Between The Intangible And The Tangible
Between the Intangible and the TangibleBrian FiremanThesis submitted to the faculty of Virginia Polytechnic and State University in partial fulfillment of therequirements for the degree of Master of Architecture.Mario Cortes, chairJim JonesJohn BryantMay 10, 2001Blacksburg, VAi1
AbstractBetween the Tangible and the TangibleBrian FiremanBetween the intangible and tangible is the realm inwhich this thesis investigation takes place. Thematerial presented here in a roughly chronologicalprogression represents an exploration over the courseof a year. This organization of thoughts and imageswill illustrate the processes and discoveries whichoccurred during this exploration.In architecture, the realm of the intangible representsideas. Ideas are catalysts for further study and ultimate action. It was the aim of this thesis to notsimply let an idea exist without further action, but toexplore the evolution of an idea to the point where itmay ultimately manifest in built form.The realm of the tangible, in this case the physicalobject, is also not the emphasis of this thesis. It issimply part of the whole, not to be confused withsome sort of final end result. The built object, whenstudied, helps inform the original idea.The emphasis of this thesis is on the area between theintangible and the tangible. This is where explorationstake place, discoveries are made, and where transformations occur. In essence, this is where the multitudeacts of design transform ideas into the realm ofarchitecture.2ii
Table of ContentsAcknowledgmentsSignature PageForwardPrecedentModus OperandiWoodWorkmanshipThemeExploration 1ProcessOrigins of an IdeaGrain DirectionCantileverJoineryThe SensualDiscoveryEssence of TectonicIntentions and DiscoveryExploration 2ProcessResistanceDiscoveryTool MarksRelationshipsTranslationChange of ScaleProgram and SiteProcessA Tower is BornGrain eflectionPhotographic CreditsSelected 545558646870808284878991
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AcknowledgmentsThis book is dedicated to my beautiful andsexy wife, Bonnie. Without her loving support during these past years none of thiswould have been possible or enjoyable.To my parents, Jo-Anna and Richard, and mybrother Geoff, who have always been there forme with encouragement and support. I love yal.Thank you to my thesis committee, Bob Schubert,other professors, and friends in studio whom haveshared their thoughts and provided guidance andfriendship during this time in Blacksburg.Extra special thanks to John Bryant, withoutwhose help in the woodshop none of this workwould have been possible.5
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Between the Tangible and IntangibleThesis submitted to the faculty of Virginia Polytechnic and State University in partial fulfillmentof the requirements for the degree of Master ofArchitecture.Approved by Thesis Committee:Mario Cortes, ChairmanJim JonesJohn BryantMay 11, 2001Blacksburg, VA7
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ForwardBetween the intangible and tangible is the realm inwhich this thesis investigation takes place. Thematerial presented here in a roughly chronologicalprogression represents an exploration over thecourse of a year. This organization of thoughtsand images will illustrate the processes anddiscoveries which occurred during this exploration.In architecture, the realm of the intangible represents ideas. Ideas are catalysts for further studyand ultimate action. It was the aim of this thesisto not simply let an idea exist without furtheraction, but to explore the evolution of an idea tothe point where it may ultimately manifest in builtform.The realm of the tangible, in this case the physicalobject, is also not the emphasis of this thesis. It issimply part of the whole, not to be confused withsome sort of final end result. The built object,when studied, helps inform the original idea.The emphasis of this thesis is on the area betweenthe intangible and the tangible. This is whereexplorations take place, discoveries are made, andwhere transformations occur. In essence, this iswhere the multitude acts of design transformideas into the realm of architecture.9
Precedent1Design must have a beginning. For this thesis itbegan as an inquiry into the relationship betweenforce, structure, and form.Forces generate structure. Structure is how thingsare arranged and put together in a larger whole.When this structure is manifest in the form of anobject, its inner workings are revealed and can beperceived. Thus, form becomes a reflection ofstructure and forces.Structure revealed through form can manifest inan infinite variety of ways. This diversity can befound in many places; formal geometry, joiningof parts, the relation and interaction of parts tothe whole, material properties, construction in thebuilt world, or growth in the natural world.102 Structure, then, is an abstractquality. It needs presence inthe real world to be fullyapprehended - what thestructure is made of isimportant, as is where it is,what it is doing, and who isapprehending it. - Bill Addis
Modus Operandi Architecture arrives whenour thoughts about it acquirethe real condition that onlymaterials can provide. Byaccepting and bargaining withlimitations and restrictions,with the act of construction,architecture becomes what itreally is - Rafael Moneo34In architecture, the notion of giving perceivableform to structure through construction is termed tectonics . An idea emerged to investigate thenature of tectonics as it relates to the expressiverelationships of form to force in architecture andthe built environment. Eduard Seklar, in an essayon this topic, wrote, .structure, the intangibleconcept, is realized through construction andgiven expression through tectonics. Thus,structure and construction imply two differentthings, although their meanings are frequentlyblurred. From this was born the desire to understand the relation and interaction between thetwo.In order to investigate this distinction, it wasdecided to experiment with the relationshipbetween a specific material and the process ofconstruction. Using the Cowgill woodshop as alaboratory for exploration, work began with theaim as not to produce an object as an end initself, but to document the process involved inmaking the object. This was an attempt to gainnew insights into both the nature of the objectand the process by which it was created. Embedded within this method are two key considerations.First, the choice of material.Second, the act of making.Wood was chosen as the primary material. It is anatural and beautiful substance which possessesinherent qualities such as color, texture, and graindirection which add individuality to a madeobject. It is relatively easy to manipulate, whichis necessary for the act of making to be athorough and enriching hands-on experience.Thus, working with wood provided almostimmediate results and allowed for much to belearned over short durations.11
Wood5In his essay on tectonics, Eduard Seklar statesthat tectonics has long been recognized as the particular manifestation of empathy in the fieldof architecture. Thus, a notion of tectonicsimplies material expression, which wood greatlylends itself to in an investigation such as this.The growth of every tree is unique, yet there arecertain characteristics inherent to its structure.Most prominent are the color of the wood, itshardness, its texture, and its grain direction. Eachpiece of wood will vary in these properties,lending individuality to this material. The experience of wood, how these properties are used indesign, became a prime concern in this investigation.How can inherent physical properties ofwood, such as color, texture, or graindirection be used to enhance one s experience of not only the built object, but alsothe processes by which it was created?126 I learned that wood has twolives: the first as trees; thesecond as tables and chairs,beds and cupboards, floorsand brooms, bowls and ladles,houses and sheds, cribs andcoffins. - Jose Zanine Caldas
WorkmanshipAn essential aspect of this method is the notionof workmanship. As stated by David Pye in hisbook, The Nature and Art of Workmanship, Design is what, for practical purposes, can beconveyed in words and by drawing: workmanshipis what, for practical purposes, can not. This distinction is important, for the act ofconstruction is inherently tied to the notion oftectonics. This is not to say that drawing is not anaspect of building , or constructing . Itcertainly can be, although there is a differencebetween how a drawing may inform an ideaversus how the process of making informs anidea.In what ways is design affected if thedesigner and the maker are the sameperson?7The photograph below is of a sculptor namedMartin Puryear. In his case, a particular expertisein workmanship serves to inform and guide hisideas and sculptures. Without first having had athorough training in the particularities of woodconstruction, he could never have made the pieceshown below. His work is a great example ofhow making might inform design.13
ThemeFreedom to explore this tectonic idea was provided through flexible boundaries defined by aspecific theme, allowing the exploration betweenmaterial and the process of construction to takeplace. This theme includes three main principles.First, take away material where there is nouse for it.Second, show the logic in construction.Third, show how the piece is made.In the realm of wood furniture, the works ofAmerican craftsmen Sam Maloof and GeorgeNakashima, as well as Danish architect anddesigner Hans Wegner specifically aspire to thistectonic theme and are used here to illustrate itspoints. The adjacent figure located top-right is anexample by Hans Wegner demonstrating the firstprinciple. This is a well designed detail of thejoining of two members, where there is absoluteminimum amount of material necessary toperform the required task. The middle figure isan example by George Nakashima. Here, thesecond principle is beautifully exemplified, wherethe main point is to express in a given material theinherent qualities of that material. The figure inthe lower-right corner is an example by SamMaloof, a clear demonstration of the third principle, where the expression of joinery explicitlyshows how the piece is made.14
The art of structure is howand where to place holes. - Robert Ricolais8 To use a material to itsfullest extent is to honor it: itis a way of forcibly extractingall its specific qualities to theirbursting point. - from Gaudi - Furniture andObjects9 More than anything else, agood construction can tell astory about the idea embodied in a design. Telling a storythrough a constructionincludes making clear whatone wants to emphasize, whatthe point of the constructionis. - Hans Wegner1015
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Process:Origins of an IdeaFrom the onset, the work of architect and engineer Santiago Calatrava provided much inspiration. In particular, his various tower, bridge, andsculpture projects struck a chord as beautiful andwell-designed constructions with obvious tectonicimplications. Much time was spent viewingimages of his various tower and bridge projects,contemplating their formal characteristics andtrying to understand exactly how the variousforces involved in these constructions resolvedthemselves. Upon further reading, it was discovered that this is an essential vision of his work.Calatrava s notion of form is that the designer caninterest the user in the struggle to resolve theforces at work in a given construction, in effectforcing the viewer to reflect and contemplate theresolution of these forces. In essence, his workdirectly engages the mind in wonder.From this idea was generated a clear intention.Guided by the established modus operandi andtheme, it was hoped that some kind of designlanguage could be discovered which would notmerely expose the intangible concept of structure,but celebrate it through construction. If such adesign language were discovered, then it could beused to help solve design problems on variousscales, from that of a piece of furniture to that ofa building.18
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With this idea in mind, the investigation began inthe woodshop. Working from a basis of exploratory sketches, it was decided to construct acanted vertical member rising from a tripod basewith a cantilevered top surface. Many questionssurfaced.How might the forces inherently involvedin a cantilever be expressed?What form should it take?What kind of joints should be used?How might the shaping of the individualparts relate to the forces flowing throughthe piece.What would be the most stable configuration?How might the parts be joined?How might they be shaped together?How does the object meet the ground?How will the nature of the material affectthe overall design?How, where, and when do certain linesappear, disappear, and reappear in thepiece?What is the nature and relationship of thebase to the top?How do the rear legs join the vertical?How might formal decisions affect howone might respond to the piece?. In otherwords, how might the difference betweena hard edge or soft edge affect where onemight want to touch the piece?With the first tool stroke across wood grain, thefirst step was taken beyond the realm of theintangible into the realm of the tangible. Throughthe examination of a few key issues encounteredduring the process of making this first object, it ispossible to see how the idea, method, and themepreviously established helped drive and informdecisions in each of these areas.20
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Grain DirectionTo begin, prototypes were made of a few conditions to be found in the final piece. Through thisprocess, it was found that grain direction is a veryimportant design consideration. Without attempting to first build the design in this prototypestage, this discovery would never have occurred.At the junction between the rear legs and thevertical piece, the first attempt at shaping the jointbetween these two members occurred with thecurve taking place within the back leg of thepiece. Very quickly, in attempting to shape thispiece of wood, short grain was encounteredwhich quickly chipped away. In the soft pine ofthis initial prototype, the shaping continued untilthe tenon was visible through the sides of itsmortise. Thus, the design changed to incorporatethe transition curve within the vertical member sothat the long grain would give strength to thisjoint. This was not an aesthetic decision, but avery functional one based purely on grain direction.22
This discovery of grain direction affecting wherea curve was to be made also led to a decision as tohow the top cantilever would join the verticalpiece. One of the most characteristic qualities of wood is that ithas a direction. It makes abig difference whether you goalong the grain or perpendicular to it. - Hans WegnerAs a result of the previous lesson, it was learnedthat the curve between these two pieces had totake place within the horizontal long grain of thetop piece, but this piece did not possess adequatethickness to create the desired curve. Thus, it wasdecided to introduce a secondary piece of woodbetween the top and vertical member. Thissecondary piece would be oriented with the grainrunning horizontally, making possible the creationof the desired curve.23
CantileverThe selection of a single board, cut from thecrotch of a walnut tree, was a significant instigatorfor many formal decisions concerning how thepiece would look. The very prominent grainpattern, converging towards one end, perfectlysuited the notion of cantilever . Containedwithin this board, the cantilever was visionedtapering in both plan as well as section, with theouter edges following the lines of the grain. Thisdecision was rooted in the initial theme, to takeaway material where it is not needed. Fartheraway from the rear support, the cantilever isunder cantilevered top in a location such that therear of the piece would slightly protrude in theopposite direction as that of the main cantilever.It was thought that this would lend a particular feeling to the piece, helping to visually counterbalance the prominent cantilever in the otherdirection.28
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Third, a soft edge is much more inviting to thehand than a hard edge. With this in mind, arounded lip was formed around the outer edge ofthe cantilevered top. This was done with thehopes of inviting the hand to touch and experience the tapering of the top cantilever.Fourth, lines of force through the piece helpedinform formal decisions. As stated earlier, it isobvious to see how the tapered cantilever alludesto the forces acting through it. Maybe slightly lessobvious is how the notion of forces informed theshaping of the vertical member.The two rear legs converge on the vertical piece atan angle. Thus, the back side of the verticalmember needed to be wide to accommodate thisjoint. On the other side, it was possible to taperthe vertical member to a point. Translating thispoint of convergence up and down the thismember, a hard line was established, alluding tothe force which flows from the tip of the cantilever down to the ground below. In this samemanner, each rear leg was shaped in a way largelydetermined by how forces flowed through it.Finally, finishing of the piece was a direct attemptto bring the experience of the wood itself to amore sensual level of experience. The final formwas sanded to remove all scratches left visible bythe construction process. Next, the piece wasoiled to bring out the prominent grain patterns aswell as help protect the wood itself. In this way,the piece invites the hand to touch the wood in acompletely different way than if left in a raw state,with rough edges and tool marks covering itssurface.30
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Discovery:Essence of TectonicAn unexpected discovery occurred only afterhaving completed the piece. The connectingpiece joining the vertical support and cantileveredtop produced a distinct pattern in how the converging grain patterns met one another. It bore astriking resemblance to a specific geologicalphenomena, called an angular unconformity , aphenomena produced through geologic tectonicactivity.In the field of geology, tectonic activity refers tothe movement of tectonic plates. One could say, Tectonic activity produces mountain chains andocean basins. Tectonic processes refer to thoseprocesses resulting from tectonic activity. Tectonic forces imply the stresses and strains whichgive rise to various tectonic processes, etc. Sowhat does all this mean?What is the relationship between the term tectonic used here and in architecture?To look at it another way, why did geologyadapt a centuries old term and use it todescribe a newly discovered phenomena?To help answer this question, it is important toquickly look at what an angular unconformity trulyrepresents. In short, an angular unconformityrequires four major events:One, an initial period of sedimentationduring which older strata are deposited ina near horizontal position.Two, a subsequent period of deformationduring which the first sedimentarysequence is somehow displaced.Three, development of an erosionalsurface on the folded sequence of rock.Four, a period of renewed sedimentationand development of a younger sequenceof sedimentary rocks on top of the oldererosional surface.3212
Thus, the very physical presence of an angularunconformity alludes to a very unphysical thing,time. More specifically, it alludes to missing timerevealed through the rock record itself, or theintangible made tangible. This is where thenotion of tectonics enters the picture.The word tectonic is derived from the Greekword tekton , which refers to carpenter orbuilder. Over time, the meaning of tectonics inarchitecture evolved to mean more than simply building . Fundamentally, tectonics implies therevealing, the making visible of something whichinherently is not. Structure is an intangibleconcept. Through construction, it is revealed andmade visible. This making visible of the invisibleis what gives rise to varying degrees of tectonicexpression, and a particular notion of empathyimplicit in the term.33
13Buildings are constructed through physical effortover the course of time. Tectonics refers to thespecific act of making visible some aspect of thiscondition. In speaking to this condition, EduardSeklar states that the architect is the undisputedmaster of tectonic expression. Thus, it is aconscious choice of the architect to reveal or notreveal some aspect of how the structural forcesresolve themselves in built form.In Geology, there is no conscious maker otherthan the earth itself. The cooling of the earthgives rise to a multitude of processes over time,which when revealed we call tectonic . In thisway, the invisible, internal structure of how theearth came to be, or was made , is revealed. Inessence, although tectonics refer to differentthings in the respective fields of geology andarchitecture, its meaning is the same.3414
151617It is interesting to note that geology is not theonly field which has adopted the term tectonic and applied it to its own end. The field of biology has done the same, adapting the term todescribe the process of plant evolution anddifferentiation in much the same way that geologyhas adapted the term to describe various earthprocesses. In describing the photographs of KarlBlossfeldt, two of which are shown at left, authorHans Christian Adam states, It was a question ofilluminating the construction, statics, and tectonics of plants so as to show possibilities of comparison and provide ideas from the world ofnature to that of art or, rather, architecture. After this angular unconformity discovery, it wasinteresting to notice how awareness of thiscondition was enhanced while viewing the worksof other architects, most notably Antonio Gaudi.It is obvious that Mr. Gaudi was very particular inthe design of this column and vault shown in thebottom image. Note the joint where the columnmeets the vault. This image brings me great joy!35
Intentions and DiscoveryIn attempting to understand this first piece andthe processes by which it was created, a veryimportant lesson was learned regarding thenotion of intentions. Up to this point, the namegiven to this piece was model stand . Theprimary intention was to express through form,material, and construction some notion of theforces flowing from the end of the cantilever tothe ground. After the piece was a physical reality,it was difficult to perceive it in any way other thanstemming from this original idea.One afternoon, while discussing the piece with aprofessor, it was realized that the intention of thispiece and its reality as an object were two different things. I was referring to this piece as a model stand while the professor referred to itonly as a form . What did he mean?It took a while to truly understand the difference.Judgments were made based on what this piecewas intended to represent, not based on what thepiece was, a form. Only upon this realization wasit possible to begin looking at this piece in adifferent way.In her book, Philosophy in a New Key, SusanneK. Langer states, the treatment of a problembegins with its expression as a question. The waya question is asked limits and disposes the ways inwhich any answer to it, right or wrong, may begiven. Here was the problem, this piece couldnot be seen as a form because the very natureof the initial questions limited its perception inthis manner.36
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Thus began a process of reexamining and requestioning some of the original formal decisions.The piece was turned upside-down, on its side,and other various angles in an attempt to see it ina new way.What different ways might a cantilever beexpressed?What different ways might three memberscome together and join?What might be their transitions; smooth,abrupt, angled?How do the legs spring from the ground?Is the form animallike or plantlike?What is the notion of the right line , andhow is this decided?It can now be seen that the act of making may beused as a tool, for if one is aware and consciousthrough this process, it is possible to perceive thetransformation of initial intentions giving rise tonew discoveries. Robert Le Ricolais stated thisperfectly when he said, My own conviction isthat we can only appreciate and fully possess whatwe ourselves discover. A fascinating aspect ofthis is to see that what you find along the way isoften more intriguing than what you first set outto do. If one is not open to this aspect of work,then why work at all? One becomes merely aslave to the task. True joy lies in the discoveryand recognition of the unforeseen.This realization is a very important aspect of thisthesis because for any of these discoveries tooccur, the process of making must first take place.If at first the initial ideas regarding structure andconstruction had not been built, then the opportunity would not have arisen to ask the next seriesof questions, which in turn gave rise to the nextcreated object of this investigation.38
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Exploration 240
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Process:Remaining within the flexible boundaries provided by the original theme and modus operandi,work began on a second piece. Here, the mainquestion driving the design dealt more with theprocess of making than an idea of force . Here,the key questions were.How might a design evolve through theprocess of making if the majority ofdesign decisions were made during theprocess of making itself ?How might both the method and processof construction be made more visible inthe final object?What could be done to a piece of wood tobring to the forefront more of its latentqualities and characteristics, such as graindirection, color, and texture?In what ways could lessons learned fromthe first piece inform the making of thesecond piece?What u
Workmanship An essential aspect of this method is the notion of workmanship. As stated by David Pye in his book, The Nature and Art of Workmanship, fiDesign is what, for practical purposes, can be conveyed in words and by drawing: workmanship is what, for practical purposes
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