SENSE and TYPE

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SENSE and TYPE

Ways of comprehending the Crisis between Past and Future:

The Childrens Home in Amsterdam

and the Free Uniersity in !erlin

Abstract

The attempt to integrate the ob"ecties of architecture and urbanism is readable# during the

twentieth century# as a reflection of the crises fluctuating between cities and their architecture$

These crises occurred when# with the increasing demands of urbani%ation# new emergencies

amplified the degree of transformation$ The need for autonomy of a discipline that was considering

the problems of urban growth has# after the &econd World War# proo'ed a response to re(

integrate the types of 'nowledge that operate in the transformation of physical space within a

single field of action$

Hence the need to reisit certain e)periences of construction that hae brought to the ery core# in

architecture# the comple) dimension of the city$ $ The sense of the wor's studied here should

therefore not be understood for their repeatability today$ To the contrary * our attention is turned to

the specificity of time and action# which show to us to what degree architects could become true

protagonists and precursors of enironmental challenges$ +oreoer# at the moment in which this

e)perience historici%es itself# it proides a consistent material for reflection on methodology# with

the result of deepening the relationship between meanings and alues in relation to typological

choices$

The case study that raises the ,uestion# eiled in poetic influences# is Aldo an -yc's reali%ation

of the Kindertehuisor Burgerweeshuis./rphanage0 in Amsterdam# in which the architect

e)presses his theory in search of a place suspended in the homology of small towns and the big

house$ The term of comparison is identified in a settlement system open# due to the e)perimental

design of the group Candilis 1osic Woods for the reali%ation of the Freie Universitt Berlin.!erlin

Free Uniersity# !FU0$


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234-5 FU66 7-8&2/3:(In bold the parts selected for evaluation essay )

&-9U-3C- A34 A3A6&2& /F -7-3T&

Habitat

-)amination of recoery

Casablanca ;and the emergency of the large number

2magination as the ne)us between art and life

The ;ecological approach

The greater reality of the doorstep

/n the shoulders of giants

Crisis .and loss0 of identity

Anomalies

Autonomy and reconciliation

Knowledge is a servant of thought and thought is satellite of feeling

Ad"ustments

Constructie dialogues

/ther ideas

The sphere city$architecture#

The anonymous client: intentions and outcomes

The door to the future must be left open

Cityand &ociety# reciprocal transformations

The typescript of Clarissa Woods

8eflections on the domain of the city

3ew settlement dimension

The limits of Architecture

Transformation process of the settlement system

The urban te)ture

A new paradigm

A pro"ect of frontier

Tentatie &ynthesis


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C/+PA8AT27- 8-A423< /F TH- A8T2FACT&

&e,uences of approach

8elations with the conte)t .search and = or found0

Ways of use: efficiency and transformations

Observations in detail

From functional re,uirements to design principles

The ;/rphanage: a difficult case

The rigorous variety, a composedtexture

!FU: new organi%ational models for the Uniersity

Flexible order, the two scales grid

The space in unction o ti!e

Conception of space

Night and day

The internal street

bunchofplaces

The building as a tool

4esign Procedures

The compositional process of /rphanage: Thought obli,ue

The ten points of the paradigm from an e,uip> for !FU

Comparison

23T-8P8-TAT2/3 /F T2+-

Aldo an -yc' and the ?meetings with /gotemmeli?

&hadrach Woods and return to the myth of the fourth dimension

Type and sense

The archaeologist of the future


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The reason or the research

The attempt to integrate the goals of architecture and urbanism can be read during thetwentieth century# as a reflection of the crisis# fluctuating between cities and architecture# at timeswhen the demands of increasing urbani%ation for new emergencies will amplify the degree of

transformation$The need for autonomy of a discipline that was considering the problems of urban

growth has caused some reactions after the &econd World War# to re(integrate the 'nowledge

inoled in the transformation of physical space within a single scope$ Hence the need to reisitthose e)periences that led in the internal architecture searching for the comple) dimension of thecity to reconstruct the alues of a habitat organically integrated$ The sense of the wor's studiedhere should therefore not be understood for their repeatability today# the focus is opposite to the

specificity of time and action$Howeer when it historici%es the e)perience# it offers ane)traordinary material for reflection on the methodological side# to deepen relations betweenmeanings and alues in relation to the typological choices$

The case study that raises the ,uestion# eiled in poetic influences# is the reali%ation of@indertehuis or !urgerweeshuis ./rphanage0 in Amsterdam by Aldo an -yc' and based on whichthe architect e)pressed his theory in search of a place suspended in homology between small city

and big house$The term of comparison is identified in a open(ended settlement system# due to thee)perimental design of the group Candilis 1osic Woods for the reali%ation of the Freie Uniersitt

!erlin .!FU0$A close se,uence from the /rphanage completed and published in BD and thepresentation of the pro"ect proposal that won the competition for the Free Uniersity in the fall of

BE$This passage of time sets an interal to ascertain whether there are common factorsbetween the two wor's$ 2t is necessary to begin from the formation and the common goals thatwere preiously processed first in the C2A+ and then in ;Team BG;# see'ing a common platform ofaction to understand the cultural e,uilibrium between architects who wor'ed with direct interaction$

A fi)ed point of the research lies in the fact that the two constructions are referrable to thesame type of settlement# defined by a predominant hori%ontal deelopment of the olumes# basedon a regular grid# which aggregates# according to an iteratie principle# more functional units in a

building organism of order greater than the sum of its parts$The definition of the specified type hasno fi)ed name# if not that defined subse,uently(( the term mat!buildingfurther specified as

a matri"#which is the closer definition for this phenomenon settlement$/ther references suchas $asbhaism interened# with critical accents# to mar' the effect of densification in hori%ontal

tissue building which they showed this trend$Finally# in practice it refers to terms such as grid to

mean building types which hae obious affinities with the type(matri)$The inclusion ininterdisciplinary debates of the term ;matri's; preails# when the phenomenon had in fact alreadyconcluded# on the occasion of meetings for the finali%ation of !FU in B$ 2t howeer is no longer

current and has largely remoed from the disciplinary le)icon$2n fact# during the period of itsdeelopment# the type of settlements under study had no fi)ed name# although the trend which itidentified was e)plicitly recogni%ed by disciplinary teams$

A phenomenon such as a matri) of settlement that has a beginning and an end in culturaldebate# as such remains ;dormant;# while the building(construction phenomenon appears anddisappears at a rate een faster# almost li'e a ;fashion$ Fashion does not indeed belong to that'ind of eents that could potentially come bac'# if the social and cultural conditions gae a new

impetus to the interrelations between indiidual and humanities community$/r perhaps for thisreason# unrepeatable# because the ideological dimension was the combination of factors whose

rebalancing today now appears unli'ely$For Woods Phalanstery represented a lifestyle# completewith appropriate architecture for a new man in the nineteenth century$ 2n the same way we caninterpret the Children;s Home in Amsterdam or the Free Uniersity in !erlin as the house( citydesigned to house that ;a new type of man; which was the focus of debate among post(war

architects$The degree of association between human actiity was at the core of the discussion on

the ideological problem from which an eolution should hae started to gie architects the role ofinterpreter$$This e)ceptional situation is reflected with perceptible intensity in the documents of theBG Team for a short period around the beginning of the BEGs$ 1ust as it is an e)ception# it can


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bear witness to a relationship between the sense and type of settlement that interpreted these

new social needs$4uring this research the endeaour to capture the tensions between sense andtype as such has been the ;foundation; of the te)t$ 2t has directed the choice of sub"ects to bring outdifferences between continuous and discontinuous in the generation of the relationship betweenspace and time# in order to recogni%e how much as the matri) type has pandered to thee)perimental design that reflected the spirit of the two discoeries of the century: relatiity andreciprocity$

-)ploring the boundaries between architecture and cities in a specific historical moment# aperiod in which this boundary was besieged by an intense pulse of transformation of society#research hypothesis assumed an audit of the interrelationships between the architect ;and;

society$To reduce the comple)ity of the con"unction ;and; between the two parties .of which onlythe first will be inestigated here0# translating the interrelationship between sense and type# there isthe e)pectation of society to understand the topics reflected in the themes of architecture$ &enseand types recreate the tension between them that is e)pressed in the con"unction containedbetween architect ;and; society$ The hypothesis of this study relies on this first series to considerthe interplay between the instruments used in the design e)periments and e)pectations thatarchitects gathered from society$

Structure o the text

The research has led to recogni%e continuously three different phases# criticalI analyticaland ;supplementary;# an ine)tricable conse,uentiality between buildings and social conte)t:;building for men and not for


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moe closer to the synthesis of sub"ectie components in architectural design$?We can notunderstand the world J Lmental e)periencesM# the world inhabited by our own mental states# withoutunderstanding that its main function is to produce ob"ects of world Lof the human mindM# and be

sub"ect to action of world $The world fact J interacts not only with the world B Lphysical ob"ectsM#as 4escartes thought# but also with the world # and world ob"ects can act on world B only

through the World J# which acts as an intermediary$ ?N

Using the relationships gien by @arl 8$Popper for ?body(mind problem? is the guide usedfor the distinction of three leels on which it operates and the third leel# then it is that whichcontains# besides physical and mental states# what is man(made and autonomy that this world

ac,uires through the unintended conse,uences of its products$Popper;s World then includes ?a

car# a s'yscraper# or a boo'# most important of all# a problem and a theory?D$The need to reflectan intermediate place# where they e)change 'nowledge# attitude is to ta'e the measure of things in

themseles and the eents in which they occur$The report on the world also reeals the potentialto free up additional opportunities to discoer a story also about the world J# which represents the

mental actiities of the architect$2n this study# what you get from Popper is mainly a ,uestion#which lies in the autonomy of world # to consider a place where thoughts influence each other# inspite of us$

2n a manner analogous to Popper# but from a different point of iew#


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1This refers to one of the few quotations used by Le Corbusier from a text by Marcel Griaule later echoed by Michel

Ecochard.2We define it as the !lace of mental states that we attribute to the authors.

"To em!hasi#e the sub$ecti%e le%el of this concludin& section of this wor' ma'es use of an oxymoron and the freedom

&i%en to this fi&ure of s!eech to hold to&ether o!!osite !henomena.()arl *.+o!!er, La conoscenza e il problema mente-corpo,-l Mulino, olo&na 1//(, !.10.

-bid, !.0.

Gilles 3eleu#e, Strutturalismo ,*i##oli, Milano 1/0, !.1"41(

"O#PA$AT%&E $EA'%N( OF T)E A$T%FA"TS

Se*uences o approach

Observations in detail

The !FUB# with an area of the two phases of B#GG s,uare meters# is larger than seentimes the si%e of the /rphanage e,ual to N#NGG s, m and occupies footprint of slightly more thantwice that of the /rphanage# but to describe the two interentions re,uires a time and a ,uantity of

information inersely proportional to their si%e ratios$The description of the !FU is e)plicitation of aerifiable system at all points along a hierarchical partition of elements that define the generalorder and within this grid position organi%ational units are modified according to the use of specific

functional re,uirements$The routes are defined structuring elements and the oid within them that

contain usable space$The organi%ation of the ertical section proides a basement for the

mechanical distribution# drieway accessibility to all plant components# and then the three higherleels for the collectie actiities# two closed and open on the lastJ$The elements of the erticalconnection between the two layers are composed of a closed ramp and staircase arranged alongthe internal roadI the position of the ramps is opposed in the road ad"acent to and alternating withthe staircase which deelops in length at the center of the internal road$

Continuing this could lead to e)haust the description# in words to complete the building$Thesame actiity for the /rphanage would be more difficult# but most is not drawn until reali%e as we

can approach the system of !FU in their mental space with only a erbal description$ Thereadability of the construction is detectable in the system generally and in each detail by theimmediacy ;anti(rhetoric; of the construction details of the !FU# in particular the first portion finished

in B entitled ?8ostlaube?$The focus in the building connect with the ground# as well as all the

elements that are anchored to the ground in connection with the building# are treated with technicalsolutions that proide a sharp discontinuity between what is the foundation and the building

superimposed$Are the technical characteristics of the "unctions that use the neoprene material

used for the seals of the mechanical construction# which re,uire e)treme caution in identifyingthe points of separation between that which is integral to the ground and that is part of the upper

floors$The discontinuity between the basement in concrete cast of the two upper floors will beunderstood immediately close to the access roads to the interior: the two e)ternal concrete stepswhich connect the inner portion is truncated at about DG cm and a metal grille ensures continuity

with the interior floor$A canopy composed of iron pillars made of sheet metal profiles H- and ahori%ontal bent edges as protection# constitutes together with the corresponding grid of short

pedestrian lin' assigned to a mediation solutions as strict as refined$The character denoting .anti(

rhetorical0 shows that# een where the meaning is reali%ed# this is done without aggregating otherpossible alues$


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The clarity with which they are defined "unction points is een more eident on the coer#where the conse,uences of an unresoled enforcement lead to a rapid deterioration if not een

more obious problems$The plan did not coer so additional structural elements integral to the

plan# but only parts that are supportedN$The spiral staircases that indiscriminately inside andoutside are the shortcut between the leels# if they are installed outside# climb oer a few inches ofthe top floor of arrial ia a sophisticated solution# consisting of a plate concrete# shaped to receie

the shelf of the scale$Thus# the elements of the fall protection# railings# are made with an edge ofconcrete elements U(shaped# of about G$DG m from the side# lined up side by side and simply

resting on the coer and then be filled of earth to which then fi) the railing with tubular steel$Thesolution of the parapets and the tan's are filled with ground coer of !FU an e)ample of effectie

implementation of green roofD# as initially sub"ect to criticism by clients$Concern resoled in termsalmost immediately "udging by the photos of the e)perimental module installed at the foot of the

wor'E# but also clear signal that the coerage feasible or een roof gardens in


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system fle)ibility re,uired to abandon any pretence of formal relations# the differentiation betweenparts buffered and stained glass does not coer the perceptual point of iew an important role$

The oerall effect of the building is a sought unity obtained by a strict enforcement

consistency between parts at different scales$For e)ample the techni,ue of bending of thelaminates are obtained with which the uprights e)ternal fi)ing of panels# which hae a significantpart in the oerall image# aoiding the right angle and hae a rounded edgeI to the scale of theentire wall also the fitting orthogonal between two walls is obtained with a rounded corner "oint thatfi)es the angle in a uniform manner along the entire perimeter of the building# with the only ariant

of the tamponade opa,ue or transparent$The attac' on the ground may proide another e)ampleof the consistency between the specific situation of the stairway that we showed in the opening

paragraph and the consistency of the solution along the entire perimeter$The dead lift is a swellingof the walls of the terminal# to coer the head of the foundation concrete# isible# and leaing aboutG$JD m of the base with contrasting tones of dar' color of the panel denounced the regime changefrom a structural point source steel for the part in eleation to the concrete walls for

foundations$To this solution# consisting of the attac' on the ground than in the "oints of the wallscontrasts with a olumetric ;attac' on the s'y;# obtained with a thin profile# which inoles no

change in the ertical plane$The pronounced shape of the bottom edge and the light profile of theedge of the building run parallel to each other along the north side following three minor terrainariations that play the articulation of the building resulting in a strong sense of continuity .inaddition to the negatie reactions of some critics0 that together with some geometric ariations inthe partition of windows suggest a concealment olume# off the ground$

Conersely# the /rphanage is all that is not the !FU$

The structural components are the most obious area to recogni%e the contrast of the two

design solutions$The fle)ibility of the system of !FU find in Amsterdam an articulated compositionof massie masonry partitions .G$G)G$G)G$BO m bloc's @lin'er wor'ed with three heads0collapsing .or emerging0 in the soil directly without any mediation with the e)ception of supported

slender columns .diameter JE cm0 on a thin concrete pedestal supporting a roof far from feasible#een in a sense almost eerie$And yet# in !erlin the picture drawn by /$+$ Ungers of a rusty shipthat ran aground in the field of apple trees in 4ahlem# where ariations are possible proided bythe designer according to a series of functional statements# to regardless of the relationship

between the parties because the continuity is ensured by the whole system$ 2n contrast inAmsterdam# the composition follows the precept of 7itruius relationship with the parties and thewhole and if we were to transform reality with the image antagonist to the rusty ship could be thatof the ruin of a palace(city now only anarchaeological eidence$

2n Amsterdam the architectural element that 'eep together finds and fragments is the lintel#a clue that suggests the recognition of similar composition of the two wings of the building# based

on four similar elements repeated$The lintel supported on slender columns or heay share wall isa constant sign repeated along the entire perimeter of the building and becomes li'e the plot that

combines parts into a single body$The shape of space# denoted by the character of protectionfrom the walls of the lower buildings# or by ertical deelopment of the halls# is reflected as the

most suited to each specific phase of the life of the young guests$ 4ifferent elements needed torespond to enironmental re,uirements of children and young people at ery different stages oftheir lies are held together primarily by the ;composition; and then from this architectural element#

which in classical terms may be associated with an entablature BNinterposed between walls andcolumns to complete the roof made of prefabricated elements$

The e)ecution of mi)ed wor's .prefabricated ( traditional0 inoles the preparation ofelements of mediation between the accuracy of the prefabricated items and the re,uired tolerance

to wor's cast in situ$The prefabricated component of the ibrated concrete lintel has a length of$E m corresponding to the grid that organi%es the building structure# a thic'ness of G$O m e,ualto the thic'ness of the share wall and a height of G$NO m with a longitudinal hole in the center ofG:JB m# the length of the hole is obtained by assuming two ; dado;$ The special piece for corners


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presents the increase in thic'ness# being symmetrical and haing no differences between interior

and e)terior# with only a wor'piece is possible to sole all the angles$ We can understand that thehole in the center of the lintel# in addition to proiding natural illumination# recalls the tool that isused for chec'ing the correct e)ecution of the plan of arrangement of the elements of the coer or

more simply acts as a relief to facilitate the assembly operations $Furthermore# the conse,uencesof establishing a ;hori%on; constant allowed releant articulation of the wal'ing surface# or thisdesign has suggested the definition# in fact# if as in the case of the gym was re,uired a greater

height# was obtained by lowering the plane of the floorBD$This determination by the lintel line thatruns to the same leel along the entire perimeter should be considered an important aid for the

e)ecutionBE$The formal outcome of this choice has a significant alue in the perception of thebuilding as well as continuity# succession gaps obtained in the architravegies the trac' to 'eeppace in the articulation of planimetric olumes and eidence of the blac' rectangle surrounded by athin strip of concrete is a clear finding of the planimetric# as a efficient relationship between theplan and eleation$

2t has been mentioned preiously the difficulty to describe this building# as it is notcatalogued following the category# large(small# open(closed# $$$ classical(anticlassical# since any

attempt# instead be able to weigh ratings# it is as if you were wal'ing on a wire of a tightrope B

asin Paul @lee drawing$!esides# from seeral points of iew the belief of the interrelationshipbetween the construction of the house of children and theory in an -yc' .referring to thedocument /rinetation and the themes :the greater reality of the doorstep# the Aesthetic of number0#you hae the feeling# that #before the pro"ectual process# then the construction will be incurred inan ine)tricable way to a theoretical approach that was specified and was becoming more focused

as the design(erification gae its support to the theoretical 'nowledge$ This inner coherence

between doing and thin'ing can open up to two lines of interpretation both e,ually iable$ The firstthat presents itself for its potential to recogni%e in the /rphanage such suggestions that lead to the

trace of a narratie architecture$A second possible interpretation# supported by the distancebetween the abstraction of thought that goes on the poetic side and leaes no room for connotatie

interpretationBO$

Trying to guess this second way we can not see' a middle ground where the architecture?tells? what the architect thin'sI eery language belongs to a different world# the world of wordsdoes not win' at the space to scrutini%e the secrets# nor architecture becomes spea'eable# theonly possible point of mediation is the man# but not the specialist who thin's critically ealuates#there seems to be no room for these attitudes# perhaps you could suggest that the way better tounderstand this architecture in its ;reciprocity; between theory and practice is not in the detail orestablish peer relationships as wide as possible but in obsering the attitudes of those liing

there$To e)it the game of mirrors between part(whole# big(small# where we are dragged by the an-yc';s compositional s'ills# we can use the images that shows the children moing in this buch of

spaces .guests or isitors onlyB0$4iscoering these places and their ;surprise; by the images

ta'en of children during their games is the most suitable way to iew the /rphanage in detail andas it has been sought its right si%eJG$

What the reading of plans and sections allows us to appreciate een though in reality thee)isting use is li'ely to be interpreted more as a nuisance by users of the /rphanage# represented

by curtains and gates is the permeability between inside and outside$ A continuity understood notonly in the immediacy of establishing relationships# as a succession of thresholds that do not tend

to blur the distinction between inside and outside# but to interpret it$The ariety of solutions that wefind is studied by an -yc' as appropriate gien the age of the guests# protected areas for thechildren giing the feeling of being inside or outside# as if you were in and out at the same

time$Conersely the halls for the bigger boys are emphasi%ed to the outside at the door with a

large circular step$/ther circular forms appear to define a corner for the conersation in the

ballroom$The plan is based on the geometry of the s,uare and the right angle with the circularparts presents a second leel of articulation which is treated in different ways: if at times refer to its

center as a micro field is sometimes denied haing as center a column$ The readings of a


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psychological interior of these hae been tried on seeral occasions JBand the directions thatemerge# li'e the playground in Amsterdam# leading to highlight the aailability of thecharacteri%ation of these places# interact and deelop the instinct of curiosity# without assigning

preconceied attitudes$-erything becomes game# but nothing is "ust game# so a 'ey tounderstanding this series of artefacts we see the city wanted by Hert%berger# than's to the ;secret

intention; of the architect# has no need of playgrounds as a whole city will become


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6


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with the body(bridge parallelepiped defines the orthogonal reference of the composition$A firstattempt to search through the geometrical a)is of the tracing on the diagonal of the s,uare# can not

find appropriate solutions# since there are no immediately obious symmetries or alignments$Therelationship that defines the aggregation of these elements on the diagonal comes from atranslation of two coupled modules# this se,uence of four large domes is the same in the two

wings# but placed a right angles to another$From the definition of a starting line# the bo)(dec'aboe the entrance# line up the two wings adancing southward and conerging to the center by a

constant shift between units of use of each wing$Able to control this figure# repeated twice# we canfi) a centre of graity in the conergence of two series of pailions at the entrance court# not a

static centre# but a place around which the two figures in reference to the parallelepiped$Theopportunities for a drawing must be read together so articulate the benefits of optimi%ing theconditions of oerloo'ing and light penetration inside of the building# considerably e)tending the

ertical surfaces e)posed to light and air$This creates a new way to gie bac' to the porosity ofarchitectural olumes that we were loo'ing for traces in the ancient Arab cities and the /rphanage

which reinterprets this orderJ$

? The situation to be hoped for should be recogni%e as one in which both buildings and

spaces e)ist in an e,uality of sustained debate$?This proposition by Colin 8owe# ta'en out ofconte)t of e)pectations for a dialectic between ob"ects and open spaces conerges# but with adifferent angle# to remember the words of +ondrian# ?neutrali%ing opposition to undo all

e)clusieness$?2n the bac'ground of these two critical intentions outlining the design principle of

/rphanage# read in alternating solids and oids$The pailions that emerge from the homogeneouste)ture of the domes and patios imprint a game of full and oid is performed without ane)temporaneous effect# but with solid "ustification# offering different ways of liing between boys

and children# as among the new town and the ancient city$ When an -yc' comes to home(townshows in the same house more ways of inhabiting the city# or better both ways of liing the

houseN$

The definition of the patio as the ideal place for children and the re,uirement of the roomwith natural light on both the east and west sides# in addition to ta'ing away from the direct road tothe airport# come to define the unit of use that is poses so introerted as opposite the four pailions

adancing from the west front to the south are ob"ects that tend to brea' from the lin' paths$ Theattempt of an -yc' to cross these two trends was certainly faoured by organi%ational issues: the

diision of departments into four was already applied in the old orphanage $ The other parts suchas administration and logistics play a role ;ancillary; and the raised elongated rectangular body ofdormitory for assistants with balcony to the north and stairs at each end becomes the bridge

between the administratie tas's that an -yc' had fun to separate$ A bridge instead of the dooryou might thin' because the body is suspended for the first detectable limit access to the house# ora bridge and a door in neutrali%ing opposition# symbols of an open dialogue about being limit

without limit D$

The lexible order, the grid with two scale

To rebuild perceptually design intentions which aspired !FUE# are e)pected to meet withthe system;s entire demand surfaces for teaching and research of about BD ha# we imagine that thethree e)isting &trasse 6# @ and 1 prolong for a length e,ual to one another corresponding to threecourtyrds is built the north(west streets with +# 3 and / which should be close to the north(west of

the open space of the theater$The fact of further enhancing the prospect of internal roads ataround DGG m brings us close to a limit of perception where the abnormal length may suggest a

sense of discomfort due to the monotony $

What is found in the road @ on the length of GG m is the condition that such a length#referring to the height of the ordinary floor . m from the floor to the ceiling0 and the width of theroad itself consisting of .e,ual to D$OG m0# cancels in the ariety of episodes that characteri%e the

path$The effect of aried light coming from the courts# stairways and ramps placed in the middle of


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the path contribute to defusing negatie psychological situations as you might suspect from areading of the plans# although certainly the effects of these dimensions should be chec'ed on moresubstantial sub"ects and for an e)tended period of time$

These considerations are carried out by e)amining the empty space# without the people andassessing the characteristics from the architectural point of iew with a series of isits during times

of low actiity teachingI then completed the erification of the reaction in a space so artifact# whenthe building actually begins to lie# this order of problems become negligible# the details are lostand what was once a s'inny# almost anonymous# definition of the wall becomes merely a bac'dropfor actiities and meetings with the continuous ariable# the larger the turnout the more the reacts

area becoming a place to be many$?The halanstrecan be called a human machine$This is nota reproach# or you want to allude to something mechanistic: this e)pression refers only to the great

comple)ity of its construction$This is a machine built of human beings$ ?

The ,uality of the space is not inherently due to the shape of the interior spaces# but therelationship that deelops between the closed space inside for collectie use and open spacewithin the building .patios0# greater becomes the distance from roads .semi( 0 public access andmore of the internal courtyards become isolated from the outside protected areas and

discrete$8eturning to the scheme design of the competition they want then the role that he playedthe central open space# located in the center of graity of the system# and stri'ingly similar to the

relationships established with the building# the sahn.central courtyard0 of a mos,ue$The finding ofa public meeting# a s,uare# e,uipped with an outdoor theater and other leisure actiities would giea center represented by the emptiness of the place of aggregation# not a center in terms ofdistribution and hierarchical but a place be achieed which would constitute the identity of thecomple)$

The pattern of paths# remained unchanged in its ertical organi%ation from the competitiondesign has three leels# each leel is based as there are hierarchies defined between thelongitudinal pathways .&trasse0 in intention as well as in ;outcome design# the less there is the

definition of a center of the composition around which all the elements rotate$There is# howeerthis acuum at the center of the system that# as partially achieed# not being closed on four sides#

and now immediately accessible from outside the system# does not contain the e)pectations that

e)presses in the study of the plan$The drop of tension that is felt in coming into this space# whichshould hae been the heart of the community# now bac' in a state of ;outer; reali%es that theenironmental situation by the isolation of the system relatie to the conte)t is not been

achieed$The game of inside and outside refers to the natural space open(and closed(formula is

the rule that goerns the perception of the moe$The attraction of this spatial deice is to create a

condition of abstraction and is based on an e,uilibrium defined by the e)clusion of the e)terior$2t israther difficult to imagine how this part of town protected could lin' up and find a compromise withthe si%e of a real city# though the /rphanage ary from large to small scales# as well as thedialectic between open and closed instituted between them a continuous game of mediation# in

contrast to !FU this dialectic is canceled by the oerthrow between the closed collectie space andindiidual open space$

A reading test gien to this order of successie reersal can not but see the comparison

with the first design e)perience of Candilis and Woods$ The pro"ect for CarriQres Centrales has a

similar attitude to consider the possibility of settlement$The critical approach to the hori%ontalmode of aggregation of units of use and testing of ertical deelopments in multi(storey buildingswhich we analy%ed according to resistance to e)traordinary pressures transformatie interentions

in Casablanca# reflect an attitude that could parallel .should0 occur in !erlin$The recognition ofrapid e)pansion and e)tensie eleations occurred in residential pro"ects in Casablanca in thefifties gae a clear e)ample of how a building type in multiple courts could sustain substantialchanges# then that;s when we compare the intensity of those changes we can reconstruct thescenario of modification# but had not ta'en sufficient account of different cultural attitudes of users

and their susceptibility to change their enironment$We recogni%e that# in the attitude towards thedesign structural components of urban transformation# a way of wor'ing that sees the e)port# in


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e)amining the translation of the principles of settlement# a method to encourage# recogni%e and

interpret re,uests in the communityO$The opening of this comparison shows# as well as astructural issue# an issue of great economic importance in the pro"ect for !erlin on the aailability of

a technologically adanced industrial production$This concern to emphasi%e the technologicalaspects and to e)plore the ersatility of items deeloped for the construction industry will alsoconstitute the definition of points of iew such a distance within the design team that will lead to thefact of e)clusie care with the help of Prou> for the ne)t part of the outcome after the

competition$

2n fact# the problem is that the clients for the preliminary design twere see'ing an answernot so much abiut the structural type# since all indications led to the selection of a pillars system#the problem consisted mainly of a decisie conflict oer technological characteristics of thetechnical department of the institution which re,uired the use of a reinforced concrete structure#

with respect to the hypothesis of using a steel structure supported by the designers$ !y the choice

of materialBGthen depended on the si%e of indiidual pieces to obtain the best handling#maintaining efficiency in the assembly times and ersatility in performing changes# ariations in theposition of the pillars for the preparation of plans# structures of greater compatibility with light for

auditorium# arrangement of edge beams for fastening the panels and not least the characteristicsof resistance to fire$The publication of the results of the competition .for selection of the

construction companyBBis an interesting documentation from the technological point of iew on the

state of the art in the late si)ties# with regard to the prefabrication of building structures$ Thesolutions presented by nine companies# ,ualified for an operation so challenging# were analy%edand compared by N parameters and the winner turned out the solution with ertical and hori%ontal

structures of steel and concrete slabs proposed by @rupp$The selection of this solution was ofgreat importance to guarantee the final characteristics of the building and later the same @rupp

won the tender for the supply of e)ternal panels$The definition of the system will not onlyrecogni%e the fle)ibility of the ertical internal partitions in the course of time# but presents this

freedom of organi%ation also in the selection of its structural elements$ For many architects this

readiness to define the construction of e)ternal agents een today could be considered anintrusion into a field iniolable but the consistency of the proceedings conducted by Woods is inthis willingness to allow input from the offer more technological an adanced understanding of theprofession beyond its traditional limits of the architect$

And for architect what remains to be doneR1ust what you always did$4efine the things thatdo not change# which are defined in the relationship between parts and whole# aailable to men# to

better meet their needs$2n this sense# Woods tries to define the conditions for an order that could

support the shift to ?a total and uniersal society$?To obtain this result from many ,uarters it was

reported he imagination as an essential contribution fromBJusers .teachers and students0 because

the mode of ariation and adaptation of the system depends on their interpretation$ The diisioninto three business segments in the icinity of internal roads# those with public features# those

achieed by grafts of roads to areas of wor' of indiidual departments# and finally the rela)ingpatios and terraces are defined for a hierarchical type of relationships$2n addition to this ;scale ofassociations; organi%ational changes among departments are free to redefine the actiities ary

according to their needs$The elements that remain fi)ed are the main distribution roads that grow

linearly and contain three leels# including the base# the bac'bone of technological systems$BTheconstruction of the building# referring to an assembly of recogni%able pieces together as the ?

+eccano ?purports# disappointed# to account for the editing mode$/nce secured coordination ofertical and hori%ontal load(bearing elements# the main components of plan cells of toilets.alternately arranged along the main road crossings on the roads0# it remains to define theelements of the ertical partition to complete the definition of ;so that building can be repeated up

to where the functional needs re,uire it$The design principle at this point coincides with the

definition of the system# since it should not play a role as an intermediary with the conte)t withwhich conerses in that the system itself absorbs the conte)t to the inside$ We could define it#reersing the intentions of the designer# a self(referential construction$


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1The !rocess of memori#in& is an indi%idual matter are e%idently here has set the exam!le of --T cha!el for the

consistency of the mor!holo&ical structure and Tourette9s for the internal structure of relationshi!s, since the !rocess isre!eated, sub$ecti%e, of ou can store as a store !rocedure to ali&n the two cases under re%iew followin& theor&ani#ation in two series --T 4 Tourette and 56 4 8r!hana&e.2-t is not, now, the mnemonic mechanisms to reconstruct the o%erall desi&n@ the im!ression is that %an Eyc' wanted tohide the startin& !oint, so there are only &uesses and e%eryone in this case may find its be&innin&.Then, followin&

another le%el aimed at !ersonal con%ictions, a hidden area of the !ro$ect which is manifested in the numbers, the ""domes on the far side of " axles !er each ".7 m D"." m thereafterF, could o%ercome the com!licated chasin& andcoincidences ex!ress nostal&ia for a world where e%erythin&, as in the stories of the blind hunter 8&otemmeli MarcelGriaule, is ine%itable and the fi&ure of two o!en hands reflected in the !lant dell98r!hana&e may conclude our discussioncircle"'risis of t"e object/ pre(icament of t"e structure,o!.cit.(The force of the ar&ument, from an Eyc'9s 8r!hana&e to Bert#ber&er9s 8ld ori&inal edition 3er Ta&, n.=", Mor&enblatt %om 1 e!tember 1/7/, refers to the

conclusion of the essay where immel states that@ ebenso 6nd das ist der Mensch das Gren#wesen Gren# hat 'eine.The attem!t to offer a descri!tion of the meanin& of li%in& in the buildin& can not be sol%ed exce!t by acce!tin& some

ris' to return to the scenarios that su&&ests that en%ironment. Certainly the intention of Woods to build a !iece of the city

is not the first thin& that comes to mind, what he su&&ests instead is an artificial landsca!e, how to mo%e into one ofthose stations in s!ace and in those years and then more years se%enty certa science fiction film !roduced in lar&equantities ..0Walter en$amin, t"e 0passa$es0 of Paris,Einaudi, Turin 2772, !./ Dsecond %olumeF.=This attitude to the exchan&e could stand at the turn of the fifties and sixties as a third way in the debate between

internationalism and re&ionalism that we find in the !o!ular literature of Le%i4trauss to su!!ort the need and usefulness

of the waste differentials between cultures 1ace an( 2istory, o!.cit !. (4(/F.5or an analysis of the hot trends

indicated by re&ionalism has &i%en the framewor' defined by the rate of Aames tirlin&, e$ionalism an( &o(ern

*rc"itecture,!ublished in +rou%? has a little !art of history@ what is the result


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years without reason.ecause the technolo&y is unreali#able by +rou%?.ut as result of That story, if you loo' at erlin,

it has a robust architecture, it is constructed. 4#eam 56 meetin$s,o!.cit.!.1"741"".17The dia&rams !re!ared by Woods +rou%? did not lea%e much room for maneu%er in the choice because the only

requirements for the dis!osition of the !illars alon& the route required a de&ree of flexibility that is hard for a !recast

concrete system would be able to satisfy.The o!tion for the concrete was !robably due to issues of fire safety.11ANr&en 8TTMEE*, Freie Universit7t Berlin - 8onstrutions+ettbe+erb f9r einen auf (em ersten Bauabsc"nitt (er

Er+eiterun$sbauten :bstbau$el7n(ein 3eutsche au#eitun&, n.0, Auly 1/0, !.14(> the economic %ariable does

not a!!ear in the documentation so the e%aluation is not %erifiable in all its !arameters.12-t is too early to $ud&e if all the ad%anta&es Which offers the buildin& are bein& used, only time will tell, and it will

de!end on the amount


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assessment of needs and desires of the society of his timeJ$The more effort on all occasions thatthese authors had to face was always turned to the recognition of the time frame in which to insert

their theories# pro"ects and wor's$The succession of priority man(time(space for an -yc' andWoods are part of a mutual 'nowledge and the results of these combinations come off no morereconcilable when faced with the position of man in his time$

4eeply influenced by a ecological reflection on the dangers of imbalance of wealth betweenthe world and critical to its own hopes in the future a few years earlier# Woods# in an essay writtenin BE highlights the uncertainty# the need to mar' leaing a space increasing to the the awaitedSWe can imagine that the purpose of organi%ation is to order the growth and change of our.natural0 habitat# so that we can do those things which we wish to do in a way that least commitsour successors to doing the same thing in the same way$ For nothing is less sure than thedurability of our attitudes and of our actiities and probably nothing is more certain than the

re"ection tomorrow of what we consider sure today$?T o leae the future open to manypossibilities and affect in a reersible way in ; enironment is a 'nowledge that is weighed in eachmoment# so Woods gathered the stresses that were emerging in those years as unprecedentedand radical forces in which it incorporates not only a sign of sensitiity# intuition and an antidote to

cynicism$Certainly# his prediction came true about re"ection of the wor's# at least the more radical#produced in the early seenties and the succession of architectural languages

until after twothousand seems in fact to define an acceleration in the oerlap of styles# and so also the re"ectionof what has "ust passed is a mechanism that probably "ust from those years has ac,uired# for the

redundancy of messages# a cadence increasingly shortened$Howeer what is releant to theposition of Woods is not the luc' of the forecast or not# is the brea' away from confrontation withdurability pursuing the idea of architecture that is not seen as testimony to the future but how to lietheir present leaing ; open the door to the future ;$

The disenchanted of those who turn to the future is deflected in the ,uestions of a destinythat can not or will not recogni%e# who moes on the ertical a)is of time# with the commitment tosee their present loo'ing bac' in time finds# ineitably# to the center# the fulcrum around which the

world turns$The commitment of the an -yc' to understand the relationship between man and hisenironment led him to engage in challenging ethnographic research# crossing boundaries of time#

to isit the world of peoples without writing$The willingness to be surprised# to gather in places sodistant in time and at the same time present the same gestures and the same attitudes translatedinto needs now belieed to be primary# e)presses a %ero progress as well as undo any incentie to

return anti,uities or better to be confronted with the essence of man$ ?The man after all# it went

adapting physically in this world for thousands of years$His natural genius was not increased nor

diminished during that period$2t is obious that the full e)tent of this immense enironmentale)perience can not be contained in this until we condense the past# ie the entire human effort intoit$This is not an act of historical complacency in a limiting sense# nor is it to ta'e a bac'wards step#but it "ust means being aware of what ;e)ists; in this ( what has passed through it: the pro"ection of

the past in future through this place (nna was# *ivia is lurabelle+s to be'?N

The ostentatious confidence in the progress and permanence of the basic needs of man aretwo opposing points of iew that you breathe# inhale# from the buildings that we hae described

aboe as the hi'e in two worlds that reole in a reerse of the other$ The impulse that gies a

erse instead of the other is attributed by poetic intuition of each architect$ 3either of the twobuildings are open to interpretation addressed to the past or the future because they are rooted inthe present situation and thin'# indeed e)plicitly addressed to something new that appears on two

different scenarios$ 8eading space as a function of time is to recogni%e architecture as a man;s

writing$Conceie of space as a response proportional to the time you spend using it in the guise ofinstrument in which the distances that you trael on are e)pressed in terms of ;distance oer

time;$-fficiency can be measured by the speed re,uires a continuous iew of space# a space

homogeneous and isotropic renewable indefinitely$2n contrast to a ma%e where at eery step youmust choose your fate# educate senses to find the places where the conditions is faorable and

freely goerned by your wishes must necessarily be discontinuous$The space in function of time


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does not underlie a linear relationship# graspable with the reading at first sight# and these twoe)amples# regardless of the preferences between the one or the other or better yet no one# are

aluable for the decision# and consistency with which ma'e their way$ The design principles ofthese two wor's are determined by the desire to gie a role to man in his time# to determine theirdestiny and to deole to the space the reali%ation of this ambition$

"ON"EPT%ON OF SPA"E

Night and 'ay

/nce we recogni%e that continuity and discontinuity of the space may be described asforms of e)pression for the interpretation of their time and the e)pectations that there may bearranged# you can return to isit these buildings with a heightened awareness of the meaning$ &owe find a dense space# porous# defined in its limits and its opening to the outside# so articulatedand clear using light as a tool to naigate within it$The light proides the criteria as well as simplyto find their way inside# een for read between light and shadows the relationship betweenindiidual and collectie# to stimulate or retain social behaior$ The architectural design of a space

discontinuous in the /rphanage seres to educate the use of space# as between its arious leelsof reading commentary by -3 8ogers may suggest, -amarelous blend of discipline andfreedom?D$The design of the roof that we used in its representation planimetric as the 'ey# inorder to understand the principles of composition proes to be inside# in its spatial rendering# adeice which uses light to e)pand the space$The shading that distinguishes each of the smalldomes below the stride rate giing a rhythm to the unfolding of the actiities located in areassubtended by the largest domes# the bright place# and the representation of the meeting place$Theconcae(cone) game# which is recogni%ed between inside and outside# watching the coeragefrom the acceleration imparted by the repetition# and the effect of dilation induced by the concaeinterior space# ta'e away the coer from the first impression# limited to a linguistic gesture E$Thegraity of the sprung mass at a constant height aboe the ground and a sense of security thattransmits from the inside is reflected in the ambiguity between inside and outside# in the perception

of the psychedelic waes on the roof$

The relatiity in conditions between inside and out reealsthat the coerage is the matri) of the building$7ertical partitions opa,ue# transparent andtranslucent coney# moderate or preclude the spread of the light escaped from the roof ia aplacement and a modulation of the partitions that responds to the course of the sun during the dayand the seasonsI $$$ where een details such as columns with concentric circles mar'ed on thepaement of concrete# the twele holes located at the crown that mar' the great domes# are toolsto measure the path$The wal' in a space(place designed by the time$

2f we continue to use the light as a tool for understanding the design for the !FU what youget is close to indifference$The orientation of buildings# in part due to reasons related to pre(e)isting direction of the infrastructures that form the territory is indifferent to the conditions ofillumination$2ndifference towards both the influence of indoor climate# and the effect of light on thedirection of building olumes$


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determining factor# is both desirable and unli'ely$What certainly remains in the building is thiscondition of artificiality SFourier sulle rues(galeries: Cette facilit> de communi,uer partout labrides in"ures de lair# daller pendant les frimai au bal# au spetacle en habit l>ger# en souliers decouleur# sans connaitre ni boue# ni froid# est un charme si noueau# ,uil suffirait seul rendre nosille set chateau) d>testables ,uicon,ue aura pass> une "ourn>e dhier dans un Phalanstere$ LANa# NM$As Walter !en"amin# so Woods in the first chapter titled .hat is the problem/opens the

final boo' of his actiities with a description of the model of society proposed by Charles Fourier'2nthe historic moment when the masses are moed from the control of parishes to the state wasperhaps possible to ma'e a reolutionary dream of social harmony in his course that Woods;Today; considers outdated in those terms# but still trying to rebuild interpreting the new conte)ts$

The internal street

!en"amin in his s'etched fresco of the Arcades in Paris illustrates# through a multiplicity ofiewpoints cut during a long search# the birth of a phenomenon of settlement# a new ;urban type;#which was able to represent a particular time of social and economic deelopment of themetropolis$The economic reasons# een commercial# primarily for the sale of fabrics and woenwith reference to the Ba0aarmodel as imported# are shown by !en"aminBG.$As for Woods# there is

a definite line in the perception of social phenomena# what concerns us here is the coincidence indealing with the consecutieness between urban Arcades and Phalanstery$2n both# although intones far more e)plicit in !en"amin# the mall is a symptom of the new alues of the bourgeoisie andthe Phalanstery is the best antidote for itBB$The relationship between arcades and Phalanstery isbrought out by !en"amin ?Fourier sawpassages in the canon of architectural phalanstery$Theirinterpretation in reactionary by Fourier is significant: while they are originally for commercialpurposes# become places of habitation$The phalanstery is a city of arcades+BJ# and so Woodsused the model of urban arcades# after diluting the commercial actiities# to organi%e his plan forthe center of Paris# !onne(3ouelle$

The urban arcade shares with the matri) type the condition to be interposed betweenbuilding and city# the inclusion of a point of comparison as the urban gallery# allows us to refine theorder of terms$2t should be noted that this inoles some difficulties regarding the organi%ation

theory outlined by an -yc'$

The concept of reciprocity in his home(city# in fact# sole# een in a'aleidoscopic effect amplifies cross(references between one or the other in a dynamice,uilibrium$2n turn# the intentions of Woods were definitely directed to membership of the interiorspaces of the building to a truly urban condition# a piece of the city# but the outcome remains farfrom its e)pectations and here we face ineitably the outcomes$ The urban arcades transformswhat was a building# for e)ample by drilling a bloc'# a part of the city# while the type of settlementmatri) brings inside the building the comple)ity of urban space$We recogni%e two different senses#understood as the direction of engagement between the building and the city: the urban gallery is apiece of the city undergoes a building# while the matri) type is a building that moe towards thecity$ From this point of iew the closest ancestor of the /rphanage and !FU can be considered thePhalanstery placed outside the city$This distinction as to simulate the city from the outside in casesought by the /rphanage and sustained in the case of !FU unites these three episodes and

dissuade from going bac' in history to loo' now further aboe

B

$

!uilding the collectie spaces with internal street as a means to enable comple) aggregatesis a brand of the first pro"ects of 6e Corbusier oerlapped ertically# nell;2mmeubles 7illa orhori%ontally arranged in series in the Uniersity(CaraanseraiBN# in both these e)amples thespaces distribution is iewed in relation to an integration of collectie character of the residentialunits and especially nell;2mmeubles 7illainolesa reorgani%ation of the domestic lifeBD$6eCorbusier concludes his treatise on city planning in BJD stating that: ?There is not reolutioni%ingwith the reolution$2t reolutioni%es leading solutions$ ?BEThe structure that identifies for thecampus# housing a carpet# a full round# open to the s'y and dug into it to reach eachaccommodation# may be referred to as the ?reolutionary solution?$This first hypothesis for thecampus would not be followed: that the interention will propose ten years later for the &wiss

pailion at the Paris campus will address a construction with a monumental; character ;# Thehori%ontal distribution will return at the center of interest only when the conditions to ?build withoutbuilding? and he will show to his collaborators to use the design of the campus# particularly thehousing section to ;baste; the first proposal for the hospital in 7eniceB$We recogni%e a consistent


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typology in the two schools of art and architecture of Chandigarh for the conditions in which theywere designed in the last period of actiity pose some reflections on the prealence of thehori%ontal dimension# while the use of the shedsstill brings us bac' to proposal from the campus:?The campus is conceied here in the ;shed;# the system of construction which allows to e)tendindefinitely# ensuring perfect lighting and suppressing the masses carriers.e)pensie0?BO$

The internal road as part of integration rather than separation between public and priatesector becomes in the fifties and si)ties for Candilis and Woods a constant connected with the ideaof humani%ation of the enironment$2f we consider the following article of Woods in BEDsuggested by the editors of the maga%ine ?Architectural Forum? on the &wiss Pailion of 6eCorbusier# we find in his commentary on this prototype a negatie representation of the newhumanistic ideals$!o) suspended from the campus is clearly recogni%es the difficulty in acceptingthe separation between the components distribution as well as emphasi%ing the ;monumental;olumes$Woods;s speech is difficult and the "udgment addressed in critical terms# ?a failure $$$ 2n2ts polemic intention?# his attempt is the historici%ation of the ob"ecties of that particular phase of6e Corbusier and 1eanneretBwhere reigned the emphasis age of the machine# ?now there is nopart of our celebration in the curtain(walled Prisms where the machine is no longer a tool but aninfernally strait "ac'et $$$ V There are no typical solutions# only a profound coniction that the

problem is always new# constantly changing# and that man# not mystification# is the essentialpreoccupation of architecture ?JG$/n the other hand# was mar'ed the beginning of the BG teamsthis tension# aert the mechanistic iew and address the needs .and desires0 leading man$ Therediscoery of the street as a place of interrelation will be the most lasting achieement and thennot so obious as it may seem today$ The same design of &mithsons for a multi(storey buildingwith wide balconies that aspired to become ?street mesh in the air? as the most radical pro"ect atillage scale .town0 1lose cityborn in the wa'e of a recon,uest of the places of socialaggregation $radically changes the sensitiity in conceiing space for relationships$2t is recogni%edin the moement is not an e)clusie aim to achiee a goal in the shortest possible time# but asignificant part of the potential relationship# if we now turn to the words of !uber# the need of manto recogni%e in its enironment# not in the house# but amongthe houses# which e)plains theinterest of the comparison between the olume of outstanding &wiss Pailion bound to the ground

as less is possible and more discontinuous has the reaction of Woods and finally in 6e Corbusier#who finds a new way# or better returns on path left of the hori%ontal dimension of the building$

The function of the path in the /rphanage ?a deice with an un,uestionable human content( the internal street?JBas well as the three &trasse in the !FU become responsible for theperformance of collectie actiities$From this common starting point ( the isolation from the outsideto define a domain intermediate ( two positions are articulated architectural discipline that will leadto two ways of understanding this mediation in terms irreconcilable$This incompatibility will lead toa diide settlement phenomenon born of the common e)pectation# the research began with studieson the Habitat# and will separate into two streams of thought that instead of operating in adialectical tension will tend to occur more and more e)clusiely the one opposite the other$2n factwith the reali%ation of the !FU proposals ran out and the debates within the disciplinary field will

moe to other topics$

8emain on the field critical discussions# which will continue until the eighties#in contrasting the two addresses about the design phenomena settlement matri) has produced$

ou can rebuild a significant portion of these contrasting positions starting from an article byAlison &mithson prepared for the presentation of the first stage of !FU titled 2ow to 3ecogniseand 3ead 4at!BuildingJJ# where are the comments of an -yc' that# in beyond the controersy# ishighlighting significant design issues$?$$$ we tend to li'e the FU for the ery reasons Aldo an -yc'doesnt li'e it to paraphrase badly V the impenetrability of Corten(steel V the carpet that changesits color not the effect of corridor street$?JTo define the scope of each department within theuniersity comple) Woods defines a different color of the flooring .carpet and ;rubber stamps;0 foreach area in order to facilitate the orientation$The potential inherent in the configuration spaceabdicates in faor of an open!endeddimension which finds its distinction in what is most

inconsistent: an -yc' is then placed in front of the antipodes of his conictions$ 2ronically# a similarsituation an -yc' had lied at his own e)pense during the choice of finishing materials in the/rphanageJN# where it had been proposed by some representaties of the client as a floor


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coering the entire range of the color palette to diide each area$ A detail iew of the oerall story#howeer# contains an important clue about the relationship between meaning# form and matter$

Woods# who is credited for his critical tendency# the label of ;anti(architect;JDdefines aspecific solution for each problem# defined by a clear hierarchy of alues: the ;system of integratedguideline; is defined in the !FU colors# primary colors for areas of actiity# from purple to green for

the rest areas$

The identification of areas is gien by a numerical code on the ;place; in atopographical sense# not the function of the space that can change# electronic guidance andframewor's proide the route to reach the predetermined destination$The ability to maintain acomputeri%ed system of the comple) is releant to understand the purpose of e)hibiting thetechnological leel of the e,uipment# currently there is no trace of this 'ind of electronic e,uipment.during the inspections hae not been seen signaling e,uipment of paths# the installation wasdescribed in the final report of the pro"ect# after the wor' was completed0$The departments andfaculties actiities listed in the master plan of BE are showing the ariety of tas's you face alongthe way$/ne can imagine the succession of archeology# oceanography# paleontology# andteleology# science# music and phonetics# theater and "ournalism# philosophy# theology#mathematics# history etc$$that all of these actiities# directed towards the internal road# send uponthis eidence of an appropriation# a characteri%ation made of things and people$The functional

model suggests that one can imagine a hybrid between the plurality of 'nowledge contained in amuseum and the functional efficiency of a shopping center$

Finding youself in the /rphanage re,uires other s'ills to recogni%e the space that the !FU:this issue comparing the two buildings pose the problem of orientation with insistence# as it createsdistance about the solutions$The orientation of the building will also be an opportunity of acomment by an -yc' irritated during a isit to the !FU# which will engage a critical distance# witha short letterJEfrom Woods that will underline significant differences in the conception of internalrelational space$2n particular the statement of Woods ?2 really feel 2 must decline = To clutter thestreet with oerdesign? tells ?the street? meaning the internal street and specifically gien in the/rphanage not as a generic e)ternal appearance of the building which is opposed to the !FUreported: ? an unroofed space with grass a tree#= 6ightwellR CourtyardR# wait and see= The

intellectual grid is all in your head$= !ut people .and pipes0 need direct routes# instead= /f so muchindetermined art ?J$People need streets and not intended to obstruct the with overdesign5thecomparison between the two buildings is eident and the different conceptions of this 'ind ofintermediate space are e)plicit as it was e)plicitly and clearly established in the discourse to referto internal street as a deice ac,uired$

1


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almost always obser%in& them from outside 4 e%en trau%en re!ortin& the comments of %an Eyc' 4 leads to !refer this

readin& from the outside as the cause of the definition of the !attern.ow if it is not necessary to ta'e account of thee%idence, and thus has acted, it will read the im!ortance of the domes for their belon&in& to the si#e of the s!ace that

ta'e !lace from the inside.-s it true, as usual with the to!ics addressed by %an Eyc', both faces of the ob$ects ha%e theirown reason.The inter!retation of this study has mainly focused on readin& direction from the inside out as the reason

that tri&&ered the desi&n choice.0The shadow of the column free s!ace in su!!ort of the an&le of the !a%ilion will find the way around the circle on the&round one way to fix the time. 9Li&ht and s!ace are inse!arable DGiedionF li&ht &enerates the time9.=ie&fried Giedion, The Eternal +resent 4 The be&innin& of


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2The letter circulated amon& the members of the team 17 entitled *emember the old days of the s!rin&4on listenin&Cra!9s last ta!e had a short text whose authorshi! was questioned by %an Eyc'. -t will be a to!ic of discussion at themeetin& of !oleto in 1/0, where Woods is reco&ni#ed as an author. The fact is that Woods sends his collea&uesDco!ies for mithson and 3e Carlo are de!osited in their archi%esF text accom!anied by some comments referrin& tothe8r!hana&e> The subtitle is a reinter!retation of the title of ec'ett9s )ra!!9s Last Ta!e .

support of a thesis that programmatically tried to 'eep things together from different points of iew$The ;type; was the lin' established to support the reading between two ways of giing meaning tothe transformation of physical space$ A 2nterpretation with the aid of the typological instrument thatdoes not clearly use of this tool by planners# authors# or perhaps because of use ;unconscious;# notunaware but spontaneous$2t highlights how the type was used with theoretical 'nowledge andoperational e)pertise for e)ample by 1aap !a'ema i the cultural enironment in which pro"ects arecompleted and that it is an indispensable tool for managing design processes ;illustrated; by an-yc'# as well as ability to handle pro"ects of building types in Casablanca by Candilis and Woods$The e)ercise of doubt it is necessitated by the finding of differences in the design of the space oftwo buildings that hae been sought in the different interpretation of the origin of their time by theauthors$These different conceptions of space in reference to the time at which it is measured;stressed out; the notion of type to the point of putting in crisis the same typological belonging to the

same matri) of the two wor'sB$

The problem pertaining to the same type can only be placed after the proe and the resultsoer the other e)amples and proides the opportunity for two reflections$The first is to understandthe magnitude of a gap between form and type# since the diersity is e)pressed in the form andtherefore carries an eident difficulty belonged to the same type# what is the cause of the doubt#but this time undergone# arises from the diersity of form$The hypothesis to oercome this difficultyof morphological classification was deeloped from a consideration of character scale# it hasspecified the type# not in terms of building type# but type of settlement# as the scale of interentionwas not limited to ;distribution of each building# but in both cases on an intermediate planebetween building and city$From the point of iew of the scale settlement the differences in theaggregation of indiidual units are not identified by their shape# but according to the system of

relations among the parties$

+oreoer# the tends to hori%ontal in the aggregation of buildingolumes offer sufficient guarantees of separation with respect to the types of settlementsad"acent$&o the differences in the organi%ation of the elements distribution# characteri%ing thescale of housing types# are sub"ect to the scale of settlements to accommodate the differentconceptions of space both continuous and discontinuous$

The space discontinuous of the /rphanage is# with respect to the insisted continuity of the&trasse in the !FU# a condition of diersity# which proides two ideas of form hardly compatiblewith each other# but at the same time# in addition to the deelopment trend hori%ontal# the systemof relations to ; interior of the buildings hae e,ually significant similarities such as the principleiteratie# introersion# the ambiguity of the artifact(ambialence between building and city# a seriesof structural relationships that can hold together the two sets of buildings in their diersity$ Theproblem of addressing the relationship between form and type now becomes ineitable and

inoles the idea of form as a bearer of meaning J$At this point# then we find a point of difficultyand also the reason why it is aoided to inole preiously these considerations# as there was infront of a case study# the !FU# in which the relationship between sense# form and matter wasplayed in an attempt to undermine the mediation of the form$ &o it failed to actiate a category to


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which one of the two terms of the comparison was deaf and the distinction has collected within theopposition between composition and pro"ect .which has offered eidence in the edition of the fullte)t0$

6et;s try to summari%e the components of the problem posed by !FU for analysis related tothe type$First# the attitude of Woods is so uni,ue and specific to see' the ( -facts- ( needed to

?create an enironment for each scale of human associations? not only opens a conflict to re"ectthe fi)ity of architectural product formally completed but a radical reersal N# that e)ceeds the,uality of the ob"ect node# to address the urgent need to discoer new problems: ? The problemswhich we face in ma'ing our world are entirely new# for our society is entirely new ? D$The type# ifunderstood not as an enclosure within which certain things are allowed and others not# puts us tointerene een if not specifically the form that acties the recognition process$ The assumption thatamong the products of man anything possible to describe can escape the meshes of typologicalclassificationE$Using the canonical difference between type and modelwe find that the ;serachfor a system !FU; welcomes the indeterminacy of the type not as the starting point of the designprocess# but as a point of arrial ( referring to the domain of research of structuralism could set of?%ero degree?O

The system of !FU then# parado)ically# after the denial of the composition passes through

the e)altation of the type# beyond the limits of conention# as an operational tool for thedesign$Woods is not e)pressed itself directly about the typological methodologyin his theoreticalapproach# by analogy# one might associate the themes of his point of iew the posting by an4oesburg# who yet parado)icallyBGproides one of the most stringent e)posure of the relationshipbetween form and type: ?$ ?B Form$ The basis for a healthy deelopment of architecture .and of artin general0 is the suppression of all form(ideas insofar as this concept implies a predeterminedtype$ 2nstead of using earlier style types as models and thus imitating preious historical styles#one necessarily must pose the problem of architecture entirely anew BBFor our applications forcritical reading of the relationship between the artifact is consumed and the discipline as a wholeIhow can we interene in the typological classification of a space system as a means# ?a minimumstructuring organi%ation?# based on a grid that contains within it the reasons for ariations inshapeRUnable to catalog design intent based on the form but to its trace# we find some support

points in a rereading of 9uatremQre de 9uincy proposed by Argan: ?$ 2l tipo V non Q una formadefinita# ma uno schema o un progetto di forma# esso risulta dallesperien%a di forme reali%%atecome forme artistiche# ma le presenta per cosX dire# deitali%%ate V CiY significa che# accertandoin parten%a la ridu%ione al tipo# lartista si libera dellinfluen%a condi%ionante di una determinataforma storica# la neutrali%%aI assume cioQ il passato come un fatto compiuto in s> non piZsuscettibile di siluppo?BJ

2n the conte)t in which the wor' of Woods is going to place# leae the instance of ;minimumCommitments; minimal constraint to the future inoles an effect on the form on which you are notpro"ecting oer the fate of the community as their witness$ Woods sees alter the cumulatieprocess of growth for stratification of the city# in reference to population growth# may not add upside to side but actiate a process of continuous change$The interpretation of this scenario ispurely speculatie as though the most alarming and catastrophic demographic growth statistics arefound to be almost understated# compared to the current demographic conditions# the concerns ofmany architects# actiists in the si)tiesBhae been relegated to other disciplinesBN$!ac' on thefoundations laid by Woods as design re,uirements related to his idea of a new destiny to comeseres to highlight the difficulty in articulating a position on the role of design as an interpretation ofsociety# beyond the anti(formalism$

The form# the boundary more consistent for architecture to gie a sense of built space#already besieged by the functionalist theory# is faced with a new strategy that we associate with theconcept of ;nonsense; by 4eleu%e;sBDthat is introduced to understand# or to collect retrospectiely#the power of intuition in Woods$What emerges from its design e)periments is not directed to a newstyle# that would "ust change the s'in of ,uasi(eternal structures# but the fle)ibility of a systemcontrolled by the e)pectations of all present# since the uncertainty# the unpredictability was thought

to be the new structural condition of the city$ Functionalism reduces the relationship between formand content to onomatopoeic relationshipBE# where the sound and meaning tend to coincide$ Theform for the !FU is not defined as it is hidden in a grid# what appears is temporary andchangeable# what remains is the system of relations# which becomes the substance of measures of


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change# a traceB$Thin'ing instead of this construction# as it is today .before JGGE0 appearsintact# regardless of its potential for change# is an operation that reduces the comple)ity of theproposal and limited only to the analysis of physics; artifact e)cludes the cultural conte)t in which itwas made$Howeer# while ma'ing this operation of ;deried;# the resistance of the potentialproblems of the form is recogni%able# manifests itself as a full round# there is no eidence in its limitto the outside# but to create inside of the building comple) fragments of open space that the

system produces$

The difficulty of dealing typological analysis is clear: if the form is what substantiates thesense of an artifact# not the way we address this progression stops at the threshold of a deformedor opens toward the unsaid that becomes a breeding ground for to test our intent typologicalclassification$The e)ample of !FU leads us not e)clude the possibility from the beginning of theinstructions to complete the construction of an artifact# repeated in countless ariations# supportedby a determined structure# but with a proision to be defined in time according to user needs$ Thisproocatie hypothesis calls into ,uestion the notion of type in its formula# resists still within thescope of its definition# as well as non!sensebelongs to the lac' of meaning and signification$

2t is useful now to introduce some ,uestions about the meaning BOin those fields where wehae the coincidence of interest# use one account on the wor' of !ec'ett performed by Theodor

Adorno Wiesegrund: ?The !ec'ett;s plays are absurd not because of the absence of any sense ( inthis case are irreleant ( but because the sense of struggle$ The wor's of art $$$ that they strip theappearance of good sense not to lose this aspect of their paralinguistic$ With the samedetermination with which the traditional wor's announce their good sense# as they lay down theirsense of the senselessness$Today this art is capableI conse,uently denying "ustice to the way itpostulates that once constituted the meaning of the wor's ?B$This is obiously not an e)planationof the posting of the Woods compositional techni,ues# the reasons of anti(architect of the companyare directed to the body and its needs# this is the position of Adorno;s criticism that interenes tocapture the spirit of the process in !ec'ett of which we find a reflection in the Woods for notabandoning his moties in the corner of re"ection# but an opportunity to lead them bac' to theprofession of architecture today$

With the study of !FU we are obsering a form that is sublimated in the internal structure ofthis condition and reports critical of us closer as ;dangerous; to the field of the type ofindeterminacy$There is a second important aspect after ac'nowledging the difficulty inunderstanding the design principle of the !FU in reference to its outcome in terms of form: itconcerns the disciplinary side of the debate that this construction in progresshas stirred$Theoperation performed by Alison &mithson in the article 2ow to read and recogni0e mat!building67creates the conditions for considering the !FU as a result of a process of establishingsettlement procedures by the identification of that constant morphological organi%ation bac' in thepreious presents and finally it suggests that the ;origin of a type;$The weighting of this hypothesis#although difficult to sustain# and cannot be demonstrated for a single episode# but it is a result of acollectie process$ Howeer this process offers some items of interest to as' whether the notion oftype# intended as a design and classification tool# can undergo seeral operational declinationswith respect to changes of the shape of artifacts with which it interacts$

The semantic crisis of the typeJBin the new ision of &mithson seems momentarilyoercome by an outcome# a flat building which realise a design principle that concealed theproblem of the form$&tatements about the origin of a type .in it$: nascita del tipo0# of course#inole the possibility of its ending from an operational standpoint$The surprise of this statementcan be fetched ,uic'ly diminished by the recognition of the conclusion of a process# which whenapplied at the time of definition of the types in architecture may seem li'e a raft in ashipwrec'$JJThe interention of &mithson is not e)posed directly inesting in the issue ofarchitectural type# but creates the conditions for it to e)ist$ We used as a guide# to erify thepossibility of argument of these reflections the oice typeJcurated by Argan raises the possibilitythat the ;origin of a type; and we hae seen in the interention of the necessary conditions used bythe &mithson to promote the argument that we preiously identified with the outlines of a new

paradigmLref B:GN:GNM$The tension in holding together the controersy between ob"ects is a comparable indicator

of the ability to recogni%e them as belonging to a type# the confrontation between the !FU and a


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picture of


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the word# which is born of the te)ture wraps all lies$We hae suggested a reading of the !FUwhere the type becomes more than an instrument# and tends to oerlap the same design principleand e)cluding the fi)ity of form is translated into nonsense$ 2n the e)emplary circumstance of aertical iew of time as in the 4ogon illage# the direction is to incorporate the type# which isclassified as separate# reduced to a few components transmitted# is integrated in the sense as if itwere not possible to distinguish$

There is thus between two e)tremes in the interaction of meaning and type: meaningreeals itself only in the moement of the sub"ect# and type is an abstraction that disappears infront of the reality of the ob"ect# so both share the condition of being intermediaries and not can befi)ed permanently$Howeer# the interrelationship between the two terms creates a grid ofinterpretation to hold together different points of iew that was the instrument used for thecomparison between the /rphanage and the !FU$ Finally discoering that sense and typesdefined in these two cases study changes in their relationships that lead to recogni%e the e)tent towhich each# conersely# tend to cancel each other$

To understand these oscillations using the image of a nomad camp compared to the cliff in2reland to establish a suitable contrast to the analogy proposed by &mithson$The e)ample of thecamp is nomadic suggested reading the reports of the meeting in 8otterdam a few months

preious to the writing of &mithson# which deals with the theme ?nature of the fabrics which cansupport spontaneity and diersity?$The oerlay image of the tent as a symbol of permanencesupported by an -yc'N: ? When 2 see a !edouin tent# 2 hae an enormous feeling ofpermanence# een if they moe somewhere else# that still gies me an idea of permanence ? withthe cliffs of


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2ee the %oice type Dedited by Carlos MartO arc"itetto

mo(erno, fonda#ione


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22The analo&y is deliberately ambi&uous, of course, the reader can choose his inter!retation, who writes thin's the raft

to a drownin& man who can find sal%ation, others, the shi!owner can re&ret for the lost shi!.

#ype2",i%oice by Giulio Carlo V 4 %illa&es, with their narrow streets that ser%e as seams, and,

more broadly, the entire re&ion inhabited, tilled or used by men. 4)o( of %ater,o! . cited.!a&e.1(/.""#eam 56 meetin$s,o!.cit., +!. 1"741(."(Ta'in& into account that mithson was amon& the ma$or su!!orters of the 56 more !artners Woods, we ha%e

selected to re!resent an ima&e of the two buildin&s and buildin&s architects crossin&4su!!orters.

Documents

SENSE and TYPE