Ideogramy_engx

ide.indd 2 2010-02-17 10:36:51

IDEOGRAMS of ARCHITECTURE

JACEK KRENZ

PELPLIN 2010

Between Sign and Meaning

Review:Dr hab. inż. architekt Lucyna NykaDr hab. sztuki, dr inż. architekt Jacek Dominiczak

Edited by: Katarzyna Bogucka-Krenz

© Copyright Jacek Krenz 2010

Cover design: Michał KrenzIdeograms on the cover: Vera Pereira, Tânia QuezadoLayout: Marcin Lipiński, Iwo Mokwa

Published, printed and bound in Poland byWydawnictwo „Bernardinum” Sp. z o.o.83-130 Pelplin, Biskupa Dominika 11tel. +48 58 536 17 57, fax +48 58 536 17 [email protected]

ISBN 978-83-7380-806-5

All rights reserved.

No part of this book may be reproduced in any form or by any electronic ormechanical means, including information storage and retrieval systems, without written permission from the publisher or author, except in the case of a reviewer, who may quote brief passagesembodied in critical articles or in a review.

The essence of knowledge is not to seeor argue, but to interpret..

Michel Foucault, Les mots et les choses. Une archéologie des sciences humaines (1966)

INTRODUCTION: BETWEEN A SIGN AND MEANING 7

THE TALE AND ARRANGEMENT: SIGN AND SYMBOL IN VISUAL COM-MUNICATIONS 19

SEARCH FOR LANGUAGE 22• Picture language, hieroglyphs 22• Spatial phenomena Imaging 23• Musical notations 24• Choreography: motion notation 25• Poetry in space 26• Advertisement, poster, billboard 28

PICTORIAL ORGANIZING OF WORLD AND IMAGINATION 29

FEXPRESSION OF FORM: THE MEANING OF ARCHITECTURE 33

CREATOR AND RECEIVER: TIME, PLACE, INTERPRETATION 34

DENNOTATION MEANING IN ARCHITECTURE 38

CONNOTATION MEANING 42• Prestige and status 42• Ideals and aspirations 44• Time: past, now and future 45• Metamorphoses, citations and reinterpretations 47• The sacred 49• Nature 51• Local identity 54• Sentiments 56• Art and new artistic expression 57• EEnergy of shapes and the magic of numbers 61• Energy of shapes and the magic of numbers 62

VIVID MEANINGS 64• Originality 67• Metaphor: game of meanings 68• Symbol: participation and perception 70

THE IDEOGRAM AND INTERPRETATION 75

TOOLS: THE SKETCH AND THE IDEOGRAM 76• The conceptual search for the principles of composition 78• Picturing concepts: the principles of composition 80

TRANSFORMATIONS 84

MORPHOLOGY OF AN IDEOGRAM 85

WORKSHOP BASICS / PRESENTATION TECHNIQUES 91• Graphic means 91• Third dimension 93

PERCEPTION: BETWEEN INTENDED AND INTERPRETED MEANING 109

LEARNING FROM THE MASTERS 135

LE CORBUSIER: IDEOGRAPHIC IMAGES 136

STEVEN HOLL: CUTOUTS 141

AIRES MATEUS: HOLLOWS 148

IDEOGRAM IN ARCHITECTURAL DESIGN 157

IDEOGRAPHIC METHOD OF ARCHITECTURAL DESIGN 158

STUDENTS WORKS 163

RESUME 207

ANEX: AUTHOR’S WORK 209

BIBLIOGRAPHY 218

INDEX OF IMAGES 223

SUMMARY. IDEOGRAMS IN ARCHITECTURE 234

INDEX OF NAMES 237

Introduction: Between Sign and Meaning

of creativity which is the beginning of all meanings, can be looked for in the convergence of Arts – great works of Arts in one field draw their power of expression from the references pro-vided by the other ones. A person whom I should thank here is Mr. Ale-xander Wallis, who turned my atten-tion towards aspects of visual identifi-cation as well as the role of signs and all kinds of “inscriptions” appearing in the space of the city.

Drawing and in particular ideogra-phic drawing is a valuable tool that inspires and allows such creative inte-raction. In the book Architecture of the Meanings I pointed out that the essence of architectural forms derives from its semantic layer. Now I would like to concentrate at the stages pre-ceding the emergence of the final form of design, and present methods and tools useful to build the sphere of meaning in architecture.

The aim of this book is to show how the architectural concepts can be expressed and communicated through graphical signs – ideograms.

Architecture needs meanings in order to become a valuable element of culture in the environment of space. In this book I would like to show the way that the ideograph is able to serve as a useful tool of getting to this point.

Creation of the architectural form has always been the main field of my theoretical and practical interests. Subconsciously, through the admi-ration I felt towards the great works of various masters of painting and architecture as well as through my own attempts, I always wanted to get to the true meaning and understan-ding of the process of creation. I had a feeling that such most meaningful processes take place at the crossro-ads of different disciplines of Art. The-ir diffusion and mutual influence legiti-mates the important power of creation that concerns not only an individual piece of art but – in general – builds a lot of tendencies and styles. Many years I spent experimenting and sin-cere searching for the truth of things prove what now I can strongly state by conclusion: the essence of the impulse

JACEK KRENZ, IDEOGRAMS IN ARCHITECTURE18

Keywords:

• ideogram• sign• symbol• meaning• visual communication• architectural form • perception of architecture• design concept• architectural design

Abbreviations:GUT – Faculty of Architecture, Gdansk University of Technology, Poland ASP – Poznan Academy of Fine Art, PolandUBI – Departamento de Engenharia Civil e Arquitectura, Universidade da

Beira Interior, Covilhã, Portugal


Centro Comunitário dos Assentos, Igreja de Santo António, Portalegre, Portugal / João Luís Carrilho da Graça, 2008. Ideogram: JK

IDEOGRAM AND INTERPRETATION 75

Ideogram and interpretation

Tools: the sketch and the ideogram The conceptual search for principles of composition Picturing concepts: the principles of composition TransformationsMorphology of an ideogramWorkshop basics / presentation techniques Graphic means Third dimension

Drawing is to an architect, what writing is to a writer. With time, sket-ching becomes an almost intuitive activity, in the form of loose notes, an impulse which sets thought, sight and gesture in motion. Drawing accom-panies each stage of the design pro-cess. It is not only an essential tool and medium, it also determines form, and helps define it. With the first lines, a gradual morphologisation of the idea takes place. The drawing is therefore a significant, possibly the most significant beginning of the pro-cess, which enables the creation of forms, to be followed by the verifica-tion of their rightness. It is the visu-al imagining of design thought and intention, their first two-dimensional

materialisation. All other representa-tions, whether three-dimensional or the real model, come at a later.

Drawing the architectural con-cept is a complex and multidirectio-nal process. The intention is transla-ted into lines, graphic traces are cal-led to life to crystallise and give it a certain shape. What’s more, drawing which is treated as a way of explo-ring, trying out variants and searching for form, enhances the way we see with a cognitive reflection, thanks to which we may comprehensively eva-luate the subsequent stages of deve-lopment of a given concept. Each ver-sion brings hidden dimensions, ide-as and things to the surface. Thanks to a sequence of associations and


comparisons evoked by the drawing, we may either develop the primary idea, or modify it thanks to feedback.

„Thinking with a pencil” is espe-cially significant when opera-ting with complex dependencies, which are studied during the dyna-mic design process. A drawing com-ments and registers specific stages in the course of designing, and then presents a final solution to the pro-blem. It is also often successful in helping with the search for solu-tions. Particularly helpful here, are synthetic forms of drawing, such as the sketch and the ideogram. The ideogram helps find direction, builds the design intention based on the quintessence of form and meaning. The ideogram in sketch form comprises of an exceptional

Architect’s con-ceptual work (travesty of Oscar Niemey-er drawing made by the author)

The drawing is therefore not only a tool and graphic means, but also plays the role of a catalyst in the pro-cess of creating an architectural form. It helps the designer develop a con-cept, which evolves gradually, aided throughout the process by sketches. At times though, architects aim to remain as faithful as possible to the properties encompassed in a sketch, in order to leave a personal „hand-print” on their work.

Tools: the sketch and the ideogram

potential thanks to its openness, which results from an unfinished, unspecified form: it stimulates the imagination and makes a variety of interpretations possible. Sketches, especially in the initial stage, are an invaluable aid, making possible the quick verification of the correct-ness of a given solution, its relation with surroundings, and its function and structure. A sketched form of plans and cross-sections allows for the integration of a building’s com-plex structure, and for the working out of a concept. Sketches and ide-ograms are also used to present a client with initial concepts, because they explain them well and support


argumentation. Szkic od ideogramu różni się tym,

czThe sketch is different from the ide-ogram in the same way a sign differs from a symbol. The sketch and sign represent the shape of an object, while the symbol and ideogram, fun-damental qualities aside, attempt to additionally encompass a layer of meaning, to convey content. An ide-ographical drawing combines the activity of both brain hemispheres: the left ,which conducts verbal ana-lysis; the right, which bases on thin-king in images.

The ideogram is a synthetic graphic sign, which simultaneously expresses shape and idea in the most basic way. It plays a significant role in the defi-nition, the conceptual-visual crystal-lisation, and the communication of meanings contained in an architec-tural work. As a graphic sign, it is, in itself, a symbol, a mental shortcut in the place of a complicated whole. It is the quintessence, the core, and at the same time, an indicator for artistic expression. It is a generalised sign, but not a vague one, as it is simplified in such a way as to express, in the form of a keynote, the essence of the work.

The classic definition of an ide-ogram speaks of a graphic (two-di-mensional) record; however, the use of the ideographical method in creating architectural forms often

necessitates the expansion of the workshop with other techniques, especial three-dimensional ones. Therefore an expanded definition seems more apt here: the ideogram is a visual representation of concepts, ideas or conceptions. However, on the design level, we can say the ide-ogram is a lapidary, conceptual guide in the process of creating architectu-ral spaces, which allows one to not lose the central theme. At the same time it is a simple and effective means of communication between partici-pants of the design process, which is why it programs future ways of per-ception to a great degree.

As we will see further, ideograms can speak of the form they represent in a variety of ways. This depends on many factors which will be discus-sed; however, in general we may sta-te that they indicate a degree of meta-phorisation and a way of distributing accents of meaning. They can act as a symbolic representation of the architectural concept of a building, district or city, and even clarify aesthe-tic doctrines, such as Le Corbusier’s „Four Principles of Composition”, or Christopher Alexander’s „Fifteen Pro-perties of Good Design”.

In many languages, „drawing” and „designing” are closely related to the word „designatum”: design, diseñar, desenho (de – comes from; signum

1 Edwards B.: Drawing on the Right Side of the Brain. London: Harper Collins 2001.


– sign); this points to the close rela-tion between a drawing and a con-ceptual sign, which refers to its coun-terpart in reality.

The conceptual search for principles of composition

Introducing order requires the evaluative identification and orga-nisation of general concepts. Such a need stems from the longing for order, the desire to create a world in which this order, undisturbed by cha-os and chance, would give a sense of certainty and security, continuity and sustainability.

The set of concepts listed below, organised in antonymic pairs for cla-rity, where the first verse comprises of positive concepts and the second of negative ones, is a system of classi-fiers which are to be helpful in deter-mining the quality and significance of the meanings we intend to write into an architectural form. All terms com-bine information with an evaluation. Such classifiers serve the designer and the recipient equally, as first they convert the intentions of the architect into words, and next they help the recipient decode these meanings as well as personal feelings and moods. It is on these grounds that both par-ties, the author of the design and its

user, may fully evaluate the communi-cative value of the architectural state-ment, and even develop it further or add to it, e.g. by changing or adding colours, textures and forms at the fini-shing stage, or elements of the inte-rior design during the furnishing sta-ge of a given space.

Every designer, as they gain expe-rience, works out their own individual network of such meanings and classi-fiers. They are crucial in the creation of one’s own style of design and ima-ge as an architect.

At this point, it is worth turning your attention to the significant role of opposing meanings on the right side, which are valuable because they can serve as indicators of measu-re and proportions for the chosen means of expression. They are the ones that indicate whether the boun-daries of professional ethics (plagia-rism), or simply good taste, have been transgressed.

The list of classifiers below is only a beginning and a proposition:

2 The role of antonymy in teaching architecture is discussed by Krzysztof Bizio in Antynomiczny character nauczania architektury. Ed. Jadwiga C. Żarnowiecka, Aleksander Owerczuk. Nauka, architektura, edukacja. Białystok. Wydział Architektury Politechniki Białostockiej 2006.


+ originality quotation - extravagance imitation

+ pragmatism fancifulness- obviousness whim

+ cosiness openness- stuffiness strangeness

+ balance, harmony dynamic- boredom upset proportions

+ poetry, ambiguity prose, concreteness- mawkishness literality

+ majesty, grandeur ordinariness- pomposity, pathos not standing out

+ clarity, lightness massiveness- tackiness heaviness, squatness

+ simplicity complexity- crudeness complication

+ emotionality conciseness- sentimentalism dryness

+ classicism innovation- conservatism ignorance

+ rationalism idealism- lack of imagination irrationalism

+ fashion timelessness- superficiality orthodoxy

+ clarity mysteriousness - obviousness confusion


Rain in architecture. An antonymic ideogram which shows, in a metaphorical way, an at-titude towards rain. On the one hand archi-tectural operations aim to protect from the rain, on the other, rainfall is a necessary sour-ce of water and it brings freshness and joy.3

3 Krenz J.: Rain in Architecture and Urban Design. [in:] Water in Urban Strategies. Bauhaus-Universität Weimar, Germany 2007.

+ open nature privacy - lack of privacy closed nature

+ order creative chaos, loose- pedantry disorder

+ durability transience- inflexibility temporariness

+ flexibility adapting to conditions- lack of adaptation resistance to change

+ egalitarianism hierarchism - mass/populism inequality

+ variety homogeneity- disorder monotony

+ consistence spontaneity- predictability lack of consistence

+ finesse simplicity - lack of clarity brutalism


superficiality | penetration

big | small, entity | fragment

rigid, solid, crude | soft, light, deli-cate

Picturing concepts: the principles of composition

In the process of the visual repro-duction of an idea, we reach for notions, signs and symbols. Foucault presents four figures which we will use here. They are:

Conveniencia – appropriateness, order based on the association of and matching of things of similar proper-ties within a system.

Aemulatio – emulation, similarity.Analogia – a more subtle repro-

duction of the relation, opening to interpretation.

Sympatia – the farthest proximity leading to a common identity.

The above principles, together with the aesthetic categories listed in the preceding chapter, give indi-cations for the conceptual search for the principles of composition. The last one lives by its own laws, inclu-ding the correct use of, among others: scale, size, proportions and relations between elements. These principles are essential to the architect’s work-shop, enabling the composition of forms in space and expression of esta-blished meanings

4 Foucault M.: op.cit., s.29. 5 A broad discussion of aesthetic categories can be found in the pioneering work by Juliusz Żórawski, O budowie

formy architecktonicznej. Warszawa 1973

square | circle

concavity | convexity


Margarida Silva, 2009 UBI

clarity, legibility, simplicity | com-plexity, illusions, mysterytransparency | opacity openness | enclosureunity | fragmentationorder | disorderdynamic | static geometrisation | freedomconnecting, combining | separating, symmetry | asymmetryrhythm | disturbed ordermacro | microgeneral | detailcontinuity | dispersingbrightness | darknessfullness | emptinesscontrast, emphasis | embedding, blendingregularity | deformationdepth | superficiality

openness | enclosureAlexandre Costa, 2009 UBI

openness | enclosureClaudia Fonseca, 2009 UBI

dynamic | staticPedro Martins, 2009 UBI

unity | fragmentation

Even a cursory reading of the abo-ve categories heightens awareness of how important a role bipolarity plays in the principles of composition. It is one of the basic figures of human creativity and a significant proper-ty of our perception. Contrast gives notions clarity, helps in their ordering and classification. By emphasising the differences between notions, bipola-rity makes it easier to capture and define meanings. It reveals indiscer-nible properties of the idea and the object, enhancing them with a bro-ader perspective.


1. Okurayama Apartments. Yokohama, Japan / Kazuyo Sejima, 2008; 2. Serpentine Gallery Pavilion, Londyn, Great Britain / Kazuyo Sejima, Ryue Nishizawa, 2009. Drawings: JK

Principle of composition: meander. Indicates focal elements, organises them in a superior order in the form of a setup of smoothly connected internal and external spaces. Thanks to the freely flowing volume, walls and surfaces, the entire layout acquires an aesthetic homogeneity, while the irregular meandering allows each segment to be individualised to some degree, facilitating identification. A similar meander pattern, but more freely Kazuyo Sejima complied with Ryue Nishi-zawa in a plan of Serpentine Gallery Summer Pavilion in Kensington Gardens in Lon-don. According to authors the aluminum roof flows freely between trees as smoke.

21


9 This is an abbreviated discussion of a complex problem. Frutigier discusses indepthly the elements of the geometry of ideograms and the relationships between elements in Man and His Signs. Carl G. Liungman presents an extensive catalogue of 2300 ideograms in Thought signs: the semiotics of symbols: western non-pictorial ideograms. The book is a very thorough source of ideograms of the western world, from Cro-Magnon engravings to contemporary graffiti. Large fragments are also available on the Internet: http://books.google.com/books?id=8s1Gl2X-DlgC

Graphic means

The ideogram can take on vario-us forms, depending on the adopted drawing convention and technique. The basic „graphemes” needed to bu-ild an ideogram are: points, lines and surfaces, in their dynamic sequence. A line is the most elementary means of a graphic record. It determines di-rection, describes a plane, based on various configurations and principles of ordering (classification, rhythm, di-stances, etc.). A moving point creates a line. A shifting line creates a plane (the concentration of strokes gives a shaded surface). This dynamic relates to the basic stereotypes of perception which are based on the establishing of focal points (places), directions (ro-ads) and surfaces (spaces). These ste-reotypes were created as the result of the multiple association of particular symbols with a particular category of phenomena. They exist in the indivi-dual as well as the collective conscio-usness or subconscious of all societies connected by a community. They are abbreviated, simplified, slightly eva-luative, often symbolic images of the elements of environment.9

Workshop Basics / Idea Presentation Techniques

Different tools and graphic techni-ques allow for the ideogram to acqu-ire different forms of expression. Tools affect the thickness of the stroke as well as its properties (evenness, smo-othness, roughness), while the method of drawing (spontaneous and vigoro-us or ordered strokes) will be the foun-dation for determining the style and mood of the drawing. By using a thick pencil, we obtain a distinct stroke, whi-le a pen, marker or rapidograph give ordinary strokes of a rather homoge-nous thickness. Similarly, vigorous stro-kes can give a more bold effect than

Kraków 09 line aqua 1x – vision of the future. / Andrzej Wiel-gosz, 2004


Guggenheim Museum, No-wy Jork / Frank Lloyd Wright, 1959. Ideogram: Elisiario Miguel, Igor Costa, Gon-çalo Ramos, UBI 2009

Palao de las Artes, Walencja, Spain/ Santiago Calatrava, 1998. Ideogram: Ana Torres, Carlos Ferreira, UBI 2009

when drawing in a dry and construc-tional way. However, it should be noted that the recipient is also significant, and we should also keep them in mind when choosing the right technique and method of presentation.

To attain a suitable degree of simpli-fication, it is important to take note of means of expression, such as: conto-ur, negative, mirror-image. We can also turn to effects obtained by using trans-formations: reducing a shape by extrac-ting its main property, multiplication,

The Ideographic Interpretation of dance: JK 2008. The type of tool used affects the type of line and, in effect, the cla-rity of the ideo-gram: a/ pencil, b/ fountain pen, c/ crayon, d/ stick, e/ paintbrush, f/ palette knife

d

a b c

fe


Ways to transla-te the ideograms in the process of creation and the perception of ar-chitecture

If we apply the formula to the faci-lities presented earlier, we may say that in the case of the Hotel Burj Al Arab in Dubai, the translation of the idea/notion into an ideogram, fol-lowed by the that of the ideogram into an architectural form, occurred directly (A). However, the idea of the Jewish Museum in Berlin was transla-ted into an ideogram metaphorically

(C), while the ideogram served direc-tly (A) as an outline for the buildin-g’s form. In the design of the Okuray-ama Apartments in Yokohama, the translation of both idea/notion into ideogram and ideogram into archi-tectural form are systemic, treating the meander as a schema.

The formula should be treated as a tool which opens roads along which the creation and perception of architecture may travel.

The formula shows the levels of applying the ideographic method. The upper section refers to three (A, B, C) ways of using ideograms in the cre-ation of an architectural form, the lower – in its perception.


Auditorium Parco della Musica, Rome, Italy / Renzo Piano, 1994-2002. a/ Sketch Renzo Piano, b/ Ideogram: Karolina Lepa, GUT, c/ view of the building complex

Renzo Piano’s sketch (a) represents a very simplified version of an extensive, multi-functional building complex, with three large concert halls of organic forms, resem-bling the sound boxes of instruments. The drawing reflects a direct likeness of the volumes and their location with respect to each other, the space around them – the loose, sketchy black lines and signs resemble musical notation.The synthetic ideogram (c) was created based on a recipient’s interpretation of the intention. The following has been outlined: spatial situation, the buildings’ silhouet-tes, their location. We see the line of the roofs of subsequent halls, situated around a central square. The lowest line indicates the location of the park, a harmonious counterpoint for the buildings which rise above it. The shapes resemble the waves of resounding sounds, as when playing music. The arrangement of the lines of the ideogram gives off the „musical” character of the place.

b

c

a


The ideogram is a simple and effi-cient means of communication betwe-en all participants of the design process. Its openness decides upon usefulness at the stage of initial decisions; at a time when only a main idea is suggested, it encourages further creative searching, proposes variants and directions for the design’s evolution. Later, thanks to its shortcut-like quality, it is also a useful and efficient tool of communication

Perception: between intended and interpreted meaning

while presenting design concepts to an investor. At the marketing stage, it is eagerly used in promotional material as the investment’s logo. Throughout the exploitation of the facility, it is a help-ful figure in the structural and seman-tic deconstruction of the architectu-ral form, and it generates and descri-bes the relationship between the spa-ce and its user.

Ideograms representing simplified images of the following buildings: Palace of Culture and Science in Warsaw (Poland), Casa da Musica in Porto (Spain), Auditorium in Leon (Spain).


Ideograms metaphorically shows how the architectural form in mimetic way inter-prets a rocky desert landscape: the solid massiveness and colors refer to the rocks, and cutting holes in the walls reflect the natural terrain. Raw sculptural forms em-phasize the spectacular scenery of the surroundings.

Monument House, Joshua Tree National Park, California, USA / Josh Schweitzer, 1987-90. Ideogramy: Piotr Szulc, GUT


In the method presented below, the design process always begins with the identification of the recipient (inve-stor profile) and the main theme, i.e. the semantic layer of the architectu-ral form.

The theme is arbitrary, however it is suggested that it be a motif inspi-red by culture (literature, film, music, etc.), in a word, one which will saturate the form semantically, and draw atten-tion to architecture’s connection with a wide range of civilisational manife-stations as well as its place in our lives and spatial environment. Students choose the person for whom they will design their “theme house”. They can be favourite or well-known artists

Designing Using the Ideographic Method

(writers, architects), actors, explorers as well as friends or family members. It is important to be able to designate the appropriate space for them, thro-ugh the traits of their personality.

When creating the ideogram, one should start by capturing the most important traits of the recipient and of the “theme house” – the object of the design assignment. This will result in the creation of two lists of primary traits, which will allow to defi-ne the design idiomatically. In analy-zing the assignment, we attempt to express its characteristic traits thro-ugh keywords. Next, these words are represented through graphic forms

2 Basista A.: Kompozycja dzieła architektury. Composition of a work of architecture. Kraków: Universitas 2006,p.6.

IDEOGRAM IN ARCHITECTURAL DESIGN EDUCATION 163

Studios where I was teaching the described ideographic method of architec-tural design:: – Faculty of Architecture, Gdansk University of Technology, Poland

(GUT) – Poznan Academy of Fine Art, Poland (ASP)– Departamento de Engenharia Civil e Arquitectura, Universidade da Beira Inte-

rior, Covilhã, Portugal (UBI)

The first four projects represent the houses for personality chosen by the stu-dent. [Ideograph: House for ... ]

Next there are projects of the townhouse / terraced housing on the allocated areas of the city - each designed by a student on a particular plot. Models of indi-vidual houses were put together to form the model of the city on a scale of 1:100. [Ideograph: House on ...]

The last group of projects concerns not so much architectural shapes as buil-ding facades, which were created based on the ideogram of the process. [Ide-ograph: The process of developing the form of the facade ...]

Following pages present the works of students in the layout: the subject / author, description, design, ideographic study.

Student’s works


Students by the model of the city in the Jacek Krenz design studio

IDEOGRAM IN ARCHITECTURAL DESIGN EDUCATION 205

ANEX: AUTHOR’S WORKS 209

The impulse to write this book was the desire to share the experience of the methods I used to teach architectu-ral composition. On this occasion I had the opportunity to look at the issues di-scussed through the prism of my own creative workshop and to verify after all these years, my earlier views and in-sights on the role of the ideogram as a design tool. Ideogram was always the-re: on the one hand, it was a base of the composition layout, on the other symbolically added semantic value of the proposed facilities. It was also in-valuable assistance in communicating with investors.

In discussing the theoretical issues I used examples of recognized works of world architecture, but also less-known projects, for various reasons, significant for the subject, and student works, carried out under my direction.

Anex: Author’s Works

The choice of examples resulted from the belief that in even the smallest task design meaning underlies the concept of architectural form. This fact, during the creative process, applies to any pro-ject, regardless of the degree of awa-reness and commitment to reflective thinking architect.

I hope that the role of ideogram in this process was sufficiently highli-ghted and illustrated, and despite the obvious risk of argument, I would like to make a presentation of my selec-ted works and projects. They will serve as an example in the analysis verifying theoretical paradigm applied to every-day practice. They will allow checking whether and to what extent, taking each task, the author as an architect used the language of meanings and symbols proposed by him as a teacher and theorist.


Inspirations: paintings of Piet Mondrian. Ideogram: composition based of neoplasticism with deformation caused by the necessity to protect an existing tree.

Festus Arthotel in Sopot, PolandJacek Krenz, 2005



Inspirations: archetype of country house with modern tones. Ideogram presents the lamination of traditional plan.

House by the Mazury Lake, Poland Jacek Krenz, 2007

a


c

a/ ideogram, b/ plans of ground floor and attic,c/ model

b


Inspirations: basilica temple, tradition of necropolis. The monument commemorates the necropolis which no longer exists in the. It is dedicated to the citizens of Gdańsk who were once buried in one of the city-’s 27 graveyards either destroyed during WWII or bulldozed on purpose after the end of the war. The monument was designed to resemble a temple. The main memorial is sur-rounded by broken gravestones representing all faiths, and includes a poem by the Jewish poetess Masha Kaleko (1912-1975), whose poetry was burned on the direct orders of Hitler in May 1933.Stone and light, the symbolic meaningThe layout of the Cemetery of the Lost Cemeteries echoes a temple interior. The colonnade of trees creates an atmosphere reminiscent of the main nave and side aisles. The stone columns are in the shape of trunks, symbolizing withered tre-es long since dead, but thanks to the light which pervades from within are bro-ught back to life. The granite slab placed on a foundation of broken fragments of gravestones forms both a sacrificial altar and a symbolic tomb. The inscrip-tion which is engraved around the granite comes from a poem by Masha Kale-ko whose volumes of poetry were among the books burnt on the pyre in May 1933 on Hitler’s orders. Thus, from the ashes these poetic words will now spe-ak again chiselled in stone to last. The lights set within the granite altar project upwards leading our thoughts to transcendence and thus binding the many bu-rial places of various faiths into one metaphysical unity. These columns of light represent the firm faith of the people and seen within the light wisps of smoke from the votive candles remind us at the same time of the fragility of human life. Behind the altar there is a hedge cut into the shape of a semicircular apse which provides a final screen to this natural sanctuary. In the middle of the hedge the-re is an opening behind which we can see a wall of whitened stone - a symbo-lic passage for the dead who proceed towards eternity.The Living MemoryThe Cemetery of the Lost Cemeteries is meant to be a place of our common prayer commemorating all those generations who have lived and died in Gdańsk

The Monument Cemetery of the Lost Cemeteries in Gdańsk, Poland Hanna Klementowska, Jacek Krenz. 2002, Cooperation: Michał Krenz, Andrzej Wójcicki, Sculptors: Zygfryd Korpalski, Witold Głuchowski


Site plany

Site plan sketch showing relation with the other monuments in Gdansk: Millenium Cross and Shipyard Workers Monument 1970

before us and whose place of burial no longer exists. It is a peaceful place for si-lent reflection, unifying all people regardless of their social status, race, nationa-lity or religious adherence. Here the citizens of our town may ponder in peace the fate of their forefathers. Here they also may place the few remaining frag-ments which have been retrieved from the cemeteries which no longer exist.Thanks to the memories of individuals who will visit this place we will be able to recreate in our hearts a symbolic map of the common past of our town which - thanks to its close proximity to the sea and rich trading links - has always been the home to people of many different faith and nations.


Inspirations: traditional wooden country churches. Ideogram, based on the shape of cross express the symbol of faith and Christiani-ty and as well as the structure of a building (plan and section).

St Mary Church in Waglikowice, Poland Jacek Krenz, Piotr Loch, 1989



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Publications of the Author:

85. Krenz J.: Arte and Arche. On Art and Architecture. [w] A+U Magazine, Universidade da Beira Interior, Covilha, Portugalia 2009.

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88. Krenz J.: Tożsamość miasta - między chaosem a złożonością. W: Romana Cielątkow-ska [redaktor]: Tożsamość miasta odbudowanego. Autentyzm, integralność, konty-nuacja. Polski Komitet Narodowy Międzynarodowej Rady Ochrony Zabytków ICO-MOS. Gdańsk 2001.

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93. Kalendarz 2000. Dom na przełom wieku, dom na każdy miesiąc. Praca zbiorowa pod red. M. Radziwiłowicz i J. Krenza, Wydział Architektury Politechniki Gdańskiej 1999.

94. Krenz J., Kaufman M., Pęczek G.: Cyfrowa Architektura_cyfrowa edukacja. TRANS-FORM. (R)ewolucja form we współczesnej architekturze. [w:] Architektura Murator, 2005 nr 10 = 133.


Internet

95. Liungmann Carl G.: Thought signs: the semiotics of symbols: western non-pictori-al ideograms. IOS Press, 1995. Obszerne fragmenty: http://books.google.com/books?id=8s1Gl2X-DlgC

96. Online Encyklopedia of Western Signs and Ideograms. www.Symbols.com

97. The History of Visual Communication. http://www.citrinitas.com/history_of_viscom


The aim of this debate is to show ways in which architectural concepts can be expressed and communicated through graphic symbols, ideograms. Knowledge in this field is exceptional-ly helpful in the process of designing architecture, and also has significant impact on the user’s perception of architectural forms.An ideogram is a synthetic graphic notation which combines the con-cepts of shape and idea in a very basic way. It plays an important role in delineating and conveying meanings contained in an architectural work. An ideogram is, in itself, a symbol, a men-tal shortcut, the substitute of a com-plicated whole, which expresses the keynote of a work. This is especially significant when operating with com-plex relations between particular ele-ments in the layers of an architectural facility, which need to be worked out during the design process.The study of such an issue is helpful in one’s approach to the creative pro-cess, and it furnishes the architect’s workshop with an efficient tool. The situation is comparable for the user of an architectural space. Analysing

Summary. Ideograms in Architecture

ideograms in an existing building can successfully deepen or direct our per-ception. The semantic decoding of architectural forms fulfils many roles: facilitates the reading and interpreta-tion of contained meanings, facilita-tes our movement within a space, and enables us to make use of its inherent functions more comprehensively. It is a significant and efficient instru-ment in the communication process between creator-architect and reci-pient. Thus it seems all the more cru-cial that such an instrument be imple-mented consciously, so that it leads us to the essence of an architectural work and helps formulate the main idea in a clear fashion.The contemporary human being is facing entirely new challenges and experiences. They must cope in an expanded existential space on a daily basis, without prior upbringing or education as preparation. Establi-shing new channels of communica-tion at the level of shortcut symbols is the key to creating a kind of alpha-bet of new space, composed of signs that did not exist in the dictionary of the old world. It is crucial that the


environment be designed in a way which is clear and legible for the user.The mental reception of a symbol helps in finding the form which exists in a catalogue of forms and meanings stored in our subconscious. An ide-ogram not only initially prepares us for the most appropriate reception and reading of the architectural form, but also tells us about our future behavio-ur during its use. By giving us a tool in the form of compressed informa-tion, it becomes a mediator facilita-ting, on the one hand, the conveyan-ce of the architect’s message, on the other our own individual reading of this message. The ideogram becomes an interpretational road sign equally for the communicator (architect) and the recipient (user).Ideograms add an extra perspecti-ve to verbal information. Visual infor-mation contained in ideograms may combine two, usually distinct, orien-tations: scientific and artistic.The last years have witnessed so many changes in every stage of the architectural design process that this issue requires new research and new definitions. I am developing them here, in order to apply ideograms in the research of spatial relations between certain elements, and the layers of an architectural work at dif-ferent phases of the design process. As none of these questions can func-tion without being situated in the history of the idea and philosophy of the symbol, the Reader will find

numerous references leading to clu-es on the road to the contemporary concept of architectural form.Deliberations in this work focus on the theory and practice of interpre-ting and constructing semantic layers in architecture from a hermeneutic perspective. Research is based pre-dominantly on semiological and phe-nomenological theories of aesthetics. The iconographic material for indivi-dual analyses consists of contempo-rary architectural works, in which the semantic layer of the spatial form is clearly legible. The scope of research was limited almost entirely to archi-tectural forms from around the world, built within the last two decades.Based on these analyses, I attempted to specify the phases of conceptual work with the ideogram, where this activity also encompasses certain lay-ers of the facilities: structural, functio-nal, constructional, and also seman-tic: social, cultural, aesthetic and phi-losophical. The main thesis, which is that architecture requires meaning in order to become a worthy cultu-ral element of its spatial environment, therefore the ideogram is a useful tool in reaching this goal, could not be developed fully without indicating the spatial context.Deliberations open with a discus-sion of the role of signs and symbols in visual communication in general. It is only based on this knowledge that one may distinguish meanings conveyed by architecture. Reflections


on ways of interpreting architectural forms, with the help of ideograms, presented in further sections, may act as a point of departure for the formation of an alphabet of signs in contemporary architecture. This will show how the language of shapes in architectural form can be translated into a synthetic discourse of signs, and how complex relations can be transposed into simplified operatio-nal algorithms. Presented are studies of the architectural form of particu-lar architects, belonging to three dif-ferent generations: that of Le Cor-busier, Seven Holl and the Aires Mateus brothers, Manuel and Fran-cisco. Next, a discussion of issues concerning the perception of archi-tectural form and the role of the ide-ogram in teaching design are illustra-ted by the works of students. Projects in which students used the ideogra-phic method of searching for archi-tectural form show the usefulness of this tool in creating forms which are

original and saturated with meaning.The semantic layer enhances the architectural work with content which connects it to a broad cultural trend, thus making it a significant element in our surroundings. An ideogram can serve as an intellectual aid at every stage of the design process. It is a use-ful tool in defining abstract notions and concepts, which can effectively be transmitted to spatial forms. Fur-thermore, it is exceptionally helpful in shaping social reception of archi-tecture. In an age of dramatic tech-nological developments which have expanded the concept of architectu-re and the realm of its realisation in ways not witnessed until now, a more in-depth understanding of the trans-formations at hand is becoming a necessary condition for the archi-tect who wishes to consciously parti-cipate in the modifications taking pla-ce in architectural theory. This in turn may help in making more accurate decisions in composition.


Aires Mateus Francisco, 11, 135, 136, 148-155, 232, 236Aires Mateus Manuel, 11, 135, 136, 148-155, 232, 236Alexander Christopher, 159Alsop Will, 48Ando Tadao, 104, 105, 117Apollinaire Guillaume, 27Bach J.S., 24Badowski Zbigniew, 128Balanchine George, 59 Barozzi Veiga, 112Bartók Béla, 147Béjart Maurice, 59Bellucci Monika, 170Białostocki Jan, 139Bizio Krzysztof, 78Borucka Justyna, 59, 143Breton André, 27Brossa Joan, 26, 27Budzyński Marek, 128Bulanda & Mucha, 134Calatrava Santiago, 52, 92, 124Calvino Italo, 27, 37Capriotti Juan, 92Carrilho da Graça João Luís, 50, 66Cino Zucchi Architects, 58Cruz Regino, 53Cunningham Merce, 59David Paulo, 53Day Charles, 57Dominiczak Jacek, 39, 107Duchamp Marcel, 27Eco Umberto, 14, 37, 39Edwards Betty, 77Escher Maurits Cornelis, 37

Eshkol-Wachman, 25Eusébio, 168Evora Cesaria, 164Ewy Jacek, 129Feuillet Raoul-Auger, 25Fikus Marian, 10, 35Flynn John, 26Foster Norman, 40, 41, 101Foucault Michel, 4, 13, 80Frutiger Adrian, 9, 91Gajewski Piotr, 10Gerencser Judit V., 132Ghery Frank Owen, 115, 120Głuchowski Witold, 214Gombrowicz Witold,, 59Graham Martha, 59 Guimard Hector, 23Gyurkowicz Jacek, 218Hans-Christoph Steiner, 25Herzog i de Meuron, 43Ho Kwok Man, 61Hokusai Katsushika, 129Holl Steven, 135, 136, 141-147, 232, 236Hopkins Michael, 44Huxley Aldous, 200Ibos Jean Marc, 63Ingarden Krzysztof, 129Isozaki Arata, 53, 54, 113, 129Ito Toyo, 56, 100Jaśkiewicz Juliusz, 69JEMS Architekci, 131Jencks Charles, 87Jolie Angelina, 164Karabeg Dino, 9, 30, Kiera Agnieshka, 107Klementowska Hanna, 115, 214Knezevic Igor, 104Kobro Katarzyna, 179Korpalski Zygfryd, 214

Index of Names

INDEX OF NAMES 237

Kozielecki Józef, 84, 85Kozłowski Dariusz, 92Kozłowski Krzysztof, 133Krenz Jacek 59, 72, 80, 85, 96, 103, 203, 204, 208-217Krenz Michał, 96Królicki Zbigniew, 62Królikowski Jeremi, 39Kuryłowicz Stefan, 130Langham George, 61Le Corbusier, 11, 43, 77, 135-140, 232, 236Le Lionnais François, 27Lenartowicz Krzysztof, 10, 39, 73, Libeskind Daniel, 43,46, 90, 93Lipka Krzysztof, 59Littman Max, 50Liungman Carl G., 91Loch Piotr, 216Maki Fumihiko, 103Makovec Imre, 38, 132Mastenbroek Bjarne, 58, 122Mathews Harry, 27Mecanoo Architecten, 57, 119Meier Richard, 127Ming Pe Ieoh, 48Misiągiewicz Maria, 10Mitterand François, 43Moczorat Marek, 106Mondrian Piet, 210Monroe Marilyn, 180Moreira Pinto Luisa Miguel, 96Nishizawa Ryue, 89Norberg-Schulz Christian, 39Nouvel Jean, 125Nyka Lucyna, 53Overhagen Jan van, 114Paiva Francisco, 30Perec Georges, 27

Perry Dean Rogers, 144Pessoa Fernando, 178Pęczek Grzegorz, 103Piano Renzo, 55, 99Pombal Marquês de, 46Queneau Raymond, 27Radziwiłowicz Marta, 106Rietveld Gerrit, 58Romeo Gracjana, 92Rowe Colin, 137Schmidt, Hammer & Lassen, 118Schönberg Arnold, 90Schultes Axel, 40, 41Schweitzer Josh, 111Sejima Kazuyo, 89Sexton George, 40Skidmore Owings & Merril, 53Slutzky Robert, 137Sławińska Joanna, 45Sottsass Ettore, 102Spreckelsen Otto von, 126Staab Volker, 116Sutton Valerie, 25Swarabowicz Ryszard, 85, 210Tönnies Ferdynand, 55Troost Paul Ludwig, 51Trzaska Mikołaj, 24Tschumi Bernard, 123Tulli Magdalena, 34Tzara Tristan, 27 Venturi Robert, 87Vitart Myrto, 63Vulic Ivan, 51Wallis Aleksander, 7Wielgosz Andrzej, 91Wójcicki Andrzej, 214Wren Christopher, 48Wright Frank Lloyd, 52, 92Wright Tom, 88


Zabuska Kalina, 214Zawadzka Monika, 107Zorn Friedrich Albert, 25Żórawski Juliusz, 81

students

Almeida Fabiana, 94Almeida Ricardo, 172Avila Luis, 95Białek Tomasz, 88Brenda Anna, 132Burian Agata, 127Campos Marlene, 180Carvalho Joana, 97, 178Coreia Mauro, 174Costa Alexandre, 81Costa Igor, 92Cudna Bogna, 129Czapiewska Agnieszka, 128Dąbrowski Adam, 119Denert Paweł, 116Duarte Helder, 192Dybek Dominik, 134Fernandes Ricardo, 188Ferreira Carlos, 92Figueiredo Rui, 194Fonseca Claudia, 82Gonçalves Rui, 196Guerra Jose, 96Hermenegildo Tania, 200Jakubowska Anna, 121Kiewlicz Magdalena, 125Koperska Marta, 122Kowalski Kacper, 202Łapińska Mirosława, 130Lepa Karolina, 99Lopes Emanuel, 170

Maciej Kaufman, 203Maćkiewicz Maciej, 146Malecki Tymoteusz, 126Marques Filipe, 176Marques Raquel, 184Martins Pedro, 82Marzec Ireneusz, 90Matias Nino, 93Medeiros Rui, 93Mielczyński Tomasz, 131Miguel Elisiario, 92Neto Filipe, 94, 95Peixoto Fabio, 94, 95Pereira Vera, 166Perlik Marta, 164Piątkowska Ksenia Katarzyna, 124Przewoźniak Magda, 203Quezado Tânia, 198Ramos Goncalo, 92Rodrigues Ana, 200Rodrigues Andreia, 190Rompczyk Anna, 144Ruas Pedro, 198Samagalski Radosław, 113Silva Daniel, 186Silva Margarita, 82Silva Tiago, 182Śliwa Aleksandra, 115Soares Ivo, 95Sobańska-Jóźwiak Katarzyna, 129Szulc Piotr, 111Torres Ana, 92Vicente Sérgio, 168Wincek Jarosław, 123

STUDENTS 239

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Documents

Ideogramy_engx