Analogical Porto

ANALOGICAL PORTO: Arch i t ec tu re , As soc ia t i on , and t he C i t y

S tephan ie E l s e

N E W C O M P O S I T E A R C H I V E

v i l l a l a ro tonda

t e l e s t e r ion o f e l eus i s

church a t mren , a rmen ia

kuns thaus , b regenz

t emp le horus


First Published 2015

Designed and typeset in Adobe Aparajita Printed and bound in Great Britain

First Edition © 2015

All rights reserved.

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Mas te r s Thes i s

S tephan ie E l s e

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Prologue 11

The Vision of Cities Past as Prologue

Associative Thinking 13A Note on Terminology 15

1 | THE EXAMPLE of EXAMPLE 17 Precedent as Generator

Tradition and the Relevance of Precedent 18The Temporality of Associative Thinking 21

2| METHOD 23 An Associative Methodology

Montage as Concept 25Analogical Porto 27Associate: Copy, Paste, Scale/Rotate 28Composites and Compositions 33Think: ‘Repair’ 37

3| COMPARATIVE PROCESS & TECHNIQUE 39 Capriccio, Metaphor and Analogy

Architectural Capriccio 41Visual Associations: Ungers and the Visual Metaphor 42Recognising Patterns

4| TYPOLOGY 45 Associative Thinking as the Study of Types

Urban Form as Skeleton 47Typologies of Form 48Museum Island: Berlin’s real urban enclave 51

CONTENTS

5| THE LIBRARIES 53 Illustrating the Method

Exchange 57Archive 61Reading 65Collective 69

Epilogue 73

6| REFERENCES & BIBLIOGRAPHY 75 Image Credits & an Index of Architectures

References & Image Credits 76Bibliography 78Index of Architectures: Analogical Porto 81

fig.01Porto, Portugal2015

fig.02‘Analogical Porto’2015

PROLOGUE 10 |11

Past as Prologue

Every discourse, even a poetic or oracular sentence, carries with it a system of rules for producing analogous things and thus an outline of methodology.3

Jacques Derrida

Writers have to start out as readers, and before they put pen to paper, even the most disaffected of them will have internalised the norms and forms of the tradition from which they wish to secede.4

Seamus Heaney

Associative thinking pursues Heaney’s comment which surmises the idea that the author has an ‘internalised’ reserve of material from which references can be either consciously or subconsciously drawn.

The concept of associative thinking exists as a polemic against the rationalist and functionalist characterisation of modern architecture established as a global phenomenon in the early twentieth century; illustrating shared ideologies with Modern Movement polemicists such as Oswald Mathias Ungers, Colin Rowe and Aldo Rossi, which demonstrates a process of analytical study in one respect, and is simultaneously critical -projective thinking and form making on the other.

Each of us have a unique perspective from which an image of the city is constructed; an image based on a selective montage of ideas. The method of thinking and designing by association allows one to explore existing paradigm, through which a continuous thread of associative ideas might be established.

3 Points...: Interviews, 1974-1994,1995; p.2004 Redress of Poetry,1990; p.8

PROLOGUE

The Vision of Cities

Driven by the impulse to transform our relationship with urban space, architects and urban designers have endeavoured to redefine and re-present the image of the city. Each canonical city vision to date illustrates alternative solutions to urban predicaments of their time.1 These urban images were not passive creations but are inextricably bound to conceptual city thought; ‘they reflect and present wider perceptions, they feedback and also function as critical devices for the evaluation of city form.’2

Presently however, there is a disjunction between the macro city image and the reality of inhabitation. The city is a living organism, activated by its human occupants, thus consideration must be given to the perception of the city at the micro scale where multiple space experiences occur. We must strengthen our urban environments from the inside – out; from the room to the city.

All research and design theory within this thesis is engaged with the European city of Porto. The propositions are intended to investigate an alternative, associative, design methodology which is directed by the legibility of a city’s image: an image underpinned by the dialogue which exists within the individual and collective architecture of the city.

1 rooms+cities: Eleven City Plans, 20152 Dunn et al, Future of cities: working paper, 2014; p.15

Architecture [is] a vital way of penetrating into a mysterious, historically generated environment, made up of multiple layers, with its own precise character.

O.M Ungers, The city in the city: Berlin: A Green Archipelago 1976, p.75

Projects accrue and build one on another; they are not discreet. Ideas and methods pile up - nothing is wasted. The starting point for each new work builds on all the work already done. It’s a slow continuous, unfolding business.

O’Donnell and TuomeySpace for Architecture (Lecture) 2015

Analogy expresses itself through a process of architectural design whose elements are pre-existing and formally defined, but whose true meaning is unforeseen and unfolds only at the end of the process. Thus the meaning of the process is identified with the meaning of the city.

Aldo RossiThe Architecture of the City 1984, p.18

PROLOGUE 12 |13

ASSOCIATIVE THINKING

A thing may not exist in isolation, built from ‘point zero’ in a vast world of nothingness. Context – physical/social/historical/theoretical et cetera – gives purpose to that thing. Rossi affirms this idea in pursuing analogy as a vehicle for investigation and invention. Currently, one exists in a context made manifest by history: a composite of historical precedent whose sum equals the present.

As a civilization, we utilise existing paradigms to further key concepts and ideals. Through the method of association5, one can determine links, parallels, similarities and divergences which together establish a clarity of thought, contextualise and thus provide relevance to the theoretical proposition. In considering the assertions cited [left] one can determine a common theme: the concept of strata; existing layers which might be uncovered to reveal previously concealed ideas about the city and its architectures.

Associative thinking is a broad concept which could invoke infinite discourse; therefore the focus will be to explore and test the methodology through a form of montage. The method is fundamentally a study of types – contemporary and historical; real and fictional. Discussed in relation to the idea of metaphor and analogy, it initiates a dialectic between visual, literary and practical architectural applications.

5In psychology, Sigmund Freud’s theory of ‘Free Association’ is a process of psychoanalysis through which he postulates that there is an ‘unconscious root’ to the mind’s consciousness; by encouraging the patient to express any random thoughts that came associatively to mind, the technique aimed at uncovering hitherto unarticulated material from the realm of the psyche that Freud, following a long tradition, called the unconscious.

‘...the meaning of the process is identified with the meaning of

the city.’

PROLOGUE 14 |15

A NOTE on TERMINOLOGY

Within this thesis there are a number of terms cited in relation to the concept of associative thinking; each are extensive sub-topics which cannot be fully explored within the scope of this text but whose inclusion is necessary to contextualise the proposition.

There are many familiar terms that situate the associative thought process including; metaphor, capriccio, analogy and genius loci.

| Associative thinking is primarily a visual method. Metaphor and analogy are illustrative vehicles, which draw associations, in similars or dissimilars, to something which in many respects is not like the other; nevertheless, an association is made by the individual - an imaginative ‘leap’- with the aim to emphasise qualities or to clarify an idea.

| Associative thinking is superficial.There are near-infinite threads of associations which can be determined; brought to the implied ‘surface’ of consciousness and reality; a composite of the real and imagined. Capriccio, a similarly fantastical notion, visually combines real and imagined architectures into a single idealised vision of built form.

| Associative thinking is non-linear.The genius loci is the spirit or essence of a place; it is linear - the pursuit of which ends at a single point in time. Associative thinking, similar to capriccio, is a non-linear reading of architecture from many times and multiple instances.

In the text, the proposition endeavours to illustrate the cross-over between design-theory and practical architectural applications.

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1 | THE EXAMPLE o f EXAMPLE

Preceden t a s Genera to r

TRADITION and t he RELEVANCE o f PRECEDENT

No poet, or artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead.

T.S. Eliot, 1919

In the above-cited essay, Tradition and the Individual Talent, T.S Eliot proposes a new way of considering precisely what one means by ‘tradition’. He notes that the term is mostly used in relation to something ‘being traditional’ in the sense that it might somehow replicate some previous example; he illustrates an alternate perspective on the term, to consider ‘not only the pastness of the past, but of its presence’6. Tradition does not solely exist as a reference to the past, it is a timeless and temporal idea affected by the individual and collective in both the present and the future. It is not something that is archived – it is omnipresent and thus always relevant.

In an article by Adam Caruso entitled, ‘Whatever Happened to Analogue Architecture?’ published in the AA Files in 2009, the architect expresses his concern for the increasingly accepted norm of architecture starting from ‘point zero’, with no reference to what has come before. His critique of the approach of Swiss architect Christian Kerez is particularly effective:

[He] seems to be attempting to produce an architecture without conscious recourse to the culture of architecture. One feels compelled to ask why he wants to do this?

Evidently, a critique of a thing sustains the most relevance when it is placed in comparison with another. This ‘other’ or ‘others’ will either sit in contrast, in harmony or somewhere in between. It might also highlight some previously concealed quality that has remained dormant until this moment of critical analysis, where the newly formed idea somehow embodies an idea from the past that could not be seen until such a time where the appropriate theories were aligned. For example, ‘when Le Corbusier compared the edifice with a machine he saw an analogy where nobody saw one before’7. This newly established relationship ensures value is placed, by the critic(s), on both the recently formed and existing precedent. Ultimately, Eliot discusses the requirement for the use of precedent to contextualise one’s own work and to find new purpose and meaning in both. ‘It is a judgement, a comparison, in which two things are measured by each other’8.

Eliot’s application of associative thinking is compelling as it allows him to situate himself as an individual within the collective of his predecessors – his autonomy is strengthened by the dialogue with the past.

6 T.S Eliot, The Sacred Wood, 1921 [I-4]7 O.M Ungers, City Metaphors, 2011 p.12 8 T.S Eliot, The Sacred Wood, 1921 [1-5]

THE EXAMPLE o f EXAMPLE 18 |19

Time present and time past

Are both perhaps present in time future

And time future contained in time past.

If all time is eternally present

All time is unredeemable.

What might have been is an abstraction

Remaining a perpetual possibility

Only in a world of speculation.

What might have been and what has been

Point to one end, which is always present.

Footfalls echo in the memory

Down the passage which we did not take

Towards the door we never opened

- Excerpt from Burnt Norton, the first of Eliot’s Four Quartets

T.S Eliot, Collected Poems 1909-1962

In considering the problem of forms in time…Its formation does not occur on the spur of the moment, but results from a series of experiments. To speak of the life of forms is inevitably to invoke the idea of succession.

French philosopher, Henri FocillonMichael Graves: Selected and Current Works, 2006; p.11

THE EXAMPLE o f EXAMPLE 20 |21

THE TEMPORALITY o f ASSOCIATIVE THINKING

To accurately consider the form of a thing is to define the principles which it embodies. In architecture, clarity can be achieved through an analysis of what has come before; deciphering the ideas, theories and rules that generated previous form. T.S Eliot’s assertion that as an artist becomes acutely aware of their position within history he is therefore highly conscious of the timeless and the temporal9, is central to the view that the value of something might only be defined in relation to its historical predecessors.

Michael Graves, the American architect, illustrates this design methodology throughout his professional portfolio; his dictum, ‘past as prologue’10 is particularly relevant. The autonomous language of architecture must sustain the identity and essence of a thing as conveyed through form developed over centuries whereby the new visual composite, derived from such an associative analysis, demonstrates a sustained relevance to the process and provides a clarity of thought in the principles of architectural design.

Furthermore, in the publication Architecture as Theme, O.M Ungers discusses his principle of adaptation to the ‘genius loci’. His argument exists as a polemic to the universalism and abstraction of architecture which had emerged as part of the Modern Movement in the twenties. Its denial of place and time is an affront to the architect, who develops his own architecture in accordance with the collective memory embodied by a place. ‘The theme of adaptation to the genius loci is…a dialogue with tradition, with historically formed values and with their enhancement to form a new artistic expression.’11

There is a dialectic between associative thinking and genius loci; in one respect they are opposed, the latter determined by a specified historical origin while the former is a continuous chain of thought that has no single beginning or end. However, both are concerned with the essence of place, determined by historical example and memory. Associative thinking differs in that it proposes near-infinite threads of associations that are not limited to a single place.

9 T.S Eliot, The Sacred Wood, 1921 [I-3] 10 Also, the title of an exhibition [2014-2015] in celebration of the firm’s 50th anniversary. Reflecting the evolution of the architect’s core design principles and how the past influences the present which, in turn, defines a new example for the future.11 OM Ungers, Architecture as Theme, 1982; p. 73-77

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2 | METHOD

An Assoc ia t i v e Me thodo logy

fig. 03Library as artefact

METHOD 24 |25

MONTAGE as CONCEPT

Definition ‘montage’: pieces from various sources reassembled to produce a new composite whole.

In the course of the twentieth century it has become recognised that analogy taken in the most general sense plays a far more important role in architectural design than that of simply following functional requirements.

O.M UngersCity Metaphors, 2011, p.12

Montage is collective discourse. It is an assemblage of connected ideas, of a single thing or of many. Using existing examples to highlight a found resemblance or otherwise, facilitates the potential for a new dialogue to exist: an idea not unlike that of the function of the metaphor. Aristotle stated that for one to have command of the metaphor was a sign of genius, since a good metaphor implies an intuitive perception of the similarity in dissimilars.12 Indeed, in both language and design, conventional terms or ideas simply reiterate what one already knows. Metaphor and montage however, emphasise the characteristics of a thing and suggest new concepts by providing an alternative perspective on the ordinary.

Associative thinking functions through a number of architectural subtexts, including typology and analogy, in that both involve the substitution of one building or representation of a building for another. It opens up a new way of seeing; combining lateral speculation with logical thought in order to establish a new appreciation of something. It is therefore reasoned that associative thinking, presented graphically through montage, can be a productive methodology in considering the city as existing and how it might be intuitively re-imagined.

12 Aristotle, Poetics, 1996 p. 61

0 100MRome, Italy 1748 (plan by Giambattisia Nolli)

fig.04 [left]

METHOD 26 |27

ANALOGICAL PORTO

The Architecture of the City attempts [...] to place the city before us in such a way that, in spite of history, memory can imagine and reconstruct a future time of fantasy.13

Peter Eisenman

At this point it is appropriate to recall Leon Battista Alberti’s dictum that the city is like some large house. [cited on p.46] In this, Alberti defines a connection between something that is in many respects unlike the other – nevertheless its relevance does not seem entirely illogical. It is an interpretation of a thing, where the reality of scale for instance, is largely removed from the association in order to establish an idea where scale is not the relevant focus. Rossi’s ‘Analogical City’ extends Alberti’s association, citing the city as a ‘giant or collective house of memory’14; the city is a dwelling both literally and metaphorically - one might also ‘dwell’ on a thing, to consider at length, an idea or proposition.

‘Analogical Porto’ pursues similar ideas within the context of Porto, with the ambition to re-present the image of the city. Associated forms are extracted from the repository of the global collective - the whole history of architecture - and are realigned with similar urban patterns. At the urban scale, the European city is viewed as an intricate tapestry of architectural form; associations derived from memory illustrate the city of Porto as a cohesive montage.

To suggest that combined pieces of architecture – a dwelling-house, museum, library or otherwise – might conceal ideas about city form, is a concept intended to exist as a catalyst for the investigation of a series of associative ideas which are based, fundamentally, on the relativity of scale. As exemplified in Giambattista Nolli’s plan of Rome [left], 1748, the urban fabric is distinguished primarily as a solid/void dialectic – a concept which is inherent within architectural design. It follows, then, that a study of individual building forms, also articulated by mass and space, might also reveal similar urban ideologies.

13 A. Rossi, The Architecture of the City 1984; p.10 14 A. Rossi, The Architecture of the City 1984; p.10

fig.04 [left]

METHOD

Associate: Copy, Paste, Scale/Rotate

Not unlike the morphological sequences developed by Riemann to illustrate Berlin as archipelago [fig.15, p.43], ‘Analogical Porto’ is exhibited as a new composite of architectures whose scale and orientation remain pliable. In Poetics, Aristotle states that ‘the most important quality in diction is clarity, provided there is no loss of dignity’15, architecturally this is illustrated through the theory of proportion. To coin Le Corbusier’s proverb, ‘the plan is the generator’. However, the plan is pliable – it is open to discursive thinking, ‘the plan calls for the most active imagination.’16

This transformative process allows singular architecture(s) to refer associatively to the holistic image of the city and suggests that principles of urban design lie latent in the idea of the individual building. Rossi illustrates this concept most accurately in the example of Diocletian’s Palace in the Croatian city of Split, circa 305 AD [fig.05]. In this, Rossi somehow re-phrases Alberti’s house-city notion; representing a ‘dialectic between the giant collective house of the city and its individual, specific houses’.17

Across all mediums, in film/art/literature, the method of montage is simply cut/copy-paste; the same rule applies here. ‘Analogical Porto’ [fig.06] is a montage of selective associations, recalled from the author’s experience and memory. The embedded architectures aim to clarify urban patterns and attempt to articulate a perceived logic and structure within them. In this, there is a collapsed space/time experience where hierarchical spatiality is perhaps most self-evident. To consider a spatial concept such as ‘enfilade’, for example, with an associative reference to the Houses of Parliament at Westminster, one can literally illustrate a resolved clarity in the urban form.

15 Aristotle: Poetics, 1996; p.3616 Le Corbusier: Towards a New Architecture, 2008; p.48

17 A. Rossi: The Architecture of the City, 1984; p.9

fig.05 [above]fig.06 [right]

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METHOD 30 |31

fig.07Section through Diocletian’s Palace

Robert Adam

R O T U N D A D A B O A V I S T A

A N A R C H I P E L A G O

o f A S S O C I A T I V E L I B R A R I E S

1 . 2 0 0 0

fig.08 [left]

METHOD 32 |33fig.08 [left]

COMPOSITES and COMPOSITIONS

The clarity of the composed image of the city is dependent on the combined dialogue of its individual parts, thus in the specified city of Porto, the design method is pursued through the study of the ‘library’ typology’; an approach to type which finds relevance in the existing urban plan for Museum Island in Berlin [p.51]: each building is autonomous but is also an established component within the assembly of its ‘others’.

In the short essay by J.L Borges, ‘The Library of Babel’, the author illustrates, as metaphor, the universe as a library whose origin is described as being ab aeterno - from an infinitely remote point in the past. Its collection is ‘total’; its books contain every possible combination of symbols (letters) in all languages, including ‘the minutely detailed history of the future’18. His Library is past, present and future whose origin, like associative thinking, is unobtainable.

Designing a series of libraries in the city of Porto seems appropriate as ‘the library’ exists as a metaphor to the reserve of representations upon which the associative process depends: individual memory - where information, defined by knowledge and experience is encoded, stored and retrieved as necessary.

A Congress of Libraries

In the city, four ‘libraries’ are located around the Rotunda da Boavista which maintains a central position within Porto and defines the start of the Avenida da Boavista; a dominant five kilometre avenue which extends to the Atlantic coastline.

Each of the proposals are categorised by function: The Library of the Collective maintains a civic function, The Reading Library facilitates research, The Library of Exchange is informal and multi-functional while the Archive is the keystone, containing the combined archived material for the assembled libraries. Through categorising them as such, one can begin to formulate relevant associations which should ultimately define the characteristics of the architecture. At this scale, the process departs from the method established at the urban scale in that the selected architectures are fragmented to a greater degree. The whole building plan is not always retained, as in ‘Analogical Porto’, but rather core elements from the associated plan are selected and rearranged with other plan-form elements to produce the new composite library plan(s).

The proposals integrated within the urban fabric are, in part, a reactive product of their associated urban context which re-determine and clarify urban conditions including; interconnected urban ‘rooms’, public arcades and urban vestibules.

18 J.L Borges, Labyrinths: The Library of Babel, 2000; p.81

First: The Library exists ab aeterno. This truth...cannot be placed in doubt by any reasonable mind.

BorgesLabyrinths: The Library of Babel, 2000; p.79

fig.09The Congress of Libraries: A Collective Dialogue

left to right: The Library of Exchange; Archive; The Reading Library; The Library of the Collective

METHOD 34 |35

fig. 10site plan of Meeting House Square, Dublin

METHOD 36 |37

Think: ‘Repair’

To achieve the desired clarity in urban form, one must re-form and reconstruct the built fabric: Dublin’s renewed cultural quarter, Temple Bar [left] is a prime example. The physical act of repair, to fix that which is broken, is also a conscious act to improve. It is helpful to consider this as an alternative view to the method suggested and explored here: montage is a process of selective repair. Thus the new, integrated composites are the product of the process, achieving a repaired legibility both in building and urban form.

In the second issue of ‘Homeland’, Portugal’s invented newspaper for the Venice Biennale 2014 which deals with the real and current issues of architecture within the country, an interview with Portuguese architect Goncalo Byrne aptly entitled, ‘The city, a ghetto of different forms of knowledge’ discusses the predicament of our cities and how we might address the rehabilitation of them.

Byrne argues that cultural identity and memory are transformative values which ought to be considered as such to prevent our cities from becoming, ‘in architectonic language, […] a Monument, when the collective is aware of its past, but gives itself to the luxury of not having a use for it.’19 This highlights the necessity for a historical consciousness which, in this thesis, is pursued through a sampling of architectural form illustrated over centuries with the aim to develop a robust architecture which is relevant within the contemporary city.

19 Homeland. Second Edition. August 2014. p.3

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3 | COMPARATIVE PROCESS & TECHNIQUE

Capr i cc io , Me taphor and Ana logy

fig. 11 Residence in Bidda, capriccio, watercolour, 2008 by Chris Draper

fig. 12The Arch of Titus - Canaletto

COMPARATIVE PROCESS & TECHNIQUE 40 |41

ARCHITECTURAL CAPRICCIO

The capriccio [...] does not only serve to visualise, render and illustrate, but is dedicated fundamentally also to invent and to re-invent, to craft in four dimensions (space, time, reality and imagination) architectural and urban visions, concepts and artefacts.20

Lucien Steil

‘Capriccio’, meaning that which is ‘whimsical’ or ‘fantastic’, first coined in the eighteenth century was used to describe a drawing, engraving or such like, that combined both real and imagined architectures. In the context of architectural design theory, the idea is not unlike the familiar concept of montage. The constructed image evokes ideas as they pertain to an idealised vision of the city.

Examples of capricci are best exemplified in the work of Venetian artist, Canaletto. There are clear, recurring themes within many of Canaletto’s figurative compositions; the typology of the arch, for example, is particularly evident. Illustrated on multiple occasions as a ruin, the element appears to function both as historical metaphor and as a framing device within the composed image. [fig.12] Artist and architectural illustrator, Chris Draper, provides a contemporary example.

‘“Memory’s images, once they are fixed in words, are erased,” Polo said.’ 21

Italo Calvino

The capriccio creates analogue realities which utilise paradigm to depict and re-present urban scenarios. In addition it exists as a complex, non-linear reading of history and collective memory. Upon reflection, Calvino’s Invisible Cities exists as literary capriccio while associative thinking is similarly a non-linear reading of architectural ideals.

20 The Architectural Capriccio: Memory, Fantasy and Invention, 2013; iii21 Italo Calvino, Invisible Cities, 2001; p.78

VISUAL ASSOCIATIONS: Ungers and the Visual Metaphor

‘…concepts are but the lingering residues of metaphors...’ 22

Friedrich Nietzsche

For the most part, instinctive associations are derived from the recognition of patterns of a thing in another. Visual metaphors exist as evocative illustrations of core design principles: a methodology exemplified by the German architect, Oswald Mathias Ungers.

The architect’s rigorous and extensive method of investigative analysis into historical, theoretical and iconographic principles long since archived in architecture’s past, facilitate a holistic understanding of elements and typologies.23 This process was later described as ‘the rationalisation of the existing’, which according to Sebastien Marot, involved rallying the discipline’s entire theoretical and morphological culture. ‘Ungers had entered into an interaction with history…drawing upon history for formative principles that could be transferred to the present.’ 24

Recognising Patterns

Ungers’ version of associative thinking, referenced primarily as ‘morphological idealism’, is perhaps best evidenced in two separate publications: The City in the City : Berlin: A Green Archipelago [1977] and City Metaphors [1976].

22 Chrzanowska-Kluczewska, E. Much More than Metaphor, 2013; p.32 23 Ungers et al, The city in the city: Berlin: A Green Archipelago, 201324 Klotz, The History of Postmodern Architecture , 1988; p.221

fig.13‘Reduction’

Aerial photo of Kreuzberg Plan of Kreuzberg, Gorlitzer Bahnhof Building Structure Kreuzberg as Mini-Manhattan Manhattan Central Park

fig.15

COMPARATIVE PROCESS & TECHNIQUE 42 |43

…The word always had incredible resonance. It symbolised the separateness, but also the larger entity of something. It is a really poetic model of both separate and closed systems.25

Rem Koolhaas

The above-cited quotation contextualises the use of the term ‘archipelago’, used as an implicit model in The city in the city: Berlin: A Green Archipelago, is an association which, for co-contributor Rem Koolhaas, is linked to a personal affinity with Indonesia.

The basis for Berlin’s canonical city plan is to locate and define distinct urban ‘enclaves’ within the selected metropolis and to omit all superfluous urban fabric, deemed ‘substandard’. Identification of such enclaves is governed by the search for clear architectural ideas made manifest in a pure and legible form. Visually, the selected fragments exist as intensified islands: an archipelago of unique architectures prevail within the liberated city. [fig.14] A perceived clarity in the urban form is achieved, where the ensemble of ‘mini-cities’ are simultaneously cohesive and individually identifiable.

The concept of morphological idealism, suggests that imagination - the application of thinking - allows one to recognise existing patterns of form which recur within multiple urban environments. These patterns are considered ‘transferable’ between one city and another; they have the ability to ‘morph’, or in other words ‘adapt’, to a new context. Figure 15 [below, left] is an example of the associative sequences developed by Peter Riemann to illustrate one of Berlin’s urban enclaves within the manifesto; this particular example depicts the district of Kreuzberg in Berlin as a ‘mini-Manhattan’, which draws associations between the urban block forms apparent in both cities.

In City Metaphors Ungers also catalogues a series of city-images and the parallel analysis which occurs on a conceptual level, exploring the associated idea, theories and analogies. [fig.13] However, in contrast to the ‘abstracted’ associated images in City Metaphors, the manifesto for Berlin illustrates a clear analytical and architectural process through sequences which convey the enclave identification process, where the selected associations, other cities – Manhattan, for example – are unambiguous in their appropriation. Ungers’ and Koolhaas’ manifesto for the German capital ultimately serves as an exemplar for associative thinking explored at the urban scale, to which ‘Analogical Porto’ sits in parallel.

It is therefore considered that new, resolved urban form can be generated through ‘found’ associative references from existing models.

25 Ungers et al, The city in the city: Berlin: A Green Archipelago, 2013; p30Manhattan Central Park Axonometric view of urban villas

fig.14

fig.15

44 |45

4 | TYPOLOGY

Assoc ia t i v e Th ink ing a s t he S tudy o f Types

If the city is like some large house, and the house is in turn like some small city, cannot the various parts of the house – atria, dining rooms, porticoes, and so on – be considered miniature buildings?

Alberticited in On Alberti and the Art of Building, 1998 p.190

TYPOLOGY 46 |47

URBAN FORM as SKELETON

The complexities of urban form are a consequence of their continuous evolution: of which a unique synthesis of physical and spatial typologies occurs. In practise, the system of associative analysis allows one to explore and accurately illustrate these core urban concepts.

Urban theorists have regularly documented their hypotheses relating to reading and understanding the city26. In The Architecture of the City Peter Eisenman describes Rossi’s associative image of history as a skeleton. The skeleton bears the imprint of the actions that have taken place and will take place within the city….It is also an object that can be used to study its own structure. This structure has two aspects: one is its own abstract significance, the other is the precise nature of its individual parts. 27

The city is rich with elements that exist in many forms. Rossi’s skeleton analogy, an entity comprised of component parts, is useful in clarifying the urban plan which exists as an artefact both collectively and individually; to enable a re-imagining of city form, consideration must be given to the elements which in their sum convey the holistic image of the city.

Analogical Porto is a model which can be considered ‘skeletal’, in that the associated architectural forms embedded within the city fabric are individual components whose purpose is analytical; each piece of architecture highlights patterns of urban form. Thus like the skeleton, it studies its own structure.

26 Barnett, 1986; Hilberseimer, 2014; Rowe 1995; Rossi, 1984; Venturi, 1977; Ungers, 1982

27 A. Rossi: The Architecture of the City, 1984; p.5

fig. 16

TYPOLOGIES o f FORM

Memory fuses with history to give type-form a significance beyond that of an original function. Thus typology, which previously consisted of the classification of the known, now can serve as a catalyst for invention.

Eisenman, on Rossi’s view of typology as apparatus. The Architecture of the City, 1984 p.8

The theory of urban artefacts, as established by Aldo Rossi, is considered as an approach to understanding of city form, with the view that an analysis of these artefacts will reveal themes relating to place, design and memory. Rossi describes components which form the urban image - buildings, streets or otherwise - as ‘artefacts’ with the argument that they are deeply rooted in the formation of civilisation and are therefore a product of the ‘life of the collective’ and significantly, are characterised by their own history.28

If one accepts that collective memory is embodied in the city of its inhabitants, then the associative design method explored within this thesis illustrates the potential for a globalised collective memory. Analogical Porto demonstrates how associated, non-native architectural typologies (artefacts) might be introduced to multiple urban contexts, thus illustrating the shared thought of the global collective through recurring themes and patterns. As with the manifesto for Berlin: A Green Archipelago, the historical values embodied by the artefact(s) are also considered transferable between one city and another.

28 A.Rossi, The Architecture of the City, 1984; p. 21

Skeletal Studies

Rossi’s view of typology as apparatus recalls the skeleton analogy: the artefacts of the city, individually, may be further analysed in terms of their parts. As the image of the city is an expression of the sum of its parts – a skeleton – it follows that the architecture, individually, is the product of autonomous elements.

A prime example of associative thinking in terms of ‘elements’ is demonstrated through the project Unite d’Habitation. Le Corbusier explores the concept of the rue intérieur, or internal street – a concept which remains a key component in contemporary architectural design [fig.17]. The ‘corridor’, in other words, is therefore recognisable as a pre-established typology. It first appears as an architectural element and urban link in the form of the Passetto di Borgo in Rome, an elevated, partially enclosed pathway connecting the Vatican City with the Castel Sant’Angelo [fig.19]: in Florence The Vasari Corridor achieves a similar condition [fig.18]. While this example is well-documented, it serves to restate it once more as it clearly illustrates the influence of typology – ‘the study of types of elements that cannot be further reduced’29 – at both the urban and individual building scale. In such design theories, space and time are somehow collapsed, demonstrating the essential principles and autonomy of architectural language.

The Rue Corridor is the street of the pedestrian of a thousand years ago, it is a relic of the centuries…30- Le Corbusier

Evidently, an analysis of such typological themes exist at the root of associative thinking. There exists an idea that a new composite of typologies, achieved through montage, might produce an image that, while fantastical in one respect, is recognisable and thus conveys tangible ideas relating to the perception of city form.

29 A.Rossi, The Architecture of the City, 1984; p. 41 30 cited in Elements of Venice, 2014; p.259

fig. 17

TYPOLOGY 48 |49

fig. 18 fig. 19

fig.20

TYPOLOGY 50 |51

MUSEUM ISLAND: BERLIN’S REAL URBAN ENCLAVE

With the introduction of memory into the object, the object comes to embody both an idea of itself and a memory of a former self. Type is no longer a neutral structure found in history but rather an analytical and experimental structure…

EisenmanThe Architecture of the City, 1984 p.7

Peter Eisenman’s assertion references Aldo Rossi’s approach to typology, explaining that while typological references can be historical, they can be further considered as thinking-machines, utilising typology as a vehicle for interpretation and innovation. Similar ideologies are exhibited in the manifesto by Ungers and Koolhaas [p.43], whereby Berlin’s urban ‘islands’ are characterised typologies of urban structure.

In reference, Museum Island in Berlin is a paradigm for a unified collection of buildings of the same typology, where the assembly of buildings is viewed as a unit in terms of content. At the same time, it pays respect to the architectural autonomy of each of the buildings. It addresses both the individual and collective, and the space in between; it succeeds also in providing an area of clarity and legibility within the thriving metropolis. The UNESCO world heritage site currently comprises five museums, with David Chipperfield’s James-Simon-Galerie currently under construction. The combined dialogue between the buildings will be further articulated by the ‘Archaeological Promenade’, a thematically and spatially diverse route which will link four of the museums through a series of interconnected rooms. A similarly diverse space experience is explored externally, with semi-enclosed colonnaded courtyards juxtaposed with smaller intimate spaces which allow the visitor to visually engage with the extended context of the city.

Berlin’s tangible urban island is a collection recalled from the gene pool of collective memory. It exemplifies the theories of associative thinking established thus far and is relevant as a contemporary working example of similar concepts explored through the urban design proposition(s) within Porto; in this, the ‘library’ typology is pursued to facilitate the holistic development of the associative design methodology.

It is evident that a clarity in urban form might be achieved through the intensification of type; the selection of one building typology is viewed as a framework which can be developed to invoke meaningful discourse.

fig.21

fig.22

top & left: Friedrich Stuler, masterplan 1841below: physical bridged connections destroyed in WWII

52 |53

5 | THE LIBRARIES

I l l u s t ra t i ng t he Me thod

This final section summarises the narratives explored through each of the composite library proposals which investigate the discussed associative design methodology. Each composite is preceded by an urban context plan, associated image and associated words which reference core themes.

fig.23 A Collective Dialogue

left to right: The Library of Exchange; Archive; The Reading Library; The Library of the Collective

THE LIBRARIES 54 |55


E X C H A N G E

G A L L E R I E S - P L A T F O R M - C I R C U L A T I O N

fig.24‘Relativity’, Escher

t a t e modern , t u rb ine ha l l


a l t enburg abbey

neues museum

N E W C O M P O S I T E L I B R A R Y o f E X C H A N G E

fig.25


Library of Exchange

‘Exchange’ can mean many things; of knowledge and ideas, a physical act - the trade of objects. The ambiguity of this term is self-evident in the composite library. The proposal is fluid and has multiple functions. Composed, largely, from fragments of galleries, the architecture becomes one of happenstance and observations, framed and defined by a circulatory wall.

We try to make buildings that don’t [...] stand in distinct contrast;...where there is an exchange between place and building, inside and outside, old and new. This phenomenon exists in time as well as place, in spirit as well as fabric.31

O’Donnell and Tuomey

Though the new composite participates in the dialogue with its ‘others’ - the library ensemble - an internalised dialectic also exists. Physically, the east and west wings sit in opposition; in form each appears as a foil to the other, simultaneously solid and permeable.

31 Space for Architecture (Lecture) 2015


T H R E S H O L D - H I E R A R C H Y - T R A N S I T I O N - H E A R T

A R C H I V E

fig.27The Library of Babel

N E W C O M P O S I T E A R C H I V E

v i l l a l a ro tonda

t e l e s t e r ion o f e l eus i s

church a t mren , a rmen ia


t emp le horusfig.28


Archive

As the keystone to the ensemble, the Archive is situated in the centre of the composition. The proposal is a largely private ‘store’, environmentally controlled with secure access. Thus, in form, the proposal illustrates associations which consider the core themes of threshold and concealment, both externally and internally.

Subterranean levels within the archive imply the extent of the collection may be much greater than originally considered. Borges’ fictional Library of Babel is described as the vessel for all that there is and might be:

In the vast Library there are no two identical books...the library is total, its shelves register all the possible combinations of the twenty-odd orthographical symbols: in other words, all that is given to express, in all languages. Everything.32

The new composite Archive endeavours to illustrate this essence: the library as vessel, whose contents await discovery. Additionally within the ensemble, in contrast to the horizontal ‘surface’ libraries , the Archive exists as a vertical building entity. [p.54]

32 JL Borges, Labyrinths, 2000 p.81fig.29


R E A D I N G

R E S E A R C H - A R C A D E - R O O M S

fig.30Rafael Moneo Museum

t he rme va l s

na t i ona l museum o f roman ar t

a re z zo l ogg iaN E W C O M P O S I T E

R E S E A R C H L I B R A R Y fig.31


The Reading Library

The arcades as dream - and wish-image of the collective.33

Walter Benjamin’s magnum opus Passengen Werk or Arcade’s Project exists as literary montage. The associative reference seems particularly appropriate for The Reading Library: a library of rooms, facilitating research just as Benjamin’s epic ‘Arcades’ is the product of research.

The prominent public arcade within the new composite is an urban device which functions as a semi-enclosed street; the ‘edge’ between the public/private matrix becomes permeable, enabling the pedestrian to engage with the built fabric of the city. This elongated urban room, whose enclosure is defined by the permanence of the structure, is reflected internally by the upper level reading rooms composed as enfilade.

33 S. Buch-Morss, The Dialectics of Seeing, 1991; p.110

fig.32 [left]fig.33 [below]


C O L L E C T I V E

C I V I C - F O R U M - C O N G R E S S

fig.34The Forum, Rome

N E W C O M P O S I T E L I B R A R Y o f t h e C O L L E C T I V E

new york pub l i c i b rary

na t iona l l i b rary o f s l oven ia

lauren t i an l i b rary

l i b rary o f hadr ian

pa laz zo b ianch i , s i ene

fig.35


U R B A N V E S T I B U L E

1 . 2 0 0

fig.36‘Urban Vestibule’

Library of the Collective

To the form of the new means of production which in the beginning is still dominated by the old one, there correspond in the collective consciousness images in which the new is intermingled with the old. 34

Walter Benjamin

Benjamin’s assertions suggest that the collective awareness of past images, made manifest in form, have the ability to evoke ideas as they pertain to a social utopia. However, ‘even as wish-image, utopian imagination needed to be interpreted through material objects in which it found expression.’35 Thus, the Library of the Collective seeks to embody the characteristics of a public forum; a civic platform.

A newly defined urban vestibule is a receptacle for the ‘collective’ - an assembly space for the city’s inhabitants. The new composite plan, visually, is retained as an ensemble of rooms which illustrate the idea that the architecture is the sum of its parts; equally clarifying the urban context in which it is situated.

34 S. Buch-Morss, The Dialectics of Seeing, 1991; p.11535 S. Buch-Morss, The Dialectics of Seeing, 1991; p.114

fig.38The temporality of architectural form

72 |73

New and old are not really adequate or relevant terms to describe the purposeful vitality of architecture. The future perfect is a progressive tense...We should not be persuading ourselves into a fool’s paradise of an impossibly perfect future.36

Sheila O’Donnell and John Tuomey

As a working methodology, the concepts outlined in this thesis have been a proposition for an alternative reading and approach to the city and its architectures: past and present; future-past and future-present, which together convey the image of the city.

The concept of associative thinking has limitless potential as it depends, first, on the individual’s memory - a unique repository of information - and, second, on the specified urban context in which the architectural composites may be integrated. O’Donnell and Tuomey’s assertion is particularly valid; ‘old’ and ‘new’, if they are considered absolute, are vague and inadequate categories within the profession. Architecture is a product of a complex process; processes which are, inherently, temporal. The method illustrated within this thesis, an instinctive approach whereby the selective compositions are controlled by individual architectural judgment, has further demonstrated that associative thinking is a non-linear reading of core architectural ideas; historical and contemporary, which suggests that the time-spectrum might be collapsed and re-formed through montage to produce renewed meaningful architectural propositions.

Architecture is the facilitator for a dialectic between solid and void which fundamentally articulates the space experience as perceived by the individual. Associative thinking extends this and is proposed as a potential vehicle for the development of architectural ideas as they pertain to the city. As demonstrated, the method is characterised by typological content, strengthening architectural principles both individually and collectively. The Congress of Libraries integrated within the city of Porto illustrates how the applied theories can work to address real urban issues; attempting to provide a resolved clarity in urban form.

36 Space for Architecture (Lecture), 2015

EPILOGUE

74 |75

6 | REFERENCES & BIBLIOGRAPHY

Image Cred i t s & an Index o f Arch i t e c tu re s

Aristotle. (1996) Poetics. London: Penguin BooksBacon, E. (1976) Design of Cities. Revised Edition. London: Penguin BooksBarnett, J. (1986). The Elusive City: Five Centuries of Design, Ambition and Miscalculation. 1st Edition: Harper Collins Publishers.Benjamin, W. (1999) The Arcades Project. Harvard University PressBorges, J.L. (2000) Labyrinths. London: Penguin ClassicsBuck-Morss, S. (1991) The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Boston: MIT PressCalvino, I. (2001) Invisible Cities. London: Random House.Campbell, J.W.P. et al (2013). The Library. London: Thames and HudsonCorbusier, L. (2008) Towards a New Architecture. BN Publishing. Derrida, J. (1995). Points...: Interviews, 1974-1994 (Meridian: Crossing Aesthetics). 1st Edition. Stanford University Press.Eliot, T.S. (1974) Collected Poems, 1909-62. Faber & Faber PoetryFoscari, G. (2014). Elements of Venice. 1st Edition. Zurich: Lars Muller Publishers.Graves, M. (2006). Michael Graves: Selected & Current Works (Master Architect Series III). First Edition: Images Publishing Dist Ac.Heaney, S. (1990). Redress of Poetry. Oxford University Press.Klotz, H. (1988) The History of Postmodern Architecture. Massachusetts: The MIT Press.Nietzsche, F. (2012). On Truth and Lies in a Nonmoral Sense. CreateSpace Independent Publishing Platform.Norberg-Schulz, C. (1971). Existence,Space and Architecture. Praeger Publishers.Rossi, A. (1984). The Architecture of the City (Oppositions Books). Reprint Edition. The MIT Press.Rowe, C. (1995). As I Was Saying, Vol. 3: Urbanistics. Essay: The Present Urban Predicament. The MIT Press.Rowe, C (1983) Collage City. 2nd ed. Cambridge, Massachusetts: The MIT Press.Steil, L. et al (2013) The Architectural Capriccio: Memory, Fantasy and Invention. Ill Edition. Ashgate Pub Co.Ungers, O.M. (1982) Architecture as Theme. New York: RizzoliUngers, O.M., Koolhaas, R. et al (2013) The City in the CIty: Berlin: A Green Archipelago. Zurich: Lars Muller PublishersUngers, O.M. (2011). Morphologie: City Metaphors. Bilingual Edition. Walther König, Köln.Zumthor, P. (1998) Thinking Architecture. Switzerland: Birkhauser

REFERENCES

Essays/ Other

Space for Architecture. O’Donnell and Tuomey (2015) [ONLINE] Available at:http://www.architectsjournal.co.uk/culture/odonnell- tuomey-space-for-architecture/8678435.article

Tradition and the Individual Talent. T.S. Eliot. (1921). The Sacred Wood; Essays on Poetry and Criticism. [ONLINE] Available at: http://www.bartleby.com/200/sw4.html. [Accessed 31 March 2015].

Whatever Happened to Analogue Architecture?. Adam Caruso (2009) [ONLINE] Available at:http://www.carusostjohn.com/text/aa-files-whatever-happened-analogue-architecture/. [Accessed 31 March 2015].

Byrne, G. (2014). The city, a ghetto of different forms of knowledge. Homeland, 05 August. 2. Dunn, N. et al. (2014) [paper] Future of cities: working paper. UK Government: Foresight

76 |77

IMAGE CREDITS

1. © S. Else2. © S. Else3. © S. Else4. © C.P. Graves. Giambattista Nolli Plan of Rome. The

Genealogy of Cities. 20095. © C.P. Graves. City of Split. The Genealogy of Cities. 20096. © S. Else. ‘Analogical Porto’, 2015.7. © R. Adam. Section through Diocletian’s Palace. 17648. © S. Else9. © S. Else10. Group 91. Meeting House Square. Architectural Review.

Jan 199311. © C. Draper. Residence in Bidda. 200812. © Canaletto. The Arch of Titus. 174213. © O.M Ungers, Reduction: City Metaphors, 201114. © P. Riemann. The city in the city: Berlin: A Green

Archipelago. 197715. © P. Riemann. Morphological sequence. The city in the

city: Berlin: A Green Archipelago 197716. © Skeleton Analogy.17. © Le Corbusier. Rue corridore. 18. © G. Vasari. Vasari Corridor, Firenze. 19. © Raja Patnaik. Passetto di Borgo, Roma. 20. © Staatliche Museen zu Berlin. Friedrich Stuler. Museum

Island Elevation. 1841

21. © Staatliche Museen zu Berlin. Friedrich Stuler. Museum Island Masterplan. 1841

22. © bpk / SBB / Leopold Ahrendts23. © S. Else24. © M.C Escher. Relativity.25. © S. Else26. © S. Else27. © Erik Desmazieres. The Library of Babel.28. © S. Else29. © S. Else30. © Rafael Moneo Museum31. © S. Else32. © S. Else33. © S. Else34. Forum, Rome.35. © S. Else36. © S. Else37. © S. Else38. © S. Else

Aristotle. (1996) Poetics. London: Penguin BooksBacon, E. (1976) Design of Cities. Revised Edition. London: Penguin BooksBarnett, J. (1986). The Elusive City: Five Centuries of Design, Ambition and Miscalculation. 1st Edition: Harper Collins Publishers.Benjamin, W. (1999) The Arcades Project. Harvard University PressBorges, J.L. (2000) Labyrinths. London: Penguin ClassicsBrodsky, J. (2013). Watermark: An essay on Venice. London: PenguinBuck-Morss, S. (1991) The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Boston: MIT PressCalvino, I. (2001) Invisible Cities. London: Random House.Campbell, J.W.P. et al (2013). The Library. London: Thames and HudsonChrzanowska-Kluczewska, E. (2013). Much More than Metaphor: Master Tropes of Artistic Language and Imagination (Interfaces: Bydgoszcz Studies in Language, Mind and Translation): Internationaler Verlag der Wissenschaften.Corbusier, L. (2008) Towards a New Architecture. BN Publishing. Derrida, J. (1995) Points...: Interviews, 1974-1994 (Meridian: Crossing Aesthetics). 1st Edition. Stanford University Press.Eliot, T.S. (1974) Collected Poems, 1909-62. Faber & Faber PoetryFoscari, G. (2014). Elements of Venice. 1st Edition. Zurich: Lars Muller Publishers.Graves, M. (2006). Michael Graves: Selected & Current Works (Master Architect Series III). First Edition: Images Publishing Dist Ac.Hanlon, D. (2009). Compositions in Architecture. 1st Edition. WileyHeaney, S. (1990). Redress of Poetry. Oxford University Press.Heidegger, M. (1994). Basic Questions of Philosophy: Selected “Problems” of “Logic” (Studies in Continental Thought): Indiana University Press.Heidegger, M. (1994) The Principle of Reason (Studies in Continental Thought): Indiana University Press.Hilberseimer, L. (2014) Metropolisarchitecture (GSAPP Sourcebooks). Tra Edition. Columbia GSAPP Books on ArchitectureHolton, G (1988). Thematic Origins of Scientific Thought: Kepler to Einstein. New edition: Harvard University Press.Klotz, H. (1988) The History of Postmodern Architecture. Massachusetts: The MIT Press.Lange, A. (2012). Writing About Architecture: Mastering the Language of Buildings and Cities (Architecture Briefs). paperback / softback Edition. Princeton Architectural PressLeCuyer, A.W., Frampton, K. (1999). Megaform As Urban Landscape / The 1999 Raoul Wallenberg Lecture. University of MichiganNietzsche, F. (2012). On Truth and Lies in a Nonmoral Sense. CreateSpace Independent Publishing Platform.Norberg-Schulz, C. (1971). Existence,Space and Architecture. Praeger Publishers.Rossi, A. (1984). The Architecture of the City (Oppositions Books). Reprint Edition. The MIT Press.Rowe, C. (1995). As I Was Saying, Vol. 3: Urbanistics. Essay: The Present Urban Predicament.

BIBLIOGRAPHY

78 |79

The MIT Press.Rowe, C (1983) Collage City. 2nd ed. Cambridge, Massachusetts: The MIT Press.Steil, L. et al (2013) The Architectural Capriccio: Memory, Fantasy and Invention. Ill Edition. Ashgate Pub Co.Tavernor, R. (1998) On Alberti and the Art of Building. SingaporeUngers, O.M. (1982) Architecture as Theme. New York: RizzoliUngers, O.M., Koolhaas, R. et al (2013) The City in the CIty: Berlin: A Green Archipelago. Zurich: Lars Muller PublishersUngers, O.M. (2011). Morphologie: City Metaphors. Bilingual Edition. Walther König, Köln.Venturi, R. (1977). Learning from Las Vegas - Revised Edition: The Forgotten Symbolism of Architectural Form. Revised edition. The MIT Press.Whyte, J. B et al. (2003). Modernism and the Spirit of the City. First Edition. London: Routledge.Zumthor, P. (1998) Thinking Architecture. Switzerland: Birkhauser

Essays

From Caesarea to Athens. John Lowrey (2001) [ONLINE] Available at: http://www.jstor.org/stable/991701. [Accessed 31 March 2015].

Space for Architecture. O’Donnell and Tuomey (2015) [ONLINE] Available at:http://www.architectsjournal.co.uk/culture/odonnell-tuomey-space-for-architecture/8678435.article

Tradition and the Individual Talent. T.S. Eliot. (1921). The Sacred Wood; Essays on Poetry and Criticism. [ONLINE] Available at: http://www.bartleby.com/200/sw4.html. [Accessed 31 March 2015].

Whatever Happened to Analogue Architecture?. Adam Caruso (2009) [ONLINE] Available at: http://www.carusostjohn.com/text/aa-files-whatever-happened-analogue-architecture/. [Accessed 31 March 2015].

Other

Byrne, G. (2014). The city, a ghetto of different forms of knowledge [newspaper article]. Homeland, 05 August. 2. Dunn, N. et al. (2014) [paper] Future of cities: working paper. UK Government: Foresight

Rooms + Cities (Eleven City Plans) - 2014/15 Unit Publication. University of Dundee.

80 |81

1. 4 x 4 House, Tarumi-ki, Kobe, Japan. Tadao Ando. 2003.2. Acropolis, Athens. Pericles. 570BC.3. Arsenale, Venice, IT. 1320.4. Bauhaus, Dessau, Germany. Walter Gropius. 1925-26.5. Brick Villa. Mies van der Rohe. 1924. 6. Brion Cemetery, San Vito d’Altivole., Italy. Carlo Scarpa. 1968 -

1978.7. Castelvecchio, Verona, IT. Scala Family/ Carlo Scarpa. 1376/ 1973.8. Church of the Light, Ibaraki, Japan. Tadao Ando. 1989.9. Citadel of Tiryns, Argolis, Greece. 1200BC10. Denver Art Museum, Colorado. Daniel Liebskind. 2006. 11. Doge’s Palace, Venice, IT. 1424. 12. Dutch Embassy, Berlin. OMA. 2003.13. Flatiron Building, New York, US. Daniel Burnham, Frederick P

Dinkelberg. 1902.14. Fondazione Querini Stampalia, Venice, IT. Carlo Scarpa. 1961-1963.15. Geisel Library, San Diego, US. William Pereira. 1970. 16. Glasgow School of Art, Scotland. Charles Rennie Mackintosh. 1909.17. Hedmark Museum, Hamar, Norway. Sverre Fehn. 1967-2005.18. Hepworth Wakefield, UK. David Chipperfield. 2011. 19. Houses of Parliament, Westiminster, London, UK. Charles Barry.

1870. 20. Jewish Museum, Berlin. Daniel Liebskind. 2001.21. Kimbell Art Museum, Fort Worth, US. Louis Kahn. 1972.22. Kunsthaus, Bregenz. Peter Zumthor. 1997.23. Leca Swimming Pools, Portugal. Alvaro Siza. 1966. 24. Mason Citrohan. Le Corbusier. 1922.

INDEX o f ARCHITECTURESAna log i ca l Por to

25. McManus Galleries, Dundee, Scotland. George Gilbert Scott. 1867. 26. Mikveh Israel Synagogue, Philadelphia, US. Louis Kahn. 1961. 27. Musee du Louvre, Paris. 1793.28. Museum Folkwang, Essen, Germany. David Chipperfield. 2007. 29. Nelson Atkins Art Museum, Kansas City, US. Steven Holl. 2007.30. Neues Museum, Berlin. David Chipperfield. 2009.31. Neue Nationalgalerie, Berlin, Germany. Mies van der Rohe. 1968.32. New York Public Library, New York, US. 189533. Pantheon, Rome, IT. Apollodorus of Damascus. 126AD.34. Pompidou Centre, Paris. Renzo Piano & Richard Rogers. 1977. 35. Raby Castle, Durham, UK. John Neville. 1390. 36. Rockerfeller Center, NY. 1930-1939.37. Salk Institute, California, US. Louis Kahn. 1965. 38. Saynatsalo Town Hall, Finland. Alvar Aalto. 1952. 39. Schroder House, Utrecht, Netherlands. Gerrit Rietveld. 1924. 40. Soane Museum, London, UK. John Soane. 1813.41. St. Peter’s Basilica, Rome. Michaelangelo et al. 162642. Stockholm Public Library, Stockholm, Sweden. Gunnar Asplund.

1928.43. The Colonnade, Singapore. Paul Rudolph. 1980.44. Therme Vals, Switzerland. Peter Zumthor. 1996. 45. Turbine Hall, London, UK. Herzog & de Meuron. 2000.46. Uffizi Gallery, Florence, IT. 1581.47. Unite d’Habitation, Marseilles, France. Le Corbusier. 1952.48. Vertical City (cell). Ludwig Hilberseimer. 1924.49. Villa Savoye, Poissy, France. Le Corbusier. 1931.50. Watton Priory, East Riding, England. Eustace Fitz John. 1150

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Here, in this perceptual vacuum, a memory may surface, a memory which seems to issue from the depths of time.

Peter Zumthor (Thinking Architecture p.17)

Here, in this perceptual vacuum, a memory may surface, a memory which seems to issue from the depths of time.

Peter Zumthor

Analogical Porto

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Transcript of Analogical Porto