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Assignment 03 Cover Sheet

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Name: AMANDA TARZIA

Student ID 1 1 0 0 4 1 8 5 6

Email: [email protected]

Course code and title: ARCH 2021 Contemporary Design Theory

School: Art, Architecture and Design Program Code: DBAE

Course Coordinator: Dr. Chris Brisbin Tutor: LIVIA

Day, Time, Location of Tutorial/Practical: 11am-1pm

Assignment number: 3 Due date: 5pm Mon 11th November

Revised Due Date: 5pm Wed 13th November

Assignment topic as stated in Course Outline: Essay

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Extension GRANTED, medical certificate attached – reason: severe migraine and nausea

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ARCH2021 — CONTEMPORARY DESIGN THEORY : : ASSIGNMENT 3 : : ESSAY

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The Diagram as a Paradigm in Architectural Discourse Essay Word Count: 3036 The diagram has emerged as the polemic device in design, established as the ‘matter’ of architecture and the final tool for architectural production and discourse. As a development into a new language of abstraction, the diagram has the capacity to generate new ideas and principles in architecture. This study, in a critical attempt, underlines the diagram’s role in relation to form. To achieve a better understanding of the role of the diagram in architectural design, this study, presents an analysis of McBride Charles Ryan’s Klein Bottle House, in relation to the theories and aesthetics proposed by Anthony Vidler. ‘Diagrammatic architecture’ has been criticised by many theorists, such as Peter Eisenman, Bernard Tschumi, Hyungmin Pai and UN Studio, presenting both similar and contradictory views. Consequently, there is a certain amount of confusion in relation to the ‘real’ meaning of the diagram in architectural discourse and its ultimate function. Therefore, this study will compare and contrast multiple theories, analysing the underlying role of the diagram in relation to architectural abstraction, the mapping of spatial function and encodings in representation, and their application of form. In addition, a critical analysis of form is presented through a comparative series of analytical diagrams of the Klein Bottle House and Le Corbusier’s Villa Savoye. The study aims to illuminate the intention of the diagram to form a viable foundation of a renewed architectural discipline when one is left to architectural graphic standards and the menu bar of AutoCAD.

The diagram has become the epitome of the interpretation of the new in architectural

discourse. This intrigue has propelled many discussions, positive and negative in

regards to the role and purpose of the diagram. Architectural theorist Anthony Vidler

has undertaken the complexity of defining and classifying architectural diagrams in his

essay ‘Diagrams of Diagrams: Architectural Abstraction and Modern Representations’.

Therefore, using a theoretical framework, this study, attempts to highlight new

architectural ideas presented in McBride Charles Ryan’s Klein Bottle House (KBH). This

research will focus on different concepts of the architectural diagram concerning ideas

of abstraction, representation, spatial function, language, technology and their relation

to form.


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In order to understand the complexity of ‘diagram architecture’, it is essential to firstly

discuss the foundation of the diagrammatic – via definition and context. By the 1930s,

the functionalist diagram emerged as a systematic part of architectural discourse1. As

the diagram became overlapped with diverse entities such as, the sketch, chart, symbol,

icon, table and silhouette, the diagram’s evolution in architecture became clouded with

complexity and confusion of its operation, use, value and meaning. A diagram has been

defined as the architecture of an idea or entity, a method of analysis and a primary

vehicle for thinking and solving problems2. It could equally be noted that the

diagrammatic technique is disconnected from an ideal or an ideology and is only a

compression of information. This study will discuss multiple theories, which explore the

mode of the diagram in the KBH.

In particular, Vidler’s essay will be used as the basis for this comparative analysis of the

architectural diagram. To demonstrate a thorough knowledge of Vidler’s theories, it is

critical to analyse their evolution and influence. As such the definition and fundamental

theory of the diagram draws on the work by Michel Foucault (1926-84) and Gilles

Deleuze (1925-95). Their critical analysis of Jeremy Bentham’s Panopticon remains the

most influential and enduring basis for the theorising on the diagram in architecture.

The Panopticon stands as the expression of cultural and political circumstances,

conveying spatial organisation of a specific form and its translation into state power and

1 Küçük, Alper, “The Architectural Precedent and the Diagram: A Comparative Analysis of Le

Corbusier’s Villa Savoye and Rem Koolhaas’ Maison A Bordeaux” (PhD diss., Middle East

Technical University, 2007). 2Beaman, Michael L, “Contested Continuities: Architectural Principles in the Age of Cybernetics,”

Cite, no. Fall (2009): 40.


4

discipline3. As stated by Foucault, Bentham’s Panopticon is “the diagram of a mechanism

of power reduced to its ideal form”4. In comparison, Deleuze articulates the concept of

the diagram as an “abstract machine… a map of relations between forces”5. Both their

analyses have led to several interpretations and have been developed and explored by

modern architects such as Anthony Vidler, Peter Eisenman, Bernard Tschumi, Hyungmin

Pai and UN Studio.

In the specific case of the Panopticon, the ability to exert maximum influence over a

population by situating a prisoner within a permanent visibility renders the notion of a

true diagram of power6. This concept that a diagram has the capacity to influence the

form of architecture and in turn the programmatic function of internal space can

similarly be applied to the KBH. The Klein bottle was the driving force and inspired the

form of the house, which is situated along the Mornington Peninsula in Victoria. The

Klein bottle is a mathematical concept, which involves folding a cylinder into itself,

creating an unusual spiraling form7. As seen in figure 1, Ryan has adopted this process of

form through the use of a diagrammatic model, in order to respond to the difficult

3 Van Berkel, Ben and Caroline Bos, “Diagrams,” in The Diagrams of Architecture, ed. by Mark

Garcia, (London: John Wiley & Sons, 2010), 224. 4 Hetherington, Kevin, “Foucault, the Museum and the Diagram,” Sociology Review 59 (2011):

457, accessed September 7, 2013, doi: 10.1111/j.146795. 5 Garcia, Mark, ed., The Diagrams of Architecture, (London: John Wiley & Sons, 2010), 24. 6 Schaeverbeke, Robin and Ann Heylighen, “Drawing and Designing as a Research Approach to

Rethink Teaching,” in Theory by Design: Architectural Research Made Explicit in the Design

Teaching Studio, ed. by E. De Vos et al. (Antwerp: Artesis University College, 2012), 2. 7 Sweeney, C, “The World’s 18 Strangest Homes - 10: Klein Bottle House,” Popular Mechanics,

accessed November 1, 2013,

http://www.popularmechanics.com/technology/engineering/architecture/4339347-klein-

bottle-house#slide-10.

http://www.popularmechanics.com/technology/engineering/architecture/4339347-klein-bottle-house#slide-10



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topography. Although Bentham’s Panopticon exhibited its influence through a plan

diagram, the diagrammatic model of the KBH reveals similar traits of a diagram of

power and influence. This is exhibited through the external folds of the origami model,

which twist, turn, recede, expand and in turn influence the programmatic function of

space interiorly. The diagrammatic model of the Klein bottle can be compared with UN

Studios’ computer generated Mobius strip diagram8. Both Ryan and UN Studio utilise the

transformation of a diagram into a set of volumes, which generate the organisation of

interior space.

Figure 1: Diagrammatic Model

“Klein Bottle House – Residential – 2008,” McBride Charles Ryan, accessed November 1, 2013,

http://www.mcbridecharlesryan.com.au/#/projects/klein-bottle-house/.

As discussed, the external folds of the KBH influence the interior spatial realm. It is

important to critically analyse the external physical relationship as the house negotiates

steep topography. Deleuze’s interpretation of the diagram as an “abstract machine,”

capable of assuming different physical and spatial morphologies can showcase the KBH 8 Van Berkel and Bos, “Diagrams,” 225.

http://www.mcbridecharlesryan.com.au/#/projects/klein-bottle-house/


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in a new light. This concept of an “abstract machine” directly relates to the ‘origami-like’

facets and folds of the KBH, as there lacks distinction between the internal and external

realms. Additionally, according to Vidler, modern architectural diagrams depict an

abstract object, assembled out of geometrical forms, thus becoming abstractions of

abstractions9. Therefore, the physical abstraction that occurs in the KBH blurs the line

between the interior and exterior. This relationship highlights how the building directly

influences and unlocks a series of spatial experiences interiorly. Using this theoretical

framework provided by Deleuze and Vidler, the KBH can be analysed focusing on new

interpretations of the diagram as a representation of abstraction and form, both

physically and spatially.

Although Vidler theorises diagrams of physical abstraction, architect Peter Eisenman

discusses the definition of the diagram and its relation to the drawing and plan. This

crucial discussion in diagrammatic architecture is the epitome of confusion as it

questions critically where does the diagram begin? Some theorists discuss that to draw a

plan is in itself to draw a diagram. However it is noted that any line drawing such as

plans, sections, elevations, and perspectives, freehand and hardline, are techniques in

constructing diagrams10. Although these are contradictory statements, the question

implores whether the diagram comes before or after the plan drawings. According to

Hyungmin Pai, the diagram and plan are not distinct phases, there is constant continuity

9 Vidler, Anthony, “Diagrams of Diagrams: Architectural Abstraction and Modern

Representations,” Representations 72, no. Fall (2000): 8.

10 Pai, Hyungmin, The Portfolio and the Diagram: Architecture, Discourse, and Modernity in

America, (London: MIT Press, 2002), 290.


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between the lines of the diagram and those of the plan11. As Pai interprets a dialogue

between diagram and plan, this study determines that diagrams are inherently abstract

representations. It is the level of abstraction that is the most important criterion in this

discussion. The level of abstraction involved conveys different ideas during the design

process. A comparative analysis of the KBH’s floor plans will be critiqued at various

levels of abstraction in order to reveal ideas and themes.

The diagram can be interpreted as a visual representation of the building, a ‘mental

picture’ of form and its spatial functions12. The series of diagrams (figures 2-4)

presented build in detail, producing the end result of a functional plan (figure 5). Figure

2 presents the idea of spatial function through the employment of a bubble diagram.

Walter Gropius introduced the bubble diagram into American architectural discourse

and highlighted its purpose as a pictograph of functions13. The same analysis can be

applied in this study, as figure 2 simply dictates the programmatic functions of space in

a loose and free arrangement, highlighting the ambiguity and freedom that comes with

the hand-drawn sketch. The bubble diagram has several stages, which this study relates

to as layers of abstraction. Ellen Y. Do and Mark D. Gross, acknowledge how diagrams

represent not only physical elements, but also forces and flows14. As seen in figure 3,

this additional layer to the first level of abstraction depicts the concepts and objects

11 Pai, Hyungmin, “Scientific Management and the Birth of the Functional Diagram,” in The

Diagrams of Architecture, ed. by Mark Garcia, (London: John Wiley & Sons, 2010), 74. 12 Hyungmin, Portfolio, 237. 13 Eisenman, Peter, Diagram Diaries (London: Thames & Hudson, 1999), 43. 14 Do, Ellen Yi-Luen, and Mark D. Gross, “Thinking with Diagrams in Architectural Design,”

Artificial Intelligence Review 15 (2001): 135, accessed October 21, 2013, doi: 743510384.


8

external to the building, the flow of air and the angle of sunlight. This graphic

representation acts as the translation of the quantitative and qualitative elements in

both the internal and external realm. After critically analysing figure 3, it is evident that

the diagram can inherit metaphorical roles, such as the graphic representation of airflow

as a depiction of the building as a machine for breathing.

Figure 2: Bubble Diagram Layer One Figure 3: Bubble Diagram Layer Two

Vidler theorises that, as architecture is increasingly joined to the diagram, it evolves into

a diagram of spatial function and transforms transparently into built spatial function15.

Therefore it is apparent that diagrams have the capacity to represent ‘ideal space

arrangements’ and the ‘ideal schemes of interrelationship’16. As seen in figure 4, the

diagram illustrates the relationship between movement and activity of the occupants,

both internally and externally. This depiction also implies a weak sense of direction as

the bedrooms and living spaces are configured in a faceted spiral. This references the

15 Vidler, “Diagrams of Diagrams,” 3. 16 Hyungmin, “Scientific Management,” 74.


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endless cycle of the Klein bottle by discussing themes of infinity and continuity between

the spaces. Furthermore, the boundary of the KBH is strongly defined as it yields and

shifts in response to the surrounding trees and external forces17. The diagrams analysed

act as a visual guide in understanding the evolution of a functional plan (figure 5).

Figure 4: Bubble Diagram Layer Four Figure 5: Final Floor Plan



It is similarly important to explore how the diagrammatic process forms a language.

Line weights, the depiction of furnishings, depth and shadow, circulation routes and grid

lines, form patterns that overlap in the same physical space. According to Christopher

Alexander,

17 Johnson, Anna and Patrick Bingham-Hall, The Australian House, (Singapore: Pesaro Publishing,

2008), 249.



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“A building is an assembly of patterns; it has many meanings captured in a small

space; and through this density, it becomes profound”18.

Thus after depicting the relationship of spatial function in the KBH, the diagrammatic

depiction of a program (figure 2) can gradually be transformed into a complex graphic

representation by adding detail (figure 5). It is this expression of spatial function, which

communicates a graphic language and transforms the diagram into a functional plan.

Additionally, the form of the KBH depicts a consistent language, which is apparent

throughout the building’s surfaces of geometric facets and folds, which can be seen both

interiorly and exteriorly.

Vidler poses new questions of form and architectural abstraction, in relation to

representation. He questions the use of image as architecture and architecture as image.

It is evident that these theories regarding representation focus on a post digital reaction

where the image participates in the architecture19. Through countless architectural

magazines and publications, both online and in print, the line between architecture and

representation becomes blurred. At first glance of the KBH, it is unclear whether or not

the form is being read initially as an image or a diagram. The viewer can easily be

swayed by the angle at which the image was taken, the colours and their intensity, and

even the gloss of the paper (if in print). Whereas the diagram or plan, often the last

images viewed, require a certain level of understanding and critique. Images of the KBH

however are often depicted in an endeavour to engage the viewer in a sensorial

experience. In order to achieve this, the most striking aspects of the building are

18 Price, Jonathan, “Christopher Alexander’s Pattern Language,” IEEE Transactions on

Professional Communication 42 (1999): 118. 19 Vidler, “Diagrams of Diagrams,” 17.


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featured, including interior and exterior perspectives of the threshold (figure 6), framing

views and the building’s use of colour.

Figure 6: Exterior perspective of the abstract façade of the Klein Bottle House



The limited colour palette used is central to the expression of the KBH. A deliberate and

important feature is the use of black walls both in the interior and exterior realm, which

accentuate the wild natural surroundings and internally, frame a view of nature. The

bold black walls are contrasted against the folded fibre cement planes and angled

surfaces, rendered in different shades of white, deep olive and pale grey20. These

techniques of ‘seduction’ are examples of architectural representation, which influence

the viewer/reader to focus on a certain theme and concept that the author endeavoured

to convey. Contrary to this common representation, it is critical to determine the level of

20 Burry, Jane, and Mark Burry, The New Mathematics of Architecture, (London: Thames &

Hudson, 2010), 186.



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abstraction in the diagram and its ultimate role and purpose as the ‘matter of

architecture’21. This study concludes that whilst the image has the capacity to seduce

and convey desire, rendering a certain point of view and theme, without the diagram

there would be no image.

According to Hyungmin Pai, in modern architecture form is a diagram and a diagram is

form22. This directly relates to the diagrams presented earlier in the study, which

identified how the Klein bottle was the driving force of the building. Thus it is evident

that the diagram acts as a simple translation into architecture and a depiction of form

and space. The diagram performs its essential role as the translator of an idea. This

argument is developed by Bernard Tschumi who theorises,

“The diagram is a graphic representation of a concept, hence there is no architecture

without a concept”23.

It is apparent that, the diagram acts as the catalyst in architecture, depicting not only

ideas and themes, but also the representation of built form.

Analysing the KBH through a theoretical lens has illuminated ideas of form via power

and influence, abstraction and the relationship between the exterior and interior.

Additionally, the KBH can be further critiqued using Vidler’s theory of architectural

diagrams as encoding of representation. Vidler highlights how diagrammatic lines can

be interpreted to reveal concealments of references to former architectural

21 Somol, R.E., introduction to Diagram Diaries, by Peter Eisenman, (New York: Universal, 1999),

7. 22 Hyungmin, Portfolio, 248. 23 Tschumi, Bernard, “The Diagrams of Bernard Tschumi,” in The Diagrams of Architecture, ed. by

Mark Garcia, (London: John Wiley & Sons, 2010), 195.


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precedents24. As can be seen in the KBH, the investigations of topological mathematics

reference Melbourne’s geometric architectural experiments of the 195025. Eisenman

presents a similar theory, focusing his study on the trace; simply defined as the history

of an architectural form of invisible lines and diagrams26. The complexity of form and

structure of the KBH hinder the investigation of identifying past notions of architectural

form. However, although modern buildings such as Ryan’s are visually, texturally and

structurally different from their predecessors, the diagram is the core element that ties

them together. As such a comparative analysis of the diagrams of Le Corbusier’s Villa

Savoye and Ryan’s KBH will be critiqued in order to examine this connection.

From Ryan’s investigations of the Klein bottle, the spiral emerged as the primary gesture

of contemporary form and spatial sequence. As seen in figure 7, the architect utilizes the

form of the spiral staircase through its location around a central intimate courtyard,

furthering the idea of the curve. This concept of the curve or ‘meandering’ directly

relates to the diagrams of Le Corbusier, who used the spiral technique to produce

curving circulation and movement27. This concept depicted in figure 8, indicates how the

spiral in the Villa Savoye is deployed in the form of a central ramp, dominating the

overall organization of the building in both plan and section. Both Ryan and Le

Corbusier indicate the idealized movement of occupants as produced by the diagram,

24 Vidler, “Diagrams of Diagrams,” 7. 25 Johnson and Bingham-Hall, Australian, 249. 26 Eisenman, Peter, “Diagram: An Original Scene of Writing,” in Diagram Diaries, (London:

Thames & Hudson, 1999), 95. 27 Moulis, Antony, “Forms and Techniques: Le Corbusier, The Spiral Plan and Diagram

Architecture,” Architectural Research Quarterly 14 (2010): 318, accessed October 21, 2013, doi:

10.1017/S135913551100011X.


14

through a central point and singular passage that meanders as it spirals28. The

similarities shown through the analysis of the Villa Savoye and KBH, highlight common

patterns in the diagram, substantiating Eisenman’s theory of parallel methods between

contemporary and past architecture.

Figure 7: Diagram of Spiral Stairs in KBH Figure 8: Diagram of Spiral Stairs in Villa Savoye

Küçük, Alper, “The Architectural Precedent and the Diagram: A Comparative Analysis of Le

Corbusier’s Villa Savoye and Rem Koolhaas’ Maison A Bordeaux” (PhD diss., Middle East

Technical University, 2007).

Although drawing can be considered the natural language of the architect, the

advancement of technology and digital software in architectural firms has the potential

to create new possibilities in design, as is the case with the KBH. However, there is a risk

that the techniques of design are not drawn from architecture but from the animation

software instead. This dichotomy, as explored by Vidler, highlights the tension between

the performative and the representational, the tool of the virtual rather than the real29.

28 Moulis, Antony, “Le Corbusier’s Spirals: Figural Planning and Technique in Architectural

Design,” in From Models to Drawings, ed. by Marco Frascari, (New York: Routledge, 2007), 122. 29 Vidler, “Diagrams of Diagrams,” 6.


15

This concept discusses the purpose and place for the diagram in this new world of

‘virtual architecture’. In relation to the KBH, it is evident that technology was essential in

the design process, as the complex shapes and spaces required another form of

communication other than the drawing. In reference to the KBH and its contemporary

architectonics it is fair to assume that the construction and design were realised at the

behest of technology. Although the KBH and many architectural projects in today’s age

rely on digital software as a tool in the design process, it is imperative to note that the

design does not start with technology. This concept is the fundamental objective of the

study, highlighting how technology is simply an architect’s tool, as the design process

begins and ends with the diagram. David R. Scheer, a professor at the College of

Architecture and Planning at the University of Utah, states,

“For millennia the design tools used by architects were a pencil, a straight edge and

a scale. 2-D CAD merely used a computer to mimic these traditional tools. BIM is a

genuinely new tool that is still in its infancy”30.

This denotes the limitations of digital software by highlighting how technology is a form

of imitation, lacking the unconstrained qualities of a hand draw sketch.

Thus it would be accurate to state that the final tool for architectural production is not

digital software, but the diagram. In relation to the KBH it is the diagram of the Klein

bottle, which produced the form and in turn the building. Vidler’s theory – in which he

regards the diagram as a representation of a ‘new world of space’ and in turn it projects

a new approach to architecture supports the argument above. It is the diagram that does

not conform to standard or fixed typologies that are inherent within digital software.

30 Frascari, Marco, Jonathan Hale, and Bradley Starkey, ed., From Models to Drawings. (New York:

Routledge, 2007), 3.


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Alejandro Zaera-Polo further develops this theory, recognising the diagram’s capacity as

the primary instrument for the production of architecture and the possibility of new

worlds31. In relation to the KBH, the diagram and the employment of technology as a

tool, offers new possibilities in architectural topology. It is this bridge between the

diagram and technology, which holds the future for diagrams in architectural discourse.

Inspired by the term coined by Peter Cook, as the diagram and architecture in today’s

age are entwined through digital technology, perhaps there is a requirement for a new

diagram, a digital di(archi)gram.

Such diverse meanings and interpretations of the diagram in architectural discourse

have allowed a series of concepts and ideas to be revealed in McBride Charles Ryan’s

Klein Bottle House. Through the diagrammatic analysis and critique of the case study, it

can be asserted that the KBH is simply a built diagram. It is made evident through this

study that the diagram is the catalyst of form in architectural design. This has been

explored through its relation to physical and spatial morphologies, graphic

representation, encoding and pattern. Le Corbusier is the principal figure in extending

this shift in the discourse of the diagram into the twentieth century, and it is through his

diagrams that a common relationship between old and new architecture is made

apparent. By adopting a theoretical lens as an analytical tool, the KBH can be viewed as

an excellent example of the future of the diagram in architectural discourse. By

examining the relationship between the diagram and technology, the KBH serves as the

bridge between new possibilities and the rise of a new diagram.

31 Zaera-Polo, Alejandro, “Between Ideas and Matters,” in The Diagrams of Architecture, ed. by

Mark Garcia, (London: John Wiley & Sons, 2010), 240.


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BIBLIOGRAPHY

Beaman, Michael L. “Contested Continuities: Architectural Principles in the Age of Cybernetics.” Cite no. Fall (2009): 40. Burry, Jane, and Mark Burry. The New Mathematics of Architecture. London: Thames & Hudson, 2010. Do, Ellen Yi-Luen, and Mark D. Gross. “Thinking with Diagrams in Architectural Design.” Artificial Intelligence Review 15 (2001): 135–149. Accessed October 21, 2013. doi: 743510384. Eisenman, Peter. Diagram Diaries. London: Thames & Hudson, 1999. Eisenman, Peter. “Diagram: An Original Scene of Writing.” In Diagram Diaries, 26–43. London: Thames & Hudson, 1999. Frascari, Marco, Jonathan Hale, and Bradley Starkey, ed. From Models to Drawings. New York: Routledge, 2007. Garcia, Mark, ed. The Diagrams of Architecture. London: John Wiley & Sons, 2010. Hetherington, Kevin. “Foucault, the Museum and the Diagram.” Sociology Review 59 (2011): 457–475. Accessed September 7, 2013. doi: 10.1111/j.146795. Johnson, Anna and Patrick Bingham-Hall. The Australian House. Singapore: Pesaro Publishing, 2008. Küçük, Alper. “The Architectural Precedent and the Diagram: A Comparative Analysis of Le Corbusier’s Villa Savoye and Rem Koolhaas’ Maison A Bordeaux.” PhD diss., Middle East Technical University, 2007. McBride Charles Ryan. “Klein Bottle House. Residential. 2008.” Accessed November 1, 2013. http://www.mcbridecharlesryan.com.au/#/projects/klein-bottle-house/ Moulis, Antony. “Forms and Techniques: Le Corbusier, The Spiral Plan and Diagram Architecture.” Architectural Research Quarterly 14 (2010): 317–326. Accessed October 21, 2013. doi: 10.1017/S135913551100011X. Moulis, Antony. “Le Corbusier’s Spirals: Figural Planning and Technique in Architectural Design.” In From Models to Drawings, ed. by Marco Frascari, 120–125. New York: Routledge, 2007. Pai, Hyungmin. “Scientific Management and the Birth of the Functional Diagram.” In The Diagrams of Architecture, ed. by Mark Garcia, 64–77. London: John Wiley & Sons, 2010. Pai, Hyungmin. The Portfolio and the Diagram: Architecture, Discourse, and Modernity in America. London: MIT Press, 2002. Price, Jonathan. “Christopher Alexander’s Pattern Language.” IEEE Transactions on Professional Communication 42 (1999): 117–122. Schaeverbeke, Robin and Ann Heylighen. “Drawing and Designing as a Research Approach to Rethink Teaching.” In Theory by Design: Architectural Research Made Explicit in the Design Teaching Studio, ed. by E. De Vos, J. De Walsche, M. Michels and S. Verbruggen, 159–166. Antwerp: Artesis University College, 2012. Somol, R.E. Introduction to Diagram Diaries, by Peter Eisenman, 7–25. New York: Universal, 1999. Sweeney, C. “The World’s 18 Strangest Homes - 10: Klein Bottle House.” Popular Mechanics. Accessed November 1, 2013. http://www.popularmechanics.com/technology/engineering/architecture/4339347-klein-bottle-house#slide-10. Tschumi, Bernard. “The Diagrams of Bernard Tschumi.” In The Diagrams of Architecture, ed. by Mark Garcia, 195–203. London: John Wiley & Sons, 2010.





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Van Berkel, Ben and Caroline Bos. “Diagrams.” In The Diagrams of Architecture, ed. by Mark Garcia, 222–227. London: John Wiley & Sons, 2010. Vidler, Anthony. “Diagrams of Diagrams: Architectural Abstraction and Modern Representations.” Representations 72, no. Fall (2000): 1–20. Zaera-Polo, Alejandro. “Between Ideas and Matters.” In The Diagrams of Architecture, ed. by Mark Garcia, 236–244. London: John Wiley & Sons, 2010.

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