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Transcript of Transparency II
Transparency II: Layering of Planes/Layering of Spaces
Literal Transparency vs Phenomenal Transparency, Real Transparency vs Seeming Transparency, Substantial
Transparency vs Organizational Transparency, Actual Transparency vs Implied Transparency, Perceptual
Transparency vs Conceptual Transparency, Transparency of Seeing/Looking vs Transparency of Reading,
Transparency of Visibility vs Transparency of Understanding, Transparency of Observation vs Transparency
of Interpretation.
Figure 1: Loo’s Muller House; a series of layered planes receding back into space.
Two Modes of Transparency: Literal & Phenomenal
The key aspect to Rowe and Slutzky’s seminal essay on Transparency: Literal & Phenomenal, is the
distinction of the two types of transparency, a literal transparency, which will be later described as
perceptual transparency, is a quality inherent to substance or matter, such as in mesh screens, translucent
walls, etc, and a phenomenal transparency, that is, a conceptual transparency, a quality inherent in the
spatial or volumetric organization (Rowe & Slutzky, 1982).
Rowe and Slutzky, quotes Gyorgy Kepes for defining transparency as a result of transparent figures
interpenetrating each other without optical destruction, but transparency also implies something broader
than optical effects, as it also includes spatial effects. “Transparency means a simultaneous perception of
different spatial locations. Space not only recedes but fluctuates in a continuous activity” (Kepes quoted in
Rowe & Slutzky, 1982). This overlapping and interpenetrating of figures conjures an ambiguity or
contradiction of spatial dimensions.
The concepts and conditions of transparency parallel movements of Relativity theories and their
implications; where space-time relativistic thinking allows for two objects to co-exist simultaneously in the
same space and time, as such transparency is a space-time condition of betweeness, a simultaneous
perception of space.
Perceptual vs Conceptual Transparency: Eye vs Mind, Looking vs Reading
To introduce new terms into the dialectic of transparency, one can appropriate the terms of Sol Le Witt,
and the Conceptual Art movement of the 1960s, in order to reinterpret Transparency as being perceptual
or conceptual. Le Witt contrasts the two as follows, “Art that is meant for the sensation of the eye
primarily would be called perceptual rather than conceptual” (Le Witt, 1967). Le Witt adds that,
“Conceptual art is made to engage the mind of the viewer rather than his eye or emotions” (Le Witt,
1967). Juxtaposing the terms and definitions, Literal transparency can now be seen as a kind of Perceptual
transparency as it engages the eye, whereas Phenomenal transparency can be understood as a Conceptual
transparency which engages the mind of the viewer, in one’s interpretation or reading of spatial
organization.
Here one can differentiate between the operations of ‘reading’ and ‘looking,’ “’Reading’ opposes itself to
‘looking’…as a different kind of visual attention” (Osborne, 2002). Perceptual transparency is a
transparency of looking, as the transparent conditions arise due to an overlapping of material or
substance, whereas Conceptual transparency is a transparency of reading, thus engaging the mind of the
viewer or reader, in order to interpret and understand successive layered spaces as modes of transparent
phenomena.
To reiterate the dialectical overlapping and multiple readings of conditions of transparency, literal
transparency is a perceptual and actual transparency of seeing or of substance, whereas phenomenal
transparency is a conceptual and implied transparency of reading or of organization.
Transparency: Simultaneity & Interpenetration
French Cubism & Italian Futurism - Figure 2 (left): Picasso’s The Clarinet Player, 1911 – literal transparency
in Cubism, a figure in deep space, Figure 3 (middle): Braque’s The Portuguese, 1911 – phenomenal
transparency in Cubism, a shallow flattened extended space, & Figure 4 (right): Boccioni’s Futurist painting
- States of Mind II: The Farewalls, 1911.
Rowe and Slutzky states that any Cubist canvas of 1911-1912 could serve to illustrate the presence of the
two orders or levels of transparency, that is, literal and phenomenal, involving the fusion of temporal and
spatial factors, and mentions that Cubism was a premonition of relativity invoking the fourth dimension
(Rowe & Slutzky, 1982). The typical Cubist motif is described as consisting of “figures…intersecting,
overlapping, interlocking…building up into larger and fluctuating configurations” (Rowe & Slutzky, 1982).
In the various manifestos of the Italian Futurist art movement of the early 20th century, key notions of
simultaneity, intersection, and compenetration of planes marks the movement’s interest in the expression
of dynamism and movement in visual art. The Futurist artist, Umberto Boccioni, in his representation of
movement, studied and employed the simultaneity and consequent interpenetration or compenetration
of planes, force-lines, and the decomposition of objects, in order to produce dynamism in both painting
and sculpture (Coen, 1988).
Petrie in his article on Boccioni and Bergson attempts to draw the possible linkages between Boccioni’s
ideas of simultaneity and interpenetration with Bergson’s notions of intuition and duration. Intuition
acknowledges movement as being indivisible; and Bergson refers to the time sensed by our intuition as la
durée, duration (Petrie, 1974). Petrie mentions that time, duration, and movement were central for both
Boccioni and Bergson, as “It was only through movement that the ‘living experience of the object in its
very becoming’ could be conveyed” (Petrie, 1974).
“Absolute motion is then, for Boccioni, ‘the motion that the object has within itself, whether at rest or in
movement’. The artist must therefore intuit this motion in terms of lines which will reveal ‘how the object
would disintegrate following the tendency of its innate forces’. And the interaction of these lines, these
forces, will denote…‘interpenetration’ (Petrie, 1974).”
Hence duration, transparency, and simultaneity, executed in the intersection and interpenetration of lines
and forms in the image’s movement, for Boccioni and the Italian Futurists, expressed the exaltation of
speed as the affirmation of modernity.
“Place, time, form, and color coexist in a single composition conceived to bring out the object’s dynamic
reality through a simultaneity not limited to the simple unfurling of an action in time but embracing all the
elements that could convey the sensation of speed visually.” (Coen, 1
988)
Figure 5 (left): Le Corbusier’s La Roche House; interpenetrating spaces, & Figure 6 (right): Le Corbusier’s
Cook House, 1926/27; interpenetrating, interlocking, & blending of interior & exterior, between the roof &
interior spaces.
Sigfried Giedion describes in his book, Building in France, building in iron, building in ferroconcrete, “By
their design, all buildings today are as open as possible. They blur their arbitrary boundaries. Seek
connection and interpenetration” (Giedion, 1995). Giedion relates the notion of intepenetration to both
Le Corbusier’s paintings and buildings, with reference to Jeanneret 1924, he writes, “Just as transparent
objects interpenetrate in the painting, so Corbusier with every means also lightens the traditional gravity
of the house” (Giedion, 1995). Air flows through Le Corbusier’s houses; there is only one indivisible space
where the shell falls away between interior and exterior – spatial interpenetration (Giedion, 1995).
Transparent simultaneity exists in Le Corbusier’s Cook House, where the exterior roof terrace space and
the adjacent interior spaces blend and merge together by means of an interlocking gesture (Giedion,
1995).
Layering & Stratification of Frontal Planes: Layering in Le Corbusier’s Work
Figure 7 (left): Axonometric of Le Corbusier’s Still Life, 1920; layering of frontal planes, & Figure 8 (right) Le
Corbusier’s Still Life, 1920.
Figure 9 (left): Axonometric of Le Corbusier’s Villa Stein at Garches 1927/28; layering of frontal planes, &
Figure 10 (right): Le Corbusier’s Villa Stein at Garches 1927/28. Rowe and Slutzky mentions that,
“[Stratifications], devices by means of which space becomes constructed, substantial, and articulate, are
the essence of…phenomenal transparency” (Rowe & Slutzky, 1982).
The layering and stratification of frontal planes is evident in both Le Corbusier’s paintings as well as his
built works. Articulated layered compositions, through the device of stratification, typifying phenomenal
transparency are seen in Le Corbusier’s Still Life of 1920, which is then applied to the design of his Villa
Stein in Garches of 1927/28. The axonometrics demonstrate the layered configurations of both works;
they appear to stretch out and expand the various constituent layers of their flattened conditions as
painting or elevation.
Eisenman describes the flattened layered elevations of Le Corbusier’s painting and his Villa Stein as being
plans tipped to an upright position, allowing one to simultaneously perceive the whole from a singular
viewpoint (Eisenman, 2007).
Adolf Loos states that his architecture is not conceived in plan, but rather in terms of spaces or cubes,
hence the Raum - or Space – plan, which achieves a merging of storeys and spaces into a contiguous and
continuous space.
“Spatial continuity between rooms was created not by omitting walls but by piercing them with wide
openings so that views were always framed…Often the connection between rooms was only visual, as
through a proscenium. At their interface, these spaces had a theatrical quality” (Colquhoun, 2002).
As such, the viewer is allowed to ‘journey’ through the space creating a spatial continuum of the layered
planes-spaces. This reiterates the notion of transparency as a seeing- or passing-through, that is, a
journey, a penetration, or a passing through of the gaze.
Both the plan and section of the Muller House depict a diagonal arrow; this denotes the perspectival view
in/out. The diagonality is important, as the arrows in both the plan and section refer to the same view,
that is, both arrows are in effect the same, as they both denote the same sequence of framed vistas. The
subject in the building engages in a theatrical voyeuristic gaze passing through the framed spaces. The
Raumplan demonstrates a framing of frames, a seeing or penetrating through the successive frames of
view. Hence, phenomenal or conceptual transparency is achieved, following what Rowe and Slutzky
mentioned with regards to the notion of stratification, that is, the sequential layering of frontal planes and
spaces.
Doubling of Transparency: Simultaneity of Transparent Dialectics
Rowe & Slutzky mentions in their article on Transparency, that in the transparent overlapping,
interpenetrating, superimposing of planes and figures, there exists more than a single mode of
transparency, that is, not only is there a physical or literal transparency, that is, an actual or real
transparency, but also a conceptual or phenomenal transparency, that is, an implied or seeming mode of
transparency (Rowe & Slutzky, 1982). As such, in architecture, not only is transparency a condition of
material or substance, permitting the “passing through” of light, air, and sight, but also a condition of
organization or ordering. Hence, there exists two modes of transparency, two modes of layering, the
Layering of Planes and the Layering of Spaces.
The two modes of transparency can be combined, fused and integrated to achieve a doubling of
transparency, a simultaneity of modes of transparent operations. Hence, both the Layering of Space and
the Layering of Surface, both the Layering of Volume and the Layering of Façade, resulting in a spatial-
surface ambiguity, an ambiguous fluctuation and oscillation of depth of space and surface.
Literal Transparency occurs through the layering and stacking of the physical material of the walls and
surfaces, whereas Phenomenal transparency occurs through the layering, overlapping, and
superimposition of axes and gridded spatial orders, thus producing an ambiguity of spatial organizations,
resulting from a sequential ordering or a successive stratification and layering of space.
A doubling of transparency, both literal and phenomenal, perceived and interpreted. One sees through,
sees pass the overlapping glazed or meshed facades, exterior and interior, and one reads and interprets
the layered spatial arrangement. An act of inter-modal transparency, literal and phenomenal, actual and
implied, seen and read, perceptual and conceptual, co-existing together; a multi-penetration of
transparencies, multi-transparent, multi-interpenetrative and interpretive, multi-moded transparency.
References:
• Coen, E., et al., Umberto Boccioni (New York, Metropolitan Museum of Art: Distributed by H.N. Abrams,
1988)
• Colomina, B., The Split Wall: Domestic Voyeurism, Sexuality & Space (NY: Princeton Architectural Press,
1992)
• Colquhoun, A., Modern Architecture (New York: Oxford University Press, 2002)
• Eisenman, P., “Terragni and the Idea of a Critical Text,” in Written into the Void: Selected Writings, 1990-
2004 (New Haven: Yale University Press, 2007)
• Giedion, S., Building in France, building in iron, building in ferroconcrete, introduction by Sokratis
Georgiadis; translation by J. Duncan Berry (Santa Monica, CA: Getty Center for the History of Art
and the Humanities, 1995)
• Le Witt, S., “Paragraphs on Conceptual Art.” Artforum (June, 1967) [online]. [cited 3 August 2010]
Available from: <http://www.ddooss.org/articulos/idiomas/Sol_Lewitt.htm>
• Osborne, P., Conceptual Art (London; New York: Phaidon, 2002)
• Petrie, B. Boccioni and Bergson, The Burlington Magazine Vol. 116, No. 852, Modern Art (1908-25)
(Mar., 1974), 142 [online], [cited 13 October 2010] Available from:
<http://www.jstor.org/stable/877621>
• Rowe, C. & R. Slutzky, Transparency: Literal and Phenomenal, The mathematics of the ideal villa and
other essays (Cambridge, Mass., MIT Press, 1982)
• Raumplan [online]. [cited 14 October 2010] Available from:
<http://www.mullerovavila.cz/english/raum-e.html>
Figure References
• Figure 1: B. Colomina, The Split Wall: Domestic Voyeurism, Sexuality & Space (NY: Princeton
Architectural Press, 1992). 75. Photoshopped by Author.
• Figure 2: Picasso’s The Clarinet Player, 1911 [online]. [cited 25 November 2010] Available from:
<http://www.thearttribune.com/spip.php?page=docbig&id_document=342>
• Figure 3: Braque’s The Portuguese, 1911 [online]. [cited 25 November 2010] Available from:
<http://www.artchive.com/artchive/B/braque/portgais.jpg.html>
• Figure 4: Boccioni’s States of Mind II: The Farewalls, 1911 [online]. [cited 25 November 2010] Available
from: <http://www.artinthepicture.com/artists/Umberto_Boccioni/farewell.jpeg>
• Figure 5 (left): Le Corbusier’s La Roche House, S. Giedion, Building in France, building in iron, building in
ferroconcrete (Santa Monica, CA: Getty Center for the History of Art and the Humanities, 1995),
178.
• Figure 6 (right): Le Corbusier’s Cook House 1926/27, S. Giedion, Building in France, building in iron,
building in ferroconcrete (Santa Monica, CA: Getty Center for the History of Art and the
Humanities, 1995), 179.
• Figure 7 (left): Axonometric of Le Corbusier’s Still Life, 1920; R. Krauss, Death of a Hermeneutic
Phantom: Materialization of the Sign in the Work of Peter Eisenman, Architecture and Urbanism.
(1112), 1980: 196.
• Figure 8 (right) Le Corbusier’s Still Life, 1920 online]. [cited 25 November 2010] Available from:
<http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE
%3A3426&page_number=2&template_id=1&sort_order=1 >
• Figure 9 (left): Axonometric of Le Corbusier’s Villa Stein at Garches 1927/28; R. Krauss, Death of a
Hermeneutic Phantom: Materialization of the Sign in the Work of Peter Eisenman, Architecture
and Urbanism. (1112), 1980: 197.
• Figure 10 (right): Le Corbusier’s Villa Stein at Garches 1927/28 S. Giedion, Building in France, building in
iron, building in ferroconcrete (Santa Monica, CA: Getty Center for the History of Art and the
Humanities, 1995), 182.
• Figure 11: A. Colquhoun, Modern Architecture (New York: Oxford University Press, 2002), 82.
• Figure 12: A. Colquhoun, Modern Architecture (New York: Oxford University Press, 2002), 80.
Transparency: Layering & Passing Through
Photos of AD1 Conceptual Light Study Models by Tash Bell, 2010
Photos of AD1 Sectional Model by Liz Tjahjana, 2010
Transparency is a condition of passing or seeing through. Transparency is connection and continuity; it is a
dialectic between revealing and concealing, as well as between seeing and reading. A transparent
medium, substance, or matter allows, permits, and invites light, air, and sight to penetrate through.
Transparency relates to diaphaneity, translucency, and layering. Translucency can be defined as the
condition existing within the continuum between opacity and transparency, between the two polarities of
obscurity and clarity, between solid and void. Translucency is where light sifts, filters and penetrates
through the successive additive effects of layered, stacked, overlapped or superimposed planes, glazed
surfaces, films, or veils. The filtering and penetrating effect of light through translucency achieves a
layered glow, where natural light passes through, slows down, softens, bleeds and diffuses from one space
to the next, from exterior to the interior, and through different layers of the interior, creating a
superimposed overlapping penetrative effect, bringing daylight further and deeper into the space.
Rowe and Slutzky makes a distinction between two types, modes, or conditions of transparency in their
seminal essay on Transparency: Literal & Phenomenal. A literal transparency, that is, an actual or real
transparency that is seen, is a quality inherent to substance or matter, such as in mesh screens,
translucent walls, and a phenomenal transparency, that is, an implied or seeming mode of transparency
that is read, is a quality inherent in the spatial or volumetric organization (Rowe & Slutzky, 1982).
Two or more transparent figures overlapping each other produces a contradiction or ambiguity of spatial
dimensions; simultaneously seeming to advance or recede, appearing closer or further, where space
continuously fluctuates and oscillates. These transparent planes, objects, or surfaces interpenetrate each
other. Transparency permits a simultaneous perception or conception of various spatial locations (Gyorgy
Kepes in Rowe & Slutzky, 1982).
Transparency is the layering of planes and/or the layering of spaces, the layering of surfaces and/or the
layering of volumes, producing spatial contiguity and continuity between successive or sequential
advancing-receding series of strata or spaces.
Perforous Screens: Filtering & Dematerialization
Filtering and diffusing light through perforous patterned screens or facades, creating a myriad of patterned
shadow effects as the sun changes its position during the course of a day. Henry Plummer describes
Atomization as the sifting or filtering of light through a porous screen (Plummer, 2009). Dematerialization
is the dissolution of matter through or by light, where thick, heavy, and massive, construction or cladding
appears to be dissolved, eaten, or consumed by light itself.
Mesh screens or other finely patterned porous facades have the capability to disintegrate objects into light
and air. Screens could be more porous or less porous according to the desired or necessary amount of
solar exposure. The control of certain parameters, such as the proportion of solid to void, the relationship
between the opaque surface and the porous openings or holes can achieve a seemingly gauzy and
mysterious, yet luminous and brilliant, experience of the screen. Atomized illumination through the fine
screens of wood lattice, metal mesh, or other porous surface makes the view outside less clear, less solid,
and instead more disintegrative, more vaporous. One only gets a glimpse of the outside through the
perforated mesh of fine dots.
The filtered light gets splintered and scattered across the surface of a moiré patterned screen of holes.
Light corrodes and dissolves the solidity of mass. Physical mass seems to be pulverized in an intricate
interplay of perforation size, surface finish and lighting levels to achieve a condition of lightness and
ambiguity in the balance between light and shadow, transparency and opacity of the façade, as well as
materiality and ethereality.
The perforous screen like the diaphanous veil or the layered transparent planes simultaneously reveals
and conceals, connects and divides in a mode of contiguous discontinuity. Plummer in his description of
pulverized light mentions,
“Light becomes caught in screens, sometimes fleetingly…the screens seem to intermittently turn solid,
translucent, or transparent, and the next moment dematerialize into nothing. The real wall and building
mass appear to fade away, leaving behind a mesmerizing sensation of energy that seems to
vibrate….boundaries slip out of focus, at one moment coming into shape and the next moment empty yet
loaded with energy” (Plummer, 2009).
Indirect Daylighting: Canalization & Formlessness
Photos of AD1 Sectional Model by Cat Doo, 2010
Indirect daylighting explores the articulation of the formlessness of light. There is no clear boundary
between what is lit and not lit; the distinction between light and non-light is undecidable, indeterminate,
and ambiguous. The boundary is blurred. Light can be explored to enhance form, make form more
pronounced, or alternatively, light can be manipulated to dematerialize form, eat away at the geometry,
and make form less distinct. Light is captured by the indirect lighting mechanisms, whether they are
carved voids, fingers of light, or channeled networks, and is transported yet transformed as the
illumination gets redelivered into the interior space.
Plummer refers to the Canalization of light as being the channeling of light through hollow mass, where
artificial routes, labyrinths, and tunnels are carved out for natural forces to penetrate the inner depths of a
building. Formless light is given a memorable character whereby the radiation and energy from the sky is
collected and sculpted. The flow of light is conducted through daylit voids, cavities, and porous masses,
while distributing yet moulding the illumination as it hits the surface (Plummer, 2009).
Washes of natural light arrives from the ‘spaces between,’ from the interstitial spaces formed between the
detached wall and the wall proper, in the case of indirect side lighting, or the detached ceiling panel and
its adjoining ceiling, in the case of indirect top or zenithal lighting. The inner linings of these detached
screens or baffles can be made reflective or coloured, which in turn will have an effect on the redirected
light. In the various modes of indirect lighting, such as slots, tubes, conduits, light shafts, light funnels and
scoops or some other labyrinthine configuration, the incident light arrives mysteriously as it is reflected or
redirected from the inner surfaces of the light baffle, concealing the window or opening. Hence, a
‘sourceless’ light, a light of no apparent or clear origin. (Plummer, 2009).
The opening of light is concealed and hidden away from view, the channel or shaft forces the light to bend,
to reflect, and to become more diffused while entering the space. These concealed light sources and
hidden apertures can help choreograph or direct a journey, a promenade architecturale, whereby the
indirect sources of light are points of command leading one further and deeper into a building.
ALO
References:
• Meyers, V., Designing with light, 1st ed. (New York: Abbeville Press, 2006)
• Plummer, H., The Architecture of Natural Light (London: Thames & Hudson, 2009)
• Rowe, C. & R. Slutzky, Transparency: Literal and Phenomenal, The mathematics of the ideal villa and
other essays (Cambridge, Mass., MIT Press, 1982)
Literal Transparency vs Phenomenal Transparency, Real Transparency vs Seeming Transparency, Substantial
Transparency vs Organizational Transparency, Actual Transparency vs Implied Transparency, Transparency
of Seeing/Looking vs Transparency of Reading, Transparency of Observation vs Transparency of
Interpretation.
Figure 1: Still Life, 1919, Jeanneret/Le Corbusier: overlapping of planes, Figure 2: Müller House, 1929-30,
Prague, Adolf Loos: Raumplan as a succession of layered spaces
Transparent (adjective)
Having the property of transmitting light without scattering to that the objects lying beyond and behind
are seen clearly; allowing passage of a specified form of radiation; fine or sheet enough to be seen
through-diaphanous
Middle English, from Medieval Latin transparent-, transparens, present participle of transparēre to show
through, from Latin trans- + parēre to show oneself
Synonyms include: clear, crystalline, liquid, lucent, pellucid, and see-through
Antonyms include: cloudy or opaque
Related terms include: colorless, diaphanous, translucent, semi-translucent or –transparent, glass
Two types of Transparency: the distinction
As can be seen from the dictionary definitions, the term transparency implies the optical or observational
notions of showing or seeing through. Colin Rowe and Robert Slutzky in their essay ‘Transparency: Literal
& Phenomenal’ refers to a passage by Gyorgy Kepes,
“If one sees two or more figures overlapping one another, and each of them claims for itself the common
overlapped part, then one is confronted with a contradiction of spatial dimensions. To resolve this
contradiction one must assume the presence of a new optical quality. The figures are endowed with
transparency: that is, they are able to interpenetrate without an optical destruction of each other.
Transparency however implies more than an optical characteristic, it implies a broader spatial order.
Transparency means a simultaneous perception of different spatial locations. Space not only recedes but
fluctuates in a continuous activity. The position of the transparent figures has equivocal meaning as one
sees each figure now as the closer, now as the further one.” (Gyorgy Kepes, Language of Vision, quoted in
C. Rowe & R. Slutzky, 1982, Transparency: Literal and Phenomenal, The mathematics of the ideal villa and
other essays)
Rowe and Slutzy continue to add that, “‘Simultaneity,’ ‘interpenetration,’ ‘superimposition,’ ‘ambivalence,’
‘space-time,’ ‘transparency’: in the literature of contemporary architecture these words, and others like
them, are often used as synonyms.” (Rowe & Slutzky, 1982)
However, despite the dictionary definition implying transparency to be a material state or condition of
allowing passage, transmission, diaphaneity, amongst others, the notion of transparent planes overlapping
each other can suggest further interpretations, such that there is something else at play other than just a
physical transparency (Rowe & Slutzky, 1982). This other type of seeming or implied transparency, that is
an interpretive transparency, or an interpretive mode of seeing-through, can be distinguished,
“at the beginning of any inquiry into transparency, a basic distinction must perhaps be established.
Transparency may be an inherent quality of substance-as in a wire mesh or glass curtain wall, or it may be
an inherent quality of organization-as both Kepes and, to a lesser degree, Moholy suggest it to be; and one
might, for this reason, distinguish between a real or literal and a phenomenal or seeming transparency.”
(Rowe & Slutzky, 1982)
Hence the dual phenomena of transparency – literal and phenomenal, real or seeming, substantial or
organizational, actual or implied transparency.
Transparency in Painting
Rowe and Slutzky comments of the Cubist canvas of the early 1910s as illustrative of these two orders or
phenomena of transparency (concepts alluding to space-time relativity), and they compare and illustrate
the difference between literal and phenomenal transparency in Picasso’s The Clarinet Player, 1911 (being
literal, a figure in deep space) and Braque’s The Portuguese, 1911 (being phenomenal, a shallow flattened
extended space).
Le Corbusier’s Still Lifes’ speak of both literal and phenomenal transparency; of both overlapping
transparent figures (wine glass and bottle) and overlapping – yet flattening – planes (objects) in space. The
painting depicts spatial ambiguities; a property of transparency, due to an illusion of deep yet shallow
space; a fluctuation of back and forth movement of objects and planes advancing and receding
simultaneously.
Transparency in Architecture
The notion of spatial interpenetration, of which Sigfried Giedeon has mentioned in his texts on Le
Corbusier’s buildings, is concurrent with the industrial, art and architectural movements of the era, that is,
the fascination with the space-time continuum, relativity and the fourth dimension.
Rowe and Slutzky describes the workshop wing of the Bauhaus as a case of literal transparency whereas Le
Corbusier’s villa at Garches as an example of phenomenal transparency.
The vertical layer-like stratification of Le Corbusier’s villa at Garches produces a layering of the interior
space of the house and creates a succession or sequence of laterally extended spaces travelling one
behind the other (Rowe & Slutzky, 1982).
“throughout this house, there is that contradiction of spatial dimensions which Kepes recognizes as
characteristic of transparency….The five layers of space which, vertically, divide the building’s volume and
the four layers which cut it horizontally will all, from time to time, claim attention; and this gridding of
space will then result in continuous fluctuations of interpretation.” (Rowe & Slutzky, 1982)
This continuous fluctuation of interpretative readings reaffirms the notion of seeming, or what will be later
referred to as an implied transparency, as opposed to a real or actual transparency. The fluctuation or
oscillating planes or layers produces an ambiguity of spatial depth in its simultaneity of vision or
perception of multiple or overlapping planes and readings.
Thus, in architecture, the principles of frontality and stratification, that is, the layering of frontal planes is a
device to construct and articulate space in order to achieve phenomenal transparency (Rowe & Slutzky,
1982).
Loos: Raumplan, the Layering of Space
“My architecture is not conceived in plans, but in spaces (cubes). I do not design floor plans, facades,
sections. I design spaces. For me, there is no ground floor, first floor etc…. For me, there are only
contiguous, continual spaces…Storeys merge and spaces relate to each other.” Adolf Loos
“Loo’s Raumplan…turned the experience of the house into a spatio-temporal labyrinth, making it difficult
to form a mental image of the whole” (Colquhoun, 2002). This thus reiterates the notion of space-time
interpenetrative spaces of simultaneity. It is such that transparency is a condition of betweeness in these
terms of successive and continuous stratification, overlapping, layering, and superimposition of spaces.
The Villa Müller depicts a “[spatial] continuity between rooms…created not by omitting walls but by
piercing them with wide openings so that views were always framed and the sensation of the room’s
spatial closure was maintained” (Colquhoun, 2002). The viewer ‘journeys’ through the spatial continuum
of the phenomenally transparent layered planes-spaces.
As such, Loo’s notion of the Raum – (or Space) – plan is a case of phenomenal transparency, that is, a
transparency produced by the organization and articulation of sequential and continuous spaces, divided
by planes or frames ordered in a layered or stratified manner.
Eisenman: Actual Transparency vs Implied Transparency
Figure 3: Eisenman’ axonometric analysis diagram of Terragni’s Casa del Fascio: layering of frontal planes,
Figure 4: Eisenman’s House II: a layered reading or interpretation; actual vs implied
In Peter Eisenman’s formal-geometrical analysis of the Casa del Fascio by Giuseppe Terragni, he describes
the frontal plane of the southwest façade as a series of successive layered planes from front to back
(Eisenman, 2003). This interpretive study can be seen as a forerunner to his own investigative projects of
layering planes and spaces, seen especially in his early house projects.
In Eisenman’s article on Cardboard Architecture: House II, “the implied planes formed by the columns and
beams cut through the volumes in such a way as to create a condition in space where the actual space can
be read as layered. The layering produces an opposition between the actual geometry and an implied
geometry; between real space which is negative or void and implied volume which is positive or solid”
(Eisenman, 1975).
Eisenman then describes a “dialectic or an opposition between an actual relationship and an implied
relationship in the environment using the column and the wall, and the wall and the volume” (Eisenman,
1975). Here the actual and the implied relationships of transparent modes or operations are seen in
opposition to each other, creating ambiguous dialectic or double overlapping readings of planes and
spaces.
Eisenman thus achieves an overlapping-multiple reading or interpretation of transparent yet ambiguous
conditions by means of working between two modes or readings of transparency, actual transparency vs
implied transparency, or similarly, literal vs phenomenal transparency, or real/substantial vs
seeming/organizational transparency, that is, the two modal operations of layering, the layering of Planes
vs the layering of Spaces.
References:
• Definitions courtesy of Merriam-Webster Online Dictionary
• Colquhoun, Modern Architecture (New York: Oxford University Press, 2002)
• P. Eisenman, House II 1969 – Cardboard Architecture: House II, Five architects: Eisenman, Graves,
Gwathmey, Hejduk, Meier (New York: Oxford University Press, 1975)
• P. Eisenman, G. Terragni, et al, Giuseppe Terragni: transformations, decompositions, critiques (New York:
Monacelli Press, 2003)
• Rowe & R. Slutzky, Transparency: Literal and Phenomenal, The mathematics of the ideal villa and other
essays (Cambridge, Mass., MIT Press, 1982)
• Raumplan [online]. [cited 14 October 2010] Available from:
<http://www.mullerovavila.cz/english/raum-e.html>
Figure References:
• Figure 1: Alan Colquhoun, Modern Architecture (New York: Oxford University Press, 2002), 141.
• Figure 2: Alan Colquhoun, Modern Architecture (New York: Oxford University Press, 2002), 84.
• Figure 3: P. Eisenman, G. Terragni, et al, Giuseppe Terragni: transformations, decompositions, critiques
(New York: Monacelli Press, 2003), 96.
• Figure 4: S. Cassarà & P. Eisenman, Peter Eisenman: Feints (Milan: Skira, 2006), 84.
Architectural Design, Architectural Theory, Explication, TransparencyInternal Elevations II
An interrogation of the Interior
AD1 Longitudinal Section by Moe Kheir, 2010
AD1 Longitudinal Section by Liz Tjahjana, 2010
AD1 Longitudinal Section by Cat Doo, 2010
A Section is never just what has been cut, but is also what is behind the cut, namely, the Section’s Internal
Elevation.
To interrogate, investigate, elucidate, explain, elaborate, and explicate the implications of the building’s
interior through the sectional internal elevation.
To interrogate is to ask questions, to examine, to cross-examine, if not also to threaten and torture. To
inquire about the interior of the building. What is it like being inside? What can be seen and felt? As noted
in the first article on Internal Elevations, the space behind the section is equally if not more important
than the sectional cut itself. To investigate, consider, and explore the activities, the configuration of
furniture, the material relationships of the various interior surfaces, the areas and modes of lighting; these
very aspects which contribute to the interior experience needs to be elucidated, explained, elaborated
and explicated. The section exposes a building and provides detailed information about what is happening
inside.
A longitudinal section not only highlights the building in relationship to the ground but can also – making
use of the length – elucidate a narrative or journey along the length of the building, taking one through a
series of circulation spaces, programmatic activities, views out (panoramic backdrops can be used as the
background or sky of the drawing), and overall spatial-geometric arrangement. The longitudinal section,
supplemented with the internal elevations, a narrative through the building, a sequence (highlighted in a
series of cross sections), or a story, could be unraveled or be revealed within its workings.
Ambiguity of Spatial Depth vs Light & Dark
What is bright comes to the front, and what is dark goes to the distance.
Hence what is cut, that is, the structure, is normally the brightest as it occupies the most frontal of planes,
and what is receding gets progressively darker into the distance. This way of drawing and perceiving
however may conflict with the brightened and darkened patches of particular walls illuminated by natural
and artificial light sources. To allow for this contradiction in what is light and what is dark, the walls, that is,
what has been cut can be made brighter than the patches of light on the walls, so as to distinguish the
ambiguity of lightness and darkness. The key is contrast and gradation, introduce and articulate shade and
tone while keeping the distinction between front vs back and light vs dark.
Such a drawing of internal elevation hence brings about the dichotomies of Reality vs Projection and
Realism vs Illusionism. A drawing of reality vs a real depiction of a drawn space, that is, a projection. An
illusion of light, dark, and depth of space vs the actual lit conditions of a building.
Such an illusion introduces ambiguities of spatial depth, between foreground, midground and background.
A space in the distance may be brightly lit, and could be deceptively pushed forwards towards the frontal
picture plane. Likewise a darkened space in the foreground may be pushed backwards from the picture
plane creating an ambiguity of spatial depth. These seemingly contradictory moves however can still be
remedied through the control and articulation of brightnesses and darknesses, as mentioned previously
regarding the use of contrast and gradation to keep things distinct.
It is this notion of the frontality of the picture plane which the illusion of spatial depth and its ambiguities
come into play, through the advancing and receding of multiple planar surfaces in relation to the datum.
To further explicate the complications of spatial ambiguity, one can decisively and purposely edit, omit or
merge the ground “mass” and/or the structural cut. This omission causes the blurring or dissolution of the
“structure” and the “mass” of the ground to give the illusion or impression of the space being pushed back
from the page – frontal surface or picture plane. As if the space beyond was three-dimensionally yet
illusory receding from the page itself.
The Site Plan - Establishing the Context
Design 9: Site Plan 1:500 a t A1, drawn by Author, 2008 & Design 10: Site Plan 1:500 at A1, drawn by
Author, 2008
The Aim of the Site Plan
The intention of the Site Plan is to show the building or project with its immediate context. This can be
drawn at 1:500 but can vary according to what to how much immediate context needs to be shown. The
Site Plan attempts to address the following questions and issues:
How does the building relate to the site and context? What are the landscaping and/or urban design
decisions being made? How is the building connected to the wider fabric of the context, its environment,
sun and wind? How have the features of the site and immediate context been addressed, in terms of, axes,
views, main roads, driveways, carparks, trees, lakes and streams, and other landmarks?
The Location Plan
The Location Plan is done at a different scale to the Site Plan and attempts to show the project’s location
with a wider context, in its relationship to a nearby city, or within a country or territory. The Location Plan
can be done at 1:1000, 1:5000, or even 1:15000, depending on the scope and necessity of showing certain
site features, such as roads, bridges, significant buildings or landmarks, or lakes, streams, and/or other
artificial or natural elements.
The Contents of the Site Plan
A typical site plan should include:
• North-Point
• Scale
• Street & Road Names
• Roof Plan of the building/s, ie, the Top View, to be made distinct from the rest of the drawing, eg.
through colour. Should be positioned more or less in the centre of the composition.
• Labels of existing natural and/or artificial site features, such as parks, significant buildings, etc.
• Labels, whether directly on the drawing as referred to by a numbered key, of the various aspects of the
project, eg. carpark, the different wings or complexes, especially in the case of masterplans
• Carparks should be drawn with the parking lines indicated to convey decisions relating to the total
amount of cars to be accommodated and the circulation-traffic of the carpark
• Cars, buses, and other vehicles as scale indicators at 1:500
• Aerial Photograph to convey the surrounding built typology and grain as well as trees, parks and other
natural/artificial features picked up by the aerial photograph
• Topography, ie, Contour Lines, to show the relief of the land, sloping up or down, labeled with indicative
contour heights, every 5m or 10m, etc.
• Landscaping, new roads, access/drive-ways, pedestrian footpaths/paving
The Site-Masterplan
Design 7: Master Plan over Site Plan 1:500 at A1, drawn by Author, 2007
The Masterplan overlaid or juxtaposed/composited with the Site Plan attempts to show the scheme and
its scope in relationship to its immediate context. The key to communicating this clearly is to distinguish
what is existing with what is new, through colour or other graphic device.
The Masterplan figure should attempt to clearly show the various aspects pertaining to the entire scheme,
the circulation, the entries, the carparks, the various built typologies, public spaces, courtyards, green
spaces, and other landscaping features, trees, streams, lakes, gardens, etc. Existing buildings and other
existing features should be included. Labels on/to significant features of the scheme.
Analytical devices can be included such as: circulation, access, pedestrian/vehicular movement, sun and
wind, etc. But should not confuse the reading of the site-masterplan itself.
Redirect to Design 7 – Passive Housing Scheme, http://studioalterity.wordpress.com/2010/10/28/44/
Redirect to Design 9 – Investigations into the Interstitial: Drawings,
http://studioalterity.wordpress.com/2010/11/19/design-9-investigations-into-the-interstitial-drawings/
Redirect to Design 10 – Metaphysics of Light: Drawings,
http://studioalterity.wordpress.com/2010/11/21/design-10-metaphysics-of-light-drawings/
Perforous Dematerialization
Filtering & Equilibrium: Establishing a Continuum between Polarities; The Experience of the Topological
Unbroken Line
The building, a geophysics institute, rises out in a cantilevered bridge-like structure from the site; where
the private wing is submerged, and the public wing is extended out. The space between is a Moebius-like
mode of interlocking geometry, strongly elucidating the principle of the topological continuum or the
unbroken line. This middle zone is also the entry.
Perforous: perforations, filtering and diffusing light through perforous screens, moiré effects, unbroken
brokenness of the view beyond. Seen in the facades, refer to sections, renders and model.
Dematerialization: dissolve matter through or by light, the thick and heavy concrete (with limestone mix)
cladding appears to be dissolved, eaten, or consumed by light itself. The natural light is filtered again
through the timber slits, a double filtering. This dematerialization is reversed at night, emitting pores of
artificial lights.
Equilibrium: the act of balancing, of equalizing, equivalences, finding the middle point or
medius/mediation, the act of making equal, connecting while separating, made explicit through the
buildings formal configuration on site, in the earth and out of the earth, through the interlocking gesture
between private and public sectors, and through the perforous façade linking exterior and interior.
Polarities: equalising the binary opposites or dualities, such as light and heavy, thick and thin, light and
dark, under and over, inside and outside, private and public, etc
Continuum: to continue, to extend, to continue and extend without disruption or break, ie unbrokeness,
unbroken continuity, an unbroken movement and dynamism.
Experience: spatial experience, architecture as giving shape to experience, through form, material and
light/shadow.
Topology: the unbroken line, the loop, seen in the volumetric configuration, balustrades and circulation.
AD1 Exterior Perspective composed with Site Photograph by Liz Tjahjana, 2010
The Layered Glow
Layering, Stacking, Interpenetrations, Overlapping & Superimposition; Layered & Phenomenal
Transparency
Transparency literal and phenomenal, from the macro to the micro, reiteration of the initial layering
precept through successive levels of shifts and slides. The building bends around the contours forming a
double direction – dual axis of superimposing linear block volumes, explicating the fundamental notions of
the double axial configuration seen as an underlying order of stratification and collision in planning while
constituting interpenetrative spaces and allowing for a successive array of various modes of overlapping,
layering and stacking, clearly evident in the conceptual studies carried through to the multiplicity of
investigative overlapping of the transitional states of transparency, translucency and opaque surfaces in
the resolved building.
The spectroscopic institute is situated remotely from the main observatory hill, due to its particular
programmatic requirements. The duality of the axis aided to separate while connect the private and the
public zones, both meeting at the space of union.
Junctions, collisions, and overlaps occur throughout the scheme, seen from both the inside and the
outside. The junctions are expressed through the articulation of threshold moments and the overlapping
aids in the provision of continuum effects, such as a delayed entry.
The disruptions, offsets and shifts suggest a strong sense of dynamism and movement within a clearly
static scheme grounded to site. The project implies dynamism and movement; static movement, dynamic
stability, unmoving movement, seen in the overlapping, disruptions, slides and shifts of the volume,
surfaces and materials constituting a depth of façade.
This dynamism is elucidated in the layered glow, interpenetration of space and surface working with the
interpenetration of light by means of the overlapping of glass panels as well as spaces divided by glazed
portions of walls, where the glow of natural light bleeds and diffuses from one space to the next, creating
a successive superimposed overlapping lighting effect, effectively bringing the exterior, that is daylight,
further into and deeper into the interior, an act of multi-penetration.
The Labyrinth: Giving Form to Formlessness
Indirect Light as Points of Visual Interest to direct a Labyrinthine Journey through Geological Voids
The scheme is designed mainly from the inside out, carving a cavernous geological narrative through the
site lead by indirect glows around the corners of circulation spaces. The project has extensively considered
a multiplicity of indirect lighting mechanisms for both artificial and natural light. This geological physics
institute is situated to the west of Lake Tekapo and has expansive views out, as seen in the café and
courtyard spaces. The long horizontality of the building is made evident by the narrative or journey which
underpins the project, whilst having a sense of being firmly grounded to the immediate context, with a
footpath mediating the transition between the building the ground.
The labyrinth relates directly to the sequence, the journey or the narrative, made explicit in the planning,
the section and most importantly the sectional model. The labyrinth works on the principle of the indirect
light cast onto the leading walls suggesting further progress deeper into the building, these act as points of
visual interest directing one’s gaze and movement.
Articulating the formless, that is, natural light, with carefully considered concealed apertures within the
architectural formal gesture is the main guiding principle. The formless form concept is made explicit in
the blurred boundary between the indirect light and the physical form of the opening.
The multiple shifts in plane and volume in both plan, section, exterior and interior is a clear result of the
careful consideration and articulation of the labyrinthian geological-cavernous journey principle.
The building is entered from the southern higher end, where one descends into darkness, and continues
to find his or her way through a meandering route of successive heavy geological spaces where at the end
of this journey one is thrusted out to the light and airy open courtyard space of the offices sector, which is
at the bottom northern end of the scheme.
The choice of materiality elucidates the narrative though shifts in plane, horizontality, color and tonality.
The introduction of the timber detached panels provides a natural contrast to the excessive use of stone,
while concealing artificial lights useful in expressing the texture and relief of the stone surface behind.
Design 10 Cross Sections with Internal Elevations drawn by Author, 2008.
Design 09 Cross Section with Internal Elevation drawn by Author, 2008.
A Section is never just what has been cut, but also, if not more importantly, what is behind the cut, namely,
the Section’s Internal Elevation.
When a section is cut and made through a building, what is being cut will be here-to-fore known as the
“structure”, ie, it is the structure that has been cut, but this constitutes at times, plenty of information,
and at other times, too little information about the building, especially its Interior.
With only the “Structure” cut-and-shown in a section, one gets a good understanding of the ‘form’ of the
building when cut, but without the internal elevation one will have little idea of what is actually going on
inside the spaces, the ‘activities’ will be completely invisible, unless one also considers and draws, if not
also details, the internal elevations.
A section that only illustrates the cut, could be referred to as being “diagrammatic”, that is the structure,
the floors, walls, roofs, foundations, etc. will only constitute towards a diagram of a building’ section. To
provide a fuller understanding of the building that has been cut, one needs to include the internal
elevations, the ‘stuff’ happening behind the structural cut, in order to lift it from the ‘diagram’ to become
a more experiential holistic section.
Afterall, one does not necessarily experience the building in section, that is, what has been cut, but rather
walks the floor’s surface, sees the surface of the walls and ceiling around him or her. The actual experience
of the building is manifest by the surfaces not just the diagrammatic cut.
It is hence necessary to explicate the multiplicity of the manifolded manifestations of the walls, surfaces,
and other objects behind the cut, constituting the internal elevation. Doors will be shown, if not also their
frame, their materiality through texture, any divisions and glazed portions, and of course the door handle,
any partitioning or change in the internal wall or façade will be included, the bricks or concrete blocks will
be drawn, that is, the internal elevation will illustrate the choice of materials inside the space/building,
and of course furniture and all its details, and people occupying the space/furniture will add to the
richness of a sectional drawing. The section not only provides the tangible material and occupational cues
but since the actual surface is being detailed, lighting, and its opposite, shadows, will start to inhabit the
sectional elevation. Patches of brightness vs patches of darkness will occur on the internal sur-faces and
start to tell one a story or a narrative about how the building responds to the outside environment, the
sun, and its effects, cast into and onto the surfaces of the building. Lighting effects and phenomena can
only be shown by means of the internal elevation, as these effects, if not due to fog or other volumetric
effects, can only occur on the surfaces within the space.
It is such that the Internal Elevation enriches the Sectional Drawing, makes it more complete, provides
additional if not more important information, and contributes to a full experiential understanding of a
section through a building. The internal elevation provides information on the materials employed, the
activities taking place inside, and the lighting phenomena occurring within the space and on the surfaces.
Such aspects need to be considered, articulated, and worked into the section’s diagrammatic or structural
cut to interrogate, investigate, elucidate, explain, elaborate, and explicate the implications of the building’s
interior.