AN INVESTIGATION OF LINE

by

Philip R. Madden

Thesis submitted to the Faculty of the

VIRGINIA POLYTECHNIC INSTITUTEAND STATE UNIVERSITY

in partial fulfillment of the requirements for thedegree of

MASTER OF ARCHITECTURE

Approved 6/30/99, Blacksburg, Virginia by:

Mario Cortes - Committee Chair

William Galloway

William Green

Lorenz Moser

DEDICATION

I would like to dedicate this book to my parents,John and Katherine. Thank you for supporting me,without too many questions, on my many adven-tures. But especially to my father, who started medown this path many years ago. I am sure hewould have enjoyed seeing me complete thiseffort.

AN INVESTIGATION OF LINE

Abstract page 1

Discussion on Line page 2

Montessori School Project page 18

Conclusion page 35

Project in Images page 36

Selected Bibliography page 50

Image Credit page 51

Acknowledgments page 52

Curriculum vitae page 53

TABLE OF CONTENTS

vi

vii

AN INVESTIGATION OF LINE

The line is the basic element of design. Some wouldargue that the most basic element would be the point,but in order for anything to be defined by that point,another point would have to be referenced. The con-nector, whether real or perceived, is the line.

As designers, when marking a surface with a line,there is an intuition at work. Nothing that a skilleddesigner would do could be considered an arbitrarystroke. But often we do not consider the depth ofmeaning that the line brings to our work. This inquiryinvestigates several dimensions that “line” can gener-ate in enlivening architecture and presents the use ofthese thoughts in the development of a Montessorischool.

A

A - Klee, P., Italian City,1928.

1

Any space that is designed is made up of an infinitenumber of lines. What creates the hierarchy withinthese multiple lines? Are we able to separate theselines from one another to reveal the essential ones?By distilling the many lines into the essential, a morecareful thought process can occur as we scribe theselines.

Lines that create connections have a greater value.The joining of line can be accomplished in a variety ofmanners and it is where these connections occur thatspaces begin to form.

Lines that create a proportional and regulatory systemalso carry more weight. These lines carry the addedimportance of establishing a unity to the design andcreating a hierarchy to spaces and forms.

The marriage of a building to a site is one of the mostdelicate acts of the architect. To improve the sitethrough building requires revealing the lines thatcharacterize the earth.

Lines that connect the human body to the form standout from others. The experiential connections, throughscale, make a statement regarding the function of thebuilding to its users.

Lines that have a varying weight from the norm createemphasis. Heavy, thick lines or thin, light lines canspeak to the intent of the space.

VARIATIONS OF LINE

B

C

B - Vignola, J.,1583.

C - De Vries, H.,1604.

2

The last two thoughts in this study are not physicallines that can be drawn, but are created by relation-ships within a form. Line of sight and line of movementor pathways are very important elements to the design.The manipulation of both sight and motion are majorcomponents that make for a rich architectural experi-ence.

D

D - Bartoli, C.,1564.

3

There are three conditions that create the joint. Thethree conditions in which lines meet are:

• The intersection of lines where the motion ofthe line continues past the connection.

• The physical touching of one line to another,resulting in the termination or initiation ofeither line.

• The perceived connection, where the lines arein proximity to one another, but the energyextends from the lines so that one senses theconnection. This relationship is the hardestjoint to manage. The question that arises:when is the line too far away before thecontinuity is lost?

Along with the idea of connection comes the geometryby which the lines will be joined. The standard in mostof our design is ninety degrees connections. Withinthe pursuit of deconstruction these right angles arebeing challenged with the use of the obtuse and theacute. A less-used and developed geometric connec-tion is the use of tangency. The tangential connectionprovides a unique set of circumstances that can offeran interesting variety of junctions.

With the understanding of the range of connectionsthat are at the disposal of the designer, this variabilityprovides tools that can lead to multiple options within

THE JOINING OF LINE

E

F

E - Baeza, C., CasaGaspar.

F - Barragan, L.,Casa Egerstrom.

4

the design. This knowledge can give the architect adirection away from the default of the orthogonal normand allows for unique spatial conditions to exist.

H - Barragan, L.,Casa Egerstrom.

G - Ambasz, E.,Financial GuarantyInsurance Company.

G

H

5

There is a set of lines that establishes the limits of adesign. By limits, it is understood that the designerestablishes the guidelines within which the question ofform is dictated. Without limits the creative thoughthas no basis for operation. This does not mean thatlimits are the extent of the design, merely the formatthat the designer chooses to work within or extendbeyond. These regulating lines become the guidelinesfrom which all decisions are made.

There are three types of systems that can imposescale on a building:1

• Proportional systems

• Physical scale

• Human scale

One type of a line system that can be developed is aproportioning model. Proportions can be developed tobring a sense of hierarchy and unity to a design.Choices are made in relation to mathematical calcula-tions. The golden section is an example of the use ofthis kind of model. Regulating lines are establishedusing mathematical formulae and the design decisionis based upon where intersections occur or patternsexist.

1. Architectural Scale,Licklider, H., G.Braziller, Inc., NewYork, 1966.

REGULATING LINES

I

JI & J - Le Corbusier,A House.

6

Another type of proportioning system is the physicalscale, the use of materials that have a predeterminedform or size. A predetermined construction materialcan provide an order to the design, the use of steelgirders and columns can lead to the development of agrid. The use of a grid provides a rigor upon a design.With the establishment of an overlay of lines to form abase, decisions of placement can be articulated fromthe regulation of the lines. Once again, deviation from,as well as adherence to the grid, are possibilitiesprovided by this formation of limits.

The last system is the use of the human body as themeasuring device for the regulation of a design. Thedevelopment is based on the orientation of the bodywithin the space; how it uses the space, where itcomes in contact with the space and how it appears inthe space.

It seems incongruent to state that overlaying somesort of regulation upon a design actually provides afreedom to the designer, but limits need not be aconstriction. These very limits can be the liberatingtool that provides the freedom to the designer.

K

L

K & L - Hertzberger, H.,Apollo Schools.

7

The study of the earth and the lines that such a studyreveals can provide abundant clues to the placementof the building in relation to the site. Sensitivity re-garding environmental issues and the continual shrink-ing of the earth’s available sites force the architect toproceed with much caution when wedding a building toa site.

Natural boundaries such as rivers, hills and vegetationform limitations upon our process. Designers mustlook to work within these barriers and to understandthe relationship between construction and the surfaceit dwells upon.

The topographic lines reveal a wealth of information tothe architect. Elevation changes, drainage and windare a few of the variables that can tell the story of thesite. Although the earth can be manipulated to somedegree, the nature of the site is determined by theselines. Architects must contend with the forces thathave already shaped the land.

Another line that comes into consideration is the pathof the sun upon the surface of the earth. The ability tointroduce or moderate the amount of light and heatinto buildings is an important aspect in a design.Designers must aesthetically understand the experien-tial quality that light and shadow can produce. It isanother material to be used and controlled.

LINES FROM THE EARTH

M

E - Otaniemi Univer-sity, Helsinki, Finland.

8

The most constricted of sites requires the most cre-ative of solutions. Man can no longer mold the earthto his liking without suffering injury to a valuableresource both physically and aesthetically. Also, with-out proper acknowledgment of the physical forcesgenerated by the earth, man’s designs will eventuallysuccumb to these forces.

N

O

N - Bohlin CywinskiJackson, Ledge House.

O - Ambasz, E., Housefor Leo Castelli.

9

Understanding the use of scale through line generatesthe experiential quality of the design. Massive govern-ment buildings dwarf the user and signal the largerimportance of the whole to the individual. Conversely,small and more intimate spaces can encourage com-munal interaction.

Each building should speak the language of its inhab-itants. A building for pre-schoolers should not speakto the size of the adult. The primary occupant shouldbe accommodated in the spaces provided. Whileconversely, large buildings should understand theirrole in providing an adequate solution to the scalequestion.

No matter what the type of building being designed,accommodation to the human form and senses can-not be ignored. Where the building comes in contactwith the person, the design needs an attention todetailing that acknowledges the user.

Understanding scale and knowing what it will feel liketo inhabit the space is an important aspect of design.Obviously the hallway or ceiling height for a smallschool would not meet the same requirements that alarge arena would need. But in both instances theoccupant should feel at ease with the use of thebuilding.

The building is not usually an isolated object. It hasfunctional responsibilities and the success of its

ESTABLISHING SCALE WITH LINE

P - Kahn, L., Govern-mental Centre.

P

10

function rests solely upon the designer’s ability tounderstand the experience of living within the form. Amajor step in the success of a building is acknowledg-ing the individual or group and creating the desiredexperience through the understanding of the humanresponse.

Q - Hertzberger, H.,Montessori School.

Q

11

The thickness or thinness of the line reveals the intentof the form it represents. It can also suggest themateriality, components and characteristics of theform.

For example, a very thin line implies a lightness to theform. This implication could indicate a form thatcannot carry much of a load. A thin line can alsosuggest materials. From an experiential standpoint,thinness can suggest a transparency or translucencyto the form. A sense of connection can be establishedthrough such a barrier.

The thicker line, by contrast, gives a feeling of heavi-ness. This line can reflect the ability of this form tocarry a greater amount of weight. A completely differ-ent set of materials is suggested, maybe even alayering of materials. This thickness creates a moreformidable barrier. The opacity of the form is empha-sized and could contribute to a sense of isolation tothe inhabitant.

The use of varying tools to draw the line can providestronger clues in the design process. An interrelation-ship can be established between varying forms; theuse of material and construction methods can bestudied earlier in the design process. Clues to the“feeling” of the buildings can be derived throughoutthe process.

VARYING THE WEIGHT OF LINE

Q - Moura, E.,Alcanena House.

R

12

Understanding how the eye sees and how the form ofa building will unfold to the eye needs to be under-stood in the mind of the designer. Few occupationsrequire the anticipation of an idea as does the archi-tecture profession. The architect must develop a“mind’s eye” so that the building is “seen” in smallvignettes as well as large vistas. With this ability thedesign can more closely resemble the conceptualthought.

The knowledge of the perspectival nature of the eyeleads the design to a more realistic development. Theconvergence of line to a single point should be adesign consideration at all times. This fact can allow adesign to unfold the building in a pace and mannerthat manipulates the viewer. Vistas can be framed;views and scenes can be brought into focus; the usercan become aware of the relationships within andwithout the building.

Also, understanding the height of the focal point andthe width of the focal plane can allow the designer tounderstand the real vantage point of the viewer. Thusthe space can be experienced as drawn.

With the sense of sight being such a dominant factorin our culture, the importance of how a space or formis seen cannot be ignored. Thinking about how the eyecan be directed is a most important part of the experi-ential existence of design.

SIGHT LINES

S

S - Holl, S., SaintIgnatius Church.

13

The ability to control movement and develop pathswithin the building is an often neglected developmentin architecture. Controlling the pathways allows thedesigner to enrich the experience at the proper places,and insures interaction between the user and thebuilding.

The path leading to the building is an opportunity toprepare a person for the experience that the interiorwill provide. Preparation along the entrance path canact as a foreshadowing for the building, but it can alsoserve as a opportunity to alter the state of the traveler.If, for example, the building is a church, the entry pathcan work to reinforce the spirituality that the churchconveys for the faithful.

The entrance itself is an important statement. Itserves as the portal into a new environment. It is thetransition point from the out-of-doors to the interiorspace.

How the users move through the space will determinethe manner in which the building will be used. Thedesigner can manipulate the walker to slowdown or tospeed up, depending on the requirements of thespace. Are there shortcuts available to people familiarwith the building? Can people easily find where theyneed to go without having to ask directions?

The exit is often forgotten in the design process. If theentrance is a very important detail, so is the exit as it

LINE OF MOVEMENT

T

T - Students at theUnite d’ Habitation.

14

releases the user to the outdoors, a transitionthat is worthy of attention.

The importance of the pathway cannot be an underes-timated item in the tool box of the designer. This line,even though it is not drawn by the architect, is onethat must be acknowledged and accounted for by thearchitect. The user traces an indelible mark on a spaceand anticipation of this movement creates an experien-tial line. This experiential line enhances the contact ofthe inhabitant with the building.

U

U - Pueblo Bonito

15

A MONTESSORI SCHOOL

The Montessori School is a unique and often contro-versial education program. Begun in 1906, MariaMontessori opened her first school, Casa dei Bambini,in a slum area of Rome called San Lorenzo. Thefounding principles of the school were:

• To provide a pleasant environmentwhere the children felt no restraint.

• The teacher was not to interfere with thechildrens effort to learn.

• The children must work with materials thatprovide an education for the senses.2

The Montessori program continues with primarily thesame direction as its founder established in 1906.

The environment within the school allows for noindividual desks and chairs. The children do haveseveral work tables, but generally they roll out apiece of carpet and create their own work space. Thehierarchy of students desks all aligned and facing ateachers desk has been abandoned for a less struc-tural and more liberating environment.

Areas within the classroom have been set aside forcertain activities. Art, language and mathematics, forexample, have their own assigned spaces. This allowsfor learning materials to be specifically referenced tothat area, with tables and bookcases assigned to the

2. Montessori Today,Orem, R.C., G.P.Putnam Sons, NewYork, 1971.

THE MONTESSORI SCHOOL

V - Students at theUnite d’ Habitation.V

18

study of that one activity.

The teacher in this type of school acts as a monitor tothe students progress in the program. Many choiceslay within the student’s domain. The teacher may seta program of study, but the students choose whatpart of the day they will devote to a certain subject.The students are encouraged to study in groups andhelp each other with their tasks. The teacher acts as afacilitator.

An important aspect of the Montessori experience is toeducate through the involvement of all of thestudent’s senses. The classroom environment andlearning materials engage all the senses; this broad-ens the learning experience of the student and alsoprovides a stimulating arena for education. The incor-poration of nature into the learning process is animportant aspect of this program.

This type of program for education challenges thetypical program of design for schools. The space mustbe fully adaptable to a variety of individual and groupactivities. The building itself must be engaging to allthe senses of the inhabitants. It must provide accessto the out-of-doors. Adequate bookshelves and acces-sible storage areas are a necessity. The space doesnot force the mass regimentation of group learningbut must liberate the individual discovering the excite-ment of learning.

19

The Montessori system is becoming more popular inthe public realms of schooling. The Roanoke SchoolDistrict (Roanoke, Virginia), for example, is offering aMontessori option for parents in their public schoolsystem beginning in the Fall of 1999. The School ofEducation at Virginia Polytechnic and State Universityis to develop a pilot program for research and teacherdevelopment at their Blacksburg campus. The programis to find a suitable site on campus and design a build-ing that would house this pilot program.

This program will allow for:

• Individual classrooms to house students fromKindergarten to the Sixth grade level.

• A general purpose meeting area that could allowfor full student body meetings and after schoolevents.

• Outdoor playground.

• Each classroom must be flexible in scope anduse to fit the requirements of the Montessoriprogram.

• Offices for administrative and supportpersonnel.

• A controlled egress for student security.

A SCHOOL

W

W - Students at theUnite d’ Habitation.

20

The site chosen for the Montessori school is on thenorthwestern corner of the Virginia Tech Campus. Thissite is a pastoral setting containing vast grass fields, apond and wooded hillsides. It is situated at the end ofthe main campus. The site has easy access fromPrices-Fork Road and is isolated from the main campusactivities.

This site holds many interesting “places:” a largeoutdoor theater that is embraced by a stand of talltrees, a small grotto that is overgrown by floweringbushes, but has a “skylight” through those plants, theDuck Pond, an historic campus attraction, a gazebothat is located on the southern edge of the pond, andan early settlers cabin is on display on the easternedge of the pond.

This area has been developed as a park that serves asa refuge from the intensity of the campus. Picnic tablesand grills are located throughout the park area. A widevariety of wild life: fish, geese, ducks, turtles andsquirrels, inhabit the park.

The site as location for a school is ideal. The isolationfrom campus, its strong connection to nature, themany secreted spots within the site, and its strongattraction creates a magical place for children. The sitecould also benefit from a building complex that couldstrengthen certain elements and bring life to some ofthe ignored elements in the park, such as the largetheater area.

SITE

X Y

Z

X - Outdoor Theater

Y - Site, facing North

Z - Site, facing South

21

The evaluation of the site led to situating the buildingon the southeastern corner of the park. The site isbordered by West Campus Drive and Grove Lane,providing automobile access to the building withoutinfringing on the park. This area is adjacent to thetheater space and will put the building in a remoteplace that will not disrupt normal habitation of thepark.

Several other considerations led to the this placement.In reviewing this site, it was noted that the theaterspace on this site is generally ignored. It is hope thatwith careful orientation and connection to the newbuilding the theater would be “discovered”. The parklacks a strong entry from the campus side. This pro-vides the new building with the opportunity to link thecampus with the Duck Pond with some sort of portal.The open space at the foot of the selected site providesa possibility to add an additional attraction to enhancethe park.

This choice will not only provide an excellent site forthe school but the opportunity exists for the site tobecome enhanced and improved with the placement ofthis building.

PLACEMENT

AA

AA - Park StudyModel

22

The topographic lines of the site provided a clue to theplacement of the building. The ‘S’ shaped lines startedparallel to West Campus Drive, curved back throughthe building site then back again to pull in the theater.It was apparent that a fully orthogonal plan might beunreasonable.

Taking the lead from the topo, a line was generatedthat became the base line for the design. A refinementwas made by defining the axes of two circles whose arcsegments created a tangency that closely approxi-mated the original sketched curve. By establishing aproportional module resonating curves were drawn.This resonance would serve as boundaries throughoutthe design.

The last step in the orientation of the building cameafter it was decided that the classrooms should becomeseparate entities. The line that described the tangencyand passed through the axes became the center line ofone of the classrooms. By using the same module asthe space separating the buildings, rays were drawnfrom the axis of a circle. These rays defined the class-room placement.

The analysis of the site revealed the flexible spine ofthe building. Through use of geometric limits, thevertebrae of that spine were defined and grounded.

PLAN ORIENTATION

BB

BB - Site Model

23

The site slopes downward and towards the basin of thepond. By investigating the site through section, it wasdecided to take advantage of the slope. To place thebuilding completely on one level would have required agreat deal of earth moving and would have altered thenature of the site dramatically.

Three levels were defined for the entry, classroomsand play areas. The width of the three levels weredetermined by the use of module once again. Byhalving, doubling and tripling the module, variations ofspace could be taken into account.

It was evident that retaining walls would become amajor design element. Incorporating these walls intothe design became the impetus to the unification ofthe design.

These walls became the defining element. Varying wallsystems were used to described the modules. Thelayering of walls, perceived connections created bywalls and the thickening and dissolving of walls werethe melodies in this composition. Along with the ex-tension of major walls through the roof line, the im-portance of the line was reinforced through the motifof the wall.

The site, in section, inspired the multileveled design ofthe building. By reading the land, an agreement wasestablished between the building and the site.

SECTION ORIENTATION

CC

DD

CC - RetainingWall Section

DD - ClassroomSection, HandDrawn

24

A twelve foot by twelve foot module was chosen as thebasic unit for the school. The idea of a modular sizewas developed for several reasons.

The average height of the occupants, adults at six feetand children of three to four feet, were considered. Asmultiples of twelve, this unit could be harmonicallydivided to accommodate a variety of heights withinone space.

Conformity to harmonic division, 1/2, 1/3, 1/4, 1/6and 1/12, provides a broad range of uniformity inmaterial and component choices. The twelve footmodule is neatly broken down into any number ofuniform inch and foot divisions.

The ease of division and marking of surfaces bothhorizontally and vertically, in section and in plan, madethe twelve foot module the logical choice.

PROPORTIONS

EE

EE - ProportioningSketch

25

The classrooms need three distinct spaces:

• A wet area, where messy projects like art andcooking could take place.

• A group meeting area, where the class couldcomfortably meet.

• A private area, where individual students couldstudy away from the activity of other projects.

This tri-part program led to the division of the roominto a twenty four foot wide by thirty six foot long bytwelve foot high space.

The linking of the thought of public to private and theuse of the room, inspired the direction of flow withinthe space. The egress would be contained in the firstthird, within the wet area. Lockers would be located inthis space so that changing and storing of backpacks,jackets and aprons could be facilitated. Also, thebathroom and all the plumbing would be isolated tothis section.

The semipublic space would become the middle sec-tion. Included in this area is the small theater andstage.

The private study area would be the last segment. Thiswould incorporate small nooks that could be used bymultiple individuals to study.

CLASSROOMS

FF - Classroom planin Lightscape

FF

26

The importance of a connection to the outdoor isdeveloped with the individual courtyards for eachclassroom. Egress, from the classroom, is only throughthe wet area and each courtyard is embraced by theconsecutively placed classrooms.

The courtyard is a flexibly designed space so that manyactivities can occur out-of-doors. The center piece is athree level platform that can serve as an impromptutheater or meeting place. A top this platform is an areawhere a sand pile, water, or plantings can be inserted.

At the far end of the courtyard is a two level alcoveand viewpoint. The top level is a walkway for viewingbeyond the school and over the courtyard. The lowerlevel is a covered alcove that contains the egress tothe school play area.

COURTYARDS

GG - Courtyardthrough hallwaywindow in Lightscape

HH - Courtyard fromtheater in Lightscape

GG

HH

27

In developing the idea of a school it was decided thateach classroom was a vessel for discovery, but thatthe student would still need to have the concept ofbelonging to a greater “ship.”

To facilitate the learning within the classroom a con-cept of opacity was prescribed. Walls defined eachsegment and created portals within the classroom.The movement from north to south is manipulated sothat the view was controlled and blocked. In the majoraxis of the room, there is no view to the exterior ofthe space.

Conversely, the concept of transparency was theconnective device through the school. The east andwest walls are almost completely transparent. This notonly brings the courtyard into the classroom, but thevista beyond incorporates the rest of the school. Thestudent can see the entire school through these walls.

This line of sight reinforces the curvature of the topo-graphic lines through the building. The viewer isconnected through the building by the movement ofthe earth.

TRANSPARENCY VERSUS OPACITY

II

JJ

II - LongitudinalStudy Model

JJ - Axial StudyModel

28

The hallway is the unifying element of the school. It isthe spine that connects the classrooms as well as theupper, egress level to the lower, classroom level. Thehallway curves to follow the topographic shape of thehill that it is imbedded within.

The walls of the corridor are a roughly textured stone.This stone work is only interrupted by the smoothlydefined wall of the classroom on the northern side ofthe walkway, along with windows into the courtyard.

The southern side is a double-walled, skylighted,buttressed retaining wall. The inner wall is puncturedwith viewing and pathway portals, making this abrightly lit, accessible secondary passage. Carved intothese walls are niches and seating alcoves. Theegresses into the double wall are aligned with theentrances to the classrooms. This allows for light tospill out across the hall and mark the entrance to theclassroom.

This double wall also contains the stairway from theupper level to the lower level. Using the stairs allowsthe user to experience the importance of this wall.

MAIN HALLWAY

KK

KK - Double WalledHallway

29

Directly under the upper story is space reserved forstorage, mechanical, a nurse’s office and a teacher’slounge. Adjacent to this is a two-story communalspace.

This interior courtyard is formed at the intersection ofthe upper and lower levels. Where the stairs and theramp descend from the upper level, a small piazza isformed. This junction, at the eastern end of the corri-dor, is a gathering place at the entry to the classroomwing.

This space is large enough that it could act much like acity block can serve as a playground. The childrencould adapt this space to a playground on a rainy dayor simply as a meeting place for students from otherclasses.

JUNCTION

LL

LL - Indoor Court-yard

30

The upper level is a two story cylindrical drum thatcontains the administrative office, clerical space,access through stairs and a ramp to the lower level, aswell as a theater for large school events.

This upper level serves as the drop-off and pickup spotfor the students. A porte cochere provides the stu-dents protection when entering and exiting the build-ing. This entrance circles in off of Grove Lane, provid-ing a safe, one way access for cars or buses. A smalllobby is situated so that students can remain indoorsand watch out the windows to wait for their rides.

To enter the building, one must pass through thedouble wall spine of the building. A clerical space isestablished so that movement through the buildingcan be monitored.

Access to the lower classroom level is achieved byturning to their right and entering the double wall thatcontains the stairwell. Turning to the left allows en-trance to a handicapped accessible ramp that followsalong the exterior wall of the cylinder.

Entry to the theater is gained by moving straight intothe circular space. A formal lobby precedes the entryinto the theater.

THEATER LEVEL

MM

MM - Theater Level inLightscape

31

The first act of design with this project was to selectand mark a main topographic line with a serrated line.This line was composed of rectangular elements ori-ented in a forty five degree angle to the topo line. Thisled to the discovery of the base line for the project. Butthis line continued to live throughout the project. Onequestion that stayed ever present was: how could theintroduction of the circles on the site be experiencedand enhanced?

The composition of these could be concrete precast ormore likely a row of topiary. The serrated boundary isused to describe the territory of the school and isplaced along the resonating circles. This boundary isalso extended to enclose an entrance to the theater onthe western side of the project. On the eastern side, anopen air grotto is formed to celebrate and connect withthe small grotto near the Duck Pond. This new grottoalso serves as an entrance to the park from the uppercampus.

On either side of Grove Lane, a segment of this bound-ary marks a circle that passes through the street. Thisserves as an entrance marker to the school, by car.

This first act of trying to understand the site led to anelement that enlivened the project and recognized theprevious history of the site. The understanding ofgeomancy3 led to the new form that acknowledgedand improved the site.

GROUNDS

3. Frampton, K.,ArchitecturalDigest, 1990,pages 19-25, TheCase for theTectonic.

NN

NN - Study Model

32

PLAYGROUND

The play area runs the full length of the building. It isbounded on the southern side with the courtyard andclassroom complex. The northern boundary is a ser-rated row of rectangular forms atop the last retainingwall.

The playground is comprised of a grass and cut outswith sand inserts for playground equipment. This areahas limited access from the park area and can beentered from all the courtyards in the school complex.This area is meant to be a full school activity area asopposed to the courtyards.

33

OPEN AIR GROTTO

This open air grotto is to complement and acknowledgethe smaller, enclosed space already on the site. It ismarked by the serrated line which is broken on axisthrough the center of the grotto on to the pond. Thisgraduated, sequential break acts as the entrance to thegrounds from the upper campus area.

The center of this grotto is the axis point for the circlesthat describe the eastern half of the project. Thiscenter point is marked by a small, elevated stage. Theground in this grotto is sculpted as if a sphere im-printed a depression on the landscape.

The complementary axis is marked by the turnaroundthat provides access to the school by automobile. Agarden, in the shape of a top of a sphere, occupies thisaxis point.

34

OO

OO - Outdoor Grotto

35

CONCLUSIONS

When I began my thesis, I thought the process en-tailed posing questions and finding the answer tothose questions. What I found was that my investiga-tion led me to more questions, better questions, butnonetheless, questions. Any answers that I discoveredseemed incomplete and led directly to a whole newset of questions. Quite possibly the answers lie in waitfor me, but for now, I am armed with some very goodquestions that will serve as a springboard into mycareer.

A

BC

D

E

F

GH

I

J

Theater Level

A Theater B Lobby C Stairway D Ramp E Entry F Mens Room G Womens Room H Office I Janitorial J Drop off K Driveway

K

Second Level PlanHand Drawn

36

First Level PlanHand Drawn

A

B

C

D

E

F

G H

I Classroom Level

A Storage B Lounge C Nurses Office D Ramp E Indoor Court F Stair G Outdoor Court H Classroom I Hallway

37

Second Level AxonHand Drawn

38

First Level AxonHand Drawn

39

40

Classroom Wall versusHallway Wall

Classroom EntranceWall Layering Within Classroom

41

The Condition of Line inPlan

The Condition of Line inElevation

Theater to Stage fromBack Wall

Theater to Windowsfrom Lobby

42

Hallway - Entrancesare scaled to the adultand child

Stairway from EntryLevel within theDouble Wall

43

44

Skylight Condition onStage Wall

Opaque end in ClassroomClassroom Transparency

Western Elevation

Southern Elevation

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Birds eye from Northeast Birds eye from Northwest

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Northern Elevation Entrance Elevation

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Classroom Section

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Northern elevation onSite

49

SELECT BIBLIOGRAPHY

The Timeless Way of Building, Alexander, C., OxfordUniversity Press, New York, 1979.

Archetypes in Architecture, Thiis-Evensen, T., Norwe-gian University Press, Oslo, 1987.

The Nursery Schools, Le Corbusier, The Orion Press,NewYork, 1968.

Paolo Portoghesi - Projects and Drawings, Ed. byMoschini, F., Rizzoli, New York, 1980.

Genius Loci, Norberg-Schulz, C., Rizzoli, New York,1980.

The Eyes of the Skin, Pallasmaa, J., Academy GroupLtd., London, 1996.

Alvar Aalto - Urban Finland, Koho, T., The FinnishBuilding Centre Ltd., Helsinki, 1995.

Paul Klee Notebooks, Ed. by Spiller, GeorgeWittenborn, New York, 1961.

What Will Be Has Always Been - The Words of LouisKahn, Ed. by Wurman, R.S., Rizzoli, New York, 1986.

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IMAGES

A- Paul Klee Notebooks, Ed. by Spiller, GeorgeWittenborn, New York, 1961.B,C,D- Architectural Theory and Practice from Alberti toLedoux, Wiebenson, D., Architectural Publications,Chicago, 1988.E- Campo Baeza, Ed. by Guerra and Ojeda, RockportPublishers, Rockport, 1997.F,H- Luis Barragan - Classico Del Silencio, Ed. by deAnda Alanis, E. X., Coleccion Somosur, Bogota, 1989.G,N,O-Emilio Ambasz - The Poetics of the Pragmatic,Ambasz, E., Rizzoli, New York, 1988.I,J- Towards a New Architecture, Le Corbusier, DoverPublications, New York, 1986.K,L,Q- Lessons for Students in Architecture,Hertzberger, H., Uitgeverij 101 Publishers, Rotterdam,1991.N- Ledge House, Ed. by Ojeda, O.R., Rockport Publish-ers, Inc., Gloucester, 1999.M- Alvar Aalto - Urban Finland, Koho, T., The FinnishBuilding Centre Ltd., Helsinki, 1995.P- Archetypes in Architecture, Thiis-Evensen, T., Norwe-gian University Press, Oslo, 1987.R- Eduardo Souto Mouta, Ed. by Trigueiros, L., BlauLde., Lisbon, 1996.T,V,W- The Nursery Schools, Le Corbusier, The OrionPress, New York, 1968.U- Pueblo Architecture of the Southwest, Scully, V.,University of Texas Press, Austin, 1971.

All other photographs were taken by the author.

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ACKNOWLEDGMENTS

I would like to thank my committee members, MarioCortes, Bill Galloway, Bill Green and Lorenz Moser, fortheir time and input into my project and investigations.Special thanks to Mario, for his insight that took me tomany new, unexplored places.

To Annette, Wanda, Donna, Pam and Brad, they madeworking and researching in the library like a secondhome.

To Peggy Moles, anytime I had a question about theprogram, she had the answer.

To the faculty members who shared their knowledgewith me and gave me much to carry away.

To all my classmates and friends in the program, youhave made Blacksburg an easy place to live and a veryhard place to leave.

To Shane and Jennifer for sharing their house with mewhile I completed this book.

To my Pittsburgh loved ones for their encouragement tostart and their aid along the way.

Most especially to Jeff, Brad and Paul.....

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CURRICULUM VITAE

Philip R. MaddenJuly 20, 1951

MASTER OF ARCHITECTURE, 1999Magna Cum Laude

Virginia Polytechnic Institute and State UniversityBlacksburg, Virginia

BACHELOR OF ARTS IN ARCHITECTURE, 1991Magna Cum Laude

University of PittsburghPittsburgh, Pennsylvania

Member, Golden Key National Honor Society

Graduate Assistant - Slide Curator, Architecture Library

Graduate Teaching Assistant - History of Architecture