Sinead O’Shaughnessy 17 0047007 Geometry in architecture Geometry within Architecture Can a harmony be achieved between the social Contents and physical aspects of a design when design- ing through geometry and, if so, how is this to Introduction 2 be accomplished? The problem with this de- sign method is that it appears to emphasise Architecture and the social environment 2 the method of design and construction rather than the social and humanist implications of the Architecture and the physical environment 3 project. Therefore, the most important aspect of our work becomes the recognition of the limita- Formal Aesthetic 3 tions of geometry for each individual project and its eventual translation into three dimensional New plan of Rome 4 space. Landscape and Topography 5 Designing from the inside out 5 Attributes 6 Movement and Intensity 6 Primer Projects Shannon Airport, Co. Clare 7 Tempelhof Airport, Berlin 8 University of Limerick, Limerick 9 San Carlo Alle Quattro Fontane, Rome 10 Limerick City Centre and Periphery 12 Site 12 Brief 13 Design 13 References 32 Bibliography 33 1 Introduction Architecture and the social environment How do we begin to design? We begin with an In an essay by Ruth Levitas, she remarks that idea which must manifest itself in some form. ‘it is not what we imagine but that we imagine’ 2 These ideas will be further enriched as designs and that the fact that we strive for a better progress. To generate this original idea with a way of living is the most important thing. It is geometrical premise could add a layer of coher- the creative mind of the architect which attempts ence or logic to a project. to visualise alternatives through a process of self If, as Carlos Ferrater suggests, ‘the Architect’s criticism and an indepth knowledge or aweare- work lies in the act of moving from geometry ness of the existing social conditions. Nathaniel to space’1, then should we not approach every Coleman refers to this utopian method, described design from a geometrical starting point? Is that by Ruth Levitas as a developing of a mind- 3 not the strongest move we, as architects, can set rather than a method . In this case, the make. use of a geometric starting point would seem And can we use this geometric tool further; almost meaningless unless that geometry was can we use it on all scales from overall sys- allowed to adjust and develop to the programme tem design to object detail? Can this system requirements. The strength of an architectural which tends to be inflexible and rigid adjust to proposal will be greater if the geometry in de- the demands of construction, site, climate, pro- sign has an important significance to the social gramme and aesthetic? aspects of the site and its surrounding area. Through analysis of a precedent study and within Nathaniel Coleman remarks that ‘the decidedly my projects throughout the year, I wish to ob- vocational character of architecture education, serve different geometries through to actualisa- which is skills based and thoroughly embedded tion, to get a better appreciation of all geometry within the dominant economic system, generally has to contribute within architecture. In doing precludes the development of such a humanistic 4 this, I also hope to challenge the limitations to and holistic approach’. a geometric approach in architectural design. As a result, Nathaniel Coleman argues that we, as architects, need a deep social understanding of what we are doing so our designs are less aesthetic and more ethical. 5 2 Architecture and the physical environment ‘Formal Aesthetic’ in Classical Architecture The creation of a mathematical geometry and a method of calculation gave rise to the profession Ideal geometrical shapes such as the trian- of the architect. It allowed him to put drawings gle, square and circle are easily recognisable together. Robin Evans notes that architecture and familiar to us. They have strong attributes. ‘remodels nature on the pattern of geometry’s Spaces that are designed using these ideal fabricated truths. 6 The straight lines of geom- shapes are often more likely to be preserved etry are made by us and do not exist naturally. from outside interference. Ferrater remarks that Guarino Guarini writes about the idea that ge- Fig. 1 Pantheon section ‘the initial assumption of a strong geometry ometry is the foundation of architecture and ‘that (one capable of generating an intrinsic order it gives architecture a reasonable ground but to the project) will render the intrusion of out- does not confine it to rationality’. He explains side and alien factors difficult or impossible, thus that architecture is dependent on mathematics 7. producing a sort of armament.’ 8 The use of geometry forms the substructure or In Classical Architecture, ideal geometric shapes the starting point from which a design can be were a symbol of power and wealth. Structur- developed. It allows us to work in abstract form, ally, they provide a more rigid form, as can to create conceptual ideas and how we convert be seen in arches, domes, vaults used in this these ideas to a piece of architecture is up to time. Classical Architecture based its designs the individual. Our first thoughts put from pen to around the structural qualities and social aspects paper will generate the type of geometrical forms of these ideal geometries. The overall forms we will use. created with this type of design were moti- vated by this ‘formal aesthetic’. Their strength The type of geometry used will have a big was displayed in the beauty of ideal forms of impact on our designs. The types range the Fig. 2 The colosseum their creations. They are typically associated with simple straight line, to ideal geometries such as places of significance including important social circles, squares and triangles which are found in events, public landmarks and places where peo- classical architecture to the more complex geo- ple gather, for example the Pantheon and the metrical forms such as ovals, ellipses and oth- Colosseum in Rome. ers formed from multiple geometries. The nature of the forms generated will always have certain spatial qualities and social conditions. 3 Fig. 3 Plan of Rom,e by Sixtus V in the city both interior and exterior. There is no distinction between the interior civic spaces or the exterior so the relationship of all these spaces can be read easily. Their relationship to their individual blocks which they occupy can also be seen clearly. It also shows the amount New Plan of Rome and types of left over spaces around these civic spaces located within the city. This idea of strengthening nodes to redevelop a These nodes or areas of significance show the city was used by Sixtus V in the 1500s. Pope importance of geometry in urban planning as Sixtus planned the new streets of Rome as a these were areas where roads or lines con- spine, strengthened by structures at intersec- verged. Focault observes that ‘the notion of a tions or nodes 9. The strength of these nodes Fig. 4 Nolli Map of Rome number of lines meeting at one point is a form ensured the integrity of the new streets. Visual of control in itself’.13 For the plan of Rome, connections were made throughout the city from these new roads developed around these nodes intersection to intersection. Essentially, the plan were the means of controlling the development for Rome could be reduced to a series of con- of an entire city fabric. nections between places of significance or wor- ship10. He took the topographical nature of the city into consideration when creating these new routes and views with each node or place of interest directing you to the next 11. The spaces between would eventually flourish thanks to their location on the new plan of Rome in relation to these strong areas of worship or civic interest. Pope Sixtus encouraged building activities along these routes, knowing the commercial advan- tage that would then become available 12. In his short few years as Pope, Sixtus V achieved more for Rome than any of his predecessors. These areas of significance or civic interest were the basis for the Nolli map of Rome. This Nolli map was created in the eighteenth century and shows a figure ground representation of the city of Rome as can be seen in fig. 4. The map highlights the civic buildings and spaces with- 4 must follow function. For example, concert halls have been designed around the idea of best Landscape and Topography acoustical and visual performance for the au- Geometrical form, especially the straight line, dience. The hierarchy is further broken down indicates man’s existence in the landscape. He in the seating arrangement and location of the will change the existing landscape. The method performance area. Scharoun started this idea of by which he does this depends on his sensi- the centralised stage in relation to concert halls tivity to what exists already. David Leatherbar- where the seating encompasses the stage. The row remarks that ‘a building cannot be internally resultant geometries are generated in attempting defined’ as this creates the isolated object 14. to create the best views, acoustics or move- In this case the occupant becomes introverted. ment. In this case the lines of sight or sound Therefore, it must react to the landscape it is are virtual geometrical lines which order the set in. It must situate itself in such a posi- unbuilt space. Scharoun focused 2,218 points tion as to compliment itself and what surrounds of perception from the interior of the hall to the Fig. 5 Philharmonie interior 16 it.