisticated things with it – i.e. to be professional architects – we have to consider it consciously, deliberately assimilate its potential so that we can employ it effectively in the service of others. To be a professional architect you need to build on your rudimentary grasp of architecture’s metalanguage. That is what this book will help you do. Even though the professional practice of architecture demands mastery of Over two thousand years ago the Roman many fields of knowledge: constructional, environmental, scientific, legal, cultural, architect Vitruvius wrote that an architect should be… spiritual…, it is this universal language of place-making that lies at its conceptual ‘… educated, skilful with the pencil, core. There are specialist consultants that can help with all the other fields of instructed in geometry, know much history, have followed the philosophers knowledge, but this one belongs to the architect. And anyone who ‘speaks’ the with attention, understand music, ‘universal language of place-making’ is an architect, whether or not they have the have some knowledge of medicine, professional qualifications (even though, if they don’t, they are not allowed – in know the opinions of the jurists, and be acquainted with astronomy and the Britain at least – to use that title). theory of the heavens.’* Even so, being in command of the universal language of architecture – which Maybe Humpty Dumpty’s comment on the fickleness of words has become some- Vitruvius does not mention – is actually the thing of a cliché. The same is probably true of the adage ‘a place for everything…’. core defining skill, the essential skill, the Well another possible cliché is L.P. Hartley’s observation that ‘the past is a foreign sine qua non of being an architect. country: they do things differently there’.** I am certainly aware that the present culture in education, as well as the wider profession of architecture, is very different from when I first wrote Analysing Architecture back in the 1990s. I have tried to be mindful of some of the changes by trying even harder to be clear and helpful in what I include and how I describe it. The principle revisions I have made in this edition are: amendments to the Introduction; fresh examples in most chapters; a completely re-conceived chapter on ‘How Analysis Can Help Design’ (now at the end of the book); repositioning of the chapter ‘Temples and Cottages’; new chapters on ‘Axis’, ‘Grid, ‘Datum Place’ and ‘Hidden’; and, to make space for the these changes, redistribution of content from the Case Studies amongst earlier chapters. Elsewhere, apart from a general change of format (again to make space for the additional chapters), I have updated and redrawn some of the illustrations and kept an eye out for possible clarifications in the text.

Simon Unwin, September 2020

* Vitruvius, trans. Hickey-Morgan – The Ten Books on Architecture (1stC BCE), 1960.

** L.P. Hartley – The Go-Between (1953), 2004.

4 Analysing ARCHITECTURE

AA5.indd 4 06/10/2020 14:15 Architecture is all around us. It frames our lives. By architecture we make sense of the world. So let’s try to make sense of it. Let’s find architecture’s architecture so you can start to experiment with it.

INTRODUCTION

AA5.indd 5 06/10/2020 14:15 ‘Modern builders need a classification of architectural factors irrespective of time and country, a classification by essential variation… In architecture more than anywhere we are the slaves of names and categories, and so long as the whole field of past architectural experiment is presented to us accidentally only under historical schedules, designing architecture is likely to be conceived as scholarship rather than as the adaptation of its accumulated powers to immediate needs.’ W.R. Lethaby – Architecture, 1911.

‘The most important assignment of life: to begin each day afresh, Georg Simmel – Posthumous Fragments and as if it were the first day – and yet to assemble and have at one’s Essays (1923), quoted in Fritz Neumeyer – The Artless Word: Mies van der Rohe on the Building disposal the entire past with all its results and forgotten lessons.’ Art, 1991.

‘Our profession is an old language and it has a grammar. And about this people don’t know anything. So how is it they can do a building if they do not know the grammar? In the primary school you have a thing like an “A”. Perhaps then you have “apple”. A long time later you try to write a love letter. I think you have learned the Peter Märkli, quoted by Beatrice Galilee – ‘Interview with Zurich-based architect Peter language ten or eleven years until this moment. For me it’s the Märkli’, in IconEye: Icon Magazine Online, May same. It’s very important that you give yourself time to learn this 2008, available at: iconeye.com/component/k2/item/3453-peter- profession from the beginning.’ maerkli (December 2019).

AA5.indd 6 06/10/2020 14:15 INTRODUCTION

powers, the conditions that affect it and attitudes that might autodidact, ö' tō-di-dakt, n. a self-taught person. be adopted in doing it. The themes of those chapters can be —adj. autodidact' ic. [Gr. autos, self, didaktos, used as a basis for your analyses of the works of architecture taught.] Chambers Twentieth Century Dictionary. you encounter, and as prompts for your own attempts at design. In both ways the theory provided here will help you o be an architect you have to be an autodidact. All archi- develop your fluency in the language of architecture. What Ttects are: it keeps architecture alive, always changing: you say with it is up to you. sometimes in subtle ways, sometimes dramatically. Every After this Introduction, the first chapter offers a work- architect – you included – evolves their own way of doing ing definition of architecture, as ‘Intellectual Structure and architecture. Some try to create an original design methodol- Identification of Place’. These are put forward as the primary ogy but, generally speaking, the most adept find their fluency objective and burden of architecture. Realisation that the by studying the work of others. Being an autodidact does not fundamental motivations of architecture are to provide intel- mean that you are on your own. There is, as W.R. Lethaby lectual structure and to identify place is the key to becoming (opposite) says, ‘the whole field of past architectural experi- an architect. By the means of architecture we structure places. ment’ to learn from. The more deeply you study it the more Places mediate between content and context, engaging both. ideas and strategies for design emerge, and the more profound These realisations underpin everything that follows. your own architecture becomes. Underlying historical and Subsequent chapters illustrate: ‘Basic…’ and ‘Modifying regional variations in appearance and construction, there is Elements of Architecture’; considerations that may be taken a universal language of architecture – a ‘metalanguage’. By into account when doing it; and some common strategies for providing a conceptual framework of themes by which you organising space. Each chapter deals with a specific theme; can study examples, this book offers a foundation on which some deal with a number of sub-themes under a more gen- you can build your understanding of the metalanguage of eral heading. The themes and sub-themes are like analytical architecture and develop your fluency. filters or frames of reference. Each focuses on a particular Look in the notebooks of any great architect and you aspect of the complexity of architecture: ‘Elements Doing will see a magpie acquiring ideas from wherever they may be More Than One Thing’; ‘Using Things That Are There’; found, playing with them and making them their own. For ‘Primitive Place Types’; ‘Architecture as Making Frames’; some years I have used a notebook to analyse works of archi- ‘Geometries of Being’; ‘Ideal Geometry’. After that there are tecture. I find this exercise useful as an architect and it helps eleven chapters exploring some of the fundamental strategies focus my teaching. My simple premise is that our capacity for in organising space: relations between ‘Space and Structure’; doing architecture can be developed by studying how it has ‘Parallel Walls’; the powers of the ‘Axis’ and the ‘Grid’; uses been done by others. In this way we become aware of what of the ‘Datum Place’; ‘Stratification’; ‘Transition, Hierarchy, Lethaby called its ‘accumulated powers’ and, by looking at Heart’; being ‘In-Between’; the ‘Inhabited Wall’; places that how other architects have used them, see how they might be are ‘Hidden’; and ‘Refuge and Prospect’. The penultimate exploited and developed in our own design. It is in this way chapter ‘Temples and Cottages’ discusses the conditioning too that we can begin to ‘know’ what Peter Märkli (opposite) power exerted by the attitudes architects adopt to the world, calls the ‘old language’ and the ‘grammar’ of architecture. other people, history, materials etc.. In all the chapters there is an intimate connection THE FORM OF THIS BOOK between text and drawings. Some of the drawings are diagrams of particular elements or ideas but many are The following chapters offer a theory of the universal language of examples that illustrate the themes being discussed. of architecture. They illustrate themes that have emerged in Examples are usually presented in plan or section, where their my notebooks. I cannot claim that the theory offered is com- underlying ideas and conceptual strategies are often most plete. It might be described as the ‘rudiments of architecture’ clearly evident. Plans and sections tend to be the abstractions (in the same sense that music students are offered the ‘rudi- through which architects design. They are often also the most ments of music’ as a foundation for an understanding that appropriate medium for analysis. Examples have been taken will stand them in good stead as performers and composers). from many different times, cultures, climates and regions of The following chapters illustrate architecture’s elements, their the world. I have provided references to periodicals, other

AA5.indd 7 06/10/2020 14:15 In your notebook you can record places you visit…

books and websites where more information and photographs any or all of the analytical filters, though this will not produce of the examples may be found. Examples are dealt with as interesting revelations in all instances. illustrating what might be termed the universal language of Analysing creative work is different from analysing architecture rather than the orthodox stylistic classifications natural phenomena (a geological formation, a region’s flora, of architectural history – ‘Classical’, ‘Gothic’, ‘Modern’, ‘Queen the workings of the digestive tract of a rabbit…). In analysing Anne’, ‘Arts and Crafts’, ‘Postmodern’ and so on. The examples works of architecture, which are products of creative minds, in this book are grouped according to their underlying ideas you have to be sensible to the intellectual agenda inherent in and strategies rather than by style or period. Thus an ancient the examples studied and be prepared to find and acknowl- Greek temple might be discussed alongside a Gothic cathedral edge ideas and strategies that may be original or used in or a twentieth-century Finnish cemetery chapel because all new ways. employ the ‘Parallel Wall’ strategy; a twenty-first century Through time architects have invented, discovered library might be discussed alongside a Victorian Gothic tower and experimented with new ideas: there was once a time, because both illustrate ‘Stratification’; a mud-house found in in the very distant past, when that ubiquitous architectural India might be compared with an icon from the 1920s because element, the wall, had not yet been invented; there is evidence they share a ‘Space and Structure’ strategy. The universal (in archaeological remains) of the gradual discovery of and language of place-making underpins all architecture. experimentation with the powers of the axis in organising Some works have been selected as appropriate exam- space; and so on. The metalanguage of architecture (just like ples in more than one chapter, illustrating a different theme the language we speak and write) has evolved over thousands in each. Any work of architecture may be examined through of years and will continue to develop in the future.

8 Analysing ARCHITECTURE

AA5.indd 8 06/10/2020 14:15 … and study works you find in books and journals.

THE POETIC POTENTIAL OF ARCHITECTURE I am open to as many dimensions of architecture as present themselves to me. I am not interested in restrictive, The poetic potential of architecture is, I think, evident partial or prescriptive definitions of architecture nor in throughout this book. If poetry is a condensation of experi- promulgating a manifesto for how it should be done. I do not ence of life, then architecture is an exercise in (non-verbal) want to get entangled in semantics or etymology, nor to dis- poetry, essentially. But it can be seen that some architecture tort my understanding of the subject by inappropriate use of achieves more: it seems to provide a transcendent poetry, a metaphor. So I work teleologically, from achieved examples. level of meaning and significance that overlays the immedi- I study examples that are generally accepted as ‘works of ate presentation of place and which is to be interpreted, as a architecture’ (as well as some that are not usually considered complement to sensual perception and experience, for appre- as such but which may possess some claim to be so) and distil ciation by the intellect and sensibility. Sometimes this poetry from them the underlying ideas and strategies they manifest is susceptible to analysis; sometimes it defies analysis and and often share. This is (for you as well as me) an open-ended remains ineffable. The overall aim of the exercise is to explore exploration that goes hand-in-hand with design. architecture without prejudice and to allow the framework for All is presented as a stimulus for you to try analysing analysis to expand as more themes are identified. I started by examples for yourself, and to play, in your own design, with wanting to understand how architecture works so I could do the ideas and strategies you find. What you discover for it myself and help others come to their own understanding yourself – by searching, recording, analysing, reflecting, of how it might be done. Through this, transcendent poetry experimenting – can be more consequential than what you perhaps becomes more attainable. are told or read in this or any other book.

INTRODUCTION 9

AA5.indd 9 06/10/2020 14:15 Architecture is everywhere. It gives sense to our world. We Above, for example, are a couple of pages from one of my conceive, construct and inhabit it. It organises our use of space. notebooks.**** They include passages from Yevgeny Zemyatin’s We modify it as circumstances change. As architects, it is in our 1921 novel We describing the glass city in which the story is set. minds; and being in our minds, it makes us architects. It is on the On the left hand page is my attempt to visualize that verbally populated beach and in our rooms, houses, cities, gardens… It described city. (I made a more refined version of this sketch for is drawn on the ground and on sheets of paper. It is modelled in page 168 of Metaphor in the Analysing Architecture Notebook computer software and displayed on screens. It is in the pages of series. It could also be the basis for developing a design.) journals and novels. It is in the imaginations of writers describing I was reading We whilst staying in a hotel on the banks of the worlds their narratives inhabit.* It is in movies** and computer a lake in Italy. During that stay I was struck by the variety of ways games. It is in our dreams.*** Even when unrealised in physical buildings and gardens interacted with the edge of the lake, and material, it is still architecture. began to sketch examples (upper part of right page). They extend Wherever you encounter it, the architecture of others is my repertoire of how to treat edges between land and water. a quarry from which you can mine ideas. There are rich seams The notebook on page 8 shows sketches, mainly in section, there. When you encounter precious ore, extract it; record and of architectural instances I found interesting whilst staying in reflect on it in your notebook. It might help you with a current Positano in southern Italy. The spread open on page 9 explores project or you might not use it right away; you might come back buildings – by Colin St.John Wilson and Herman Hertzberger – by to it in a decade or more. But by recording and reflecting on it redrawing their plans and sections from published sources. There you have introduced it into your growing repertoire of ideas – the is no better way of understanding the underlying architecture of precious and essential ore from which architecture is smelted. A buildings than by redrawing their plans and sections. Doing so notebook is a crucible of creativity. It is a repository, a quiet room gives you insights that even visiting the actual buildings does not. for reflection, a forum for argument, a laboratory for experiment, a Though that does not mean you should miss a chance to visit a playground for adventure… building if you can; but do draw its plans and sections too!

* See for example: *** See for example C.G. Jung – Memories, Dreams and Reflections Marilyn R. Chandler – Dwelling in the Text, 1991; (1963), in which the psychiatrist recalls a dream that became the basis for a Ellen Eve Frank – Literary Architecture, 1979. house he designed and built for himself. See page 123–5 of the Metaphor Notebook.) ** See for example: Juhani Pallasmaa – The Architecture of Image, 2001; **** Some of my complete and unedited notebooks can be downloaded as François Penz – Cinematic Aided Design, 2018. pdfs from my website: simonunwin.com.

10 Analysing ARCHITECTURE

AA5.indd 10 06/10/2020 14:15 BIBLIOGRAPHY AND REFERENCES

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AA5.indd 313 06/10/2020 14:18 James Corner – ‘The Agency of Mapping: Speculation, Critique Kenneth Frampton and Charles Correa – Charles Correa, Thames and Invention’, in Dennis Cosgrove, ed. – Mappings, Reaktion & Hudson, London, 1996. Books, London, 1999. Ellen Eve Frank – Literary Architecture: Essays Toward a John Mordaunt Crook – William Burges and the High Victorian Tradition, University of California Press, Berkeley and Los Dream, John Murray, London, 1981. Angeles, 1979. Norman Crowe and Paul Laseau – Visual Notes for Architects and Suzanne Frank – Peter Eisenman’s House VI: the Client’s Designers, John Wiley & Sons, New York, 1984. Response, Whitney Library of Design, New York, 1994. Michael Cunningham – The Hours, Fourth Estate, London, 1999. Paul Frankl, trans. O’Gorman – Principles of Architectural History Nathaniel Cortland Curtis – Architectural Composition, (1914), MIT Press, Cambridge, MA, 1968. J.H. Jansen, Cleveland, OH, 1923. Jonathan Block Friedman – Creation in Space, a Course in the Roald Dahl – Matilda, Jonathan Cape, London, 1988. Fundamentals of Architecture Volume 1: Architectonics, Glyn Daniels – Megaliths in History, Thames and Hudson, Kendall/Hunt, Dubuque, Iowa, 1989. London, 1972. Jonathan Block Friedman – Creation in Space, a Course in the Dante Alighieri, trans. Cary – The Divine Comedy (1300), available Fundamentals of Architecture Volume 2: Dynamics, Kendall/ at: Hunt, Dubuque, IA, 1999. gutenberg.org/files/8800/8800-h/8800-h.htm (March 2020). Meghan Furlong – unpublished dissertation, University of Dundee, John Dee – Mathematicall Praeface to the Elements of Geometrie 2009. of Euclid of Megara (1570), facsimile edition, Kessinger Yukio Futagawa, ed., Bernard Bauchet and Marc Vellay – La Publishing, Whitefish, MT, undated. Maison de Verre, A.D.A. Edita, Tokyo, 1988. Gilles Deleuze and Félix Guattari, trans. Massumi – ‘1837: Of the Beatrice Galilee – ‘Interview with Zurich-based architect Peter Refrain’, in A Thousand Plateaus (1987), Continuum, London, Märkli’, in IconEye: Icon Magazine Online, May 2008, 2004. available at: Andrea Deplazes, ed. – Constructing Architecture: Materials, iconeye.com/component/k2/item/3453-peter-maerkli Processes, Structure, Birkhäuser, Basel, 2005. (December 2019). René Descartes, trans. Haldane and Ross – ‘Discourse on the Johann Friedrich Geist, trans. Newman and Smith – Arcades Method of Rightly Conducting the Reason and Seeking (1979), MIT Press, Cambridge, MA, 1983. for Truth in the Sciences’ (1637), in Chávez- Arvizo, ed. – (Gigon and Guyer) – ‘Kalkriese Historical Park’, in Architectural Descartes: Key Philosophical Writings, Wordsworth Editions, Review, July, 2002. Ware, 1997. Paul Goldberger and others – Richard Meier Houses, Thames and (Dewes and Puente) – ‘Maison à Santiago Tepetlapa’, in Hudson, London, 1996. L’Architecture d’Aujourd’hui, June 1991, p. 86. E.H. Gombrich and others – Leonardo da Vinci (exhibition Charles Dickens – Bleak House (1853), available at: catalogue), Hayward Gallery, London, 1989. gutenberg.org/files/1023/1023-h/1023-h.htm (May 2020). Herb Greene – Mind and Image, Granada, London, 1976. György Doczi – The Power of Limits: Proportional Harmonies in Vittorio Gregotti – ‘Address to the Architectural League, New York, Nature, Art & Architecture (1981?), Shambala, Boston, 2005. October 1982’, in Section A, Volume 1, Number 1, February/ John Donat, ed. – World Architecture 1, 2 and 3, Studio Vista, March 1983. London, 1964, 1965, 1966. Walter Gropius – Scope of Total Architecture, George Allen & Fyodor Dostoyevsky, trans. Magarshack (1958) – The Brothers Unwin, London, 1956. Karamazov (1880), Penguin, London, 1982. Stephen Grosz – The Examined Life: How We Lose and Find Tore Drange, Hans Olaf Aanensen and Jon Brænne – Gamle Ourselves, Chatto & Windus, London, 2013. Trehus, Universitetsforlaget, Oslo, 1980. Julien Azais Guadet – Éléments et théorie de L’Architecture (4 J.-N.-L. Durand – Preçis des Leçons d’Architecture (1819), vols.), Librairie de la Construction Moderne, Paris, 1901–4. reprinted in facsimile by Verlag Dr. Alfons Uhl, Nördlingen, Romano Guardini, trans. Geoffrey W. Bromiley – Letters from 1981; trans. David Britt, with an introduction by Antoine Picon, Lake Como: Explorations on Technology and the Human Race Getty Research Institute, Los Angeles, CA, 2000, available at: (1923–25), William B. Eerdmans Publishing Company, Grand d2aohiyo3d3idm.cloudfront.net/publications/ Rapids, MI, 1994. virtuallibrary/0892365803.pdf (May 2020). Margaret Guido – Sicily: An Archaeological Guide, Faber & Faber, I.E.S. Edwards – The Pyramids of Egypt, Penguin, London, 1971. London, 1967. Peter Eisenman – The Formal Basis of Modern Architecture (Zaha Hadid) – ‘Vitra Fire Station’, in Lotus 85, 1995. (1963), Lars Müller Publishers, Switzerland, 2006. Lawrence Halprin – The Sea Ranch… Diary of an Idea, Mircea Eliade, trans. Sheed – Patterns in Comparative Religion, Spacemaker Press, Berkeley, CA, 2002. Sheed and Ward, London, 1958. John Hammond – The Camera Obscura: a Chronicle, Hilger, Mircea Eliade, trans. Trask – The Sacred and the Profane: the Bristol, 1981. Nature of Religion (1957), Harcourt Brace and Company, San Hampshire County Council – Hampshire Architecture (1974–1984), Diego, 1959. Academy Editions, London, 1985. (Shuhei Endo) – (Lavatories, Japan), Architectural Review, John F. Harbeson – The Study of Architectural Design, Pencil December 2000. Points Press, New York, 1927. Heinrich Engel – The Japanese House: a Tradition for L.P. Hartley – The Go-Between (1953), Penguin, London, 2004. Contemporary Architecture, Tuttle, Tokyo, 1964. Dean Hawkes – The Environmental Imagination, Routledge, Arthur Evans – The Palace of Minos (1921), (in 7 volumes) Abingdon, 2008. Cambridge U.P., 2013. 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AA5.indd 314 06/10/2020 14:18 Martin Heidegger, trans. Hofstader – ‘Building Dwelling Thinking’ Le Corbusier, trans. de Francia and Bostock – The Modulor, (1951) and ‘… Poetically Man Dwells…’ (1951), in Poetry, a Harmonious Measure to the Human Scale Universally Language and Thought (1971), Harper and Row, London and Applicable to Architecture and Mechanics (1948), Faber & New York, 1975. Faber, London, 1954. Ernest Hemingway – ‘Big Two-Hearted River’, in In Our Time, Le Corbusier, trans. de Francia and Bostock – Modulor 2 (let the Boni & Liveright, New York, 1925. user speak next) (1955), Faber & Faber, London, 1958. George L. Hersey – Architecture and Geometry in the Age of the Le Corbusier, trans. Aujame – Precisions on the Present State of Baroque, Chicago U.P., Chicago and London, 2000. Architecture and City Planning (1930), MIT Press, Cambridge, Herman Hertzberger – Lessons for Students in Architecture, MA, 1991. Uitgeverij Publishers, Amsterdam, 1991. Le Corbusier, trans. 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