The Architecture of Diagrams - Download as PDF File .pdf) or read online. The Architecture of Diagrams. commenting on how recent architectural theory has approached diagram, I consider the emphasize the place of diagrams within architectural design. A visual and written catalogue of contemporary Architectural diagrams.
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PDF | The paper discusses the use of freehand diagrams inarchitectural design. It examines the roles ofdiagrams in various contexts: pedagogical books,design. ARCHITECTURE DRAWING / DIAGRAMMING. There are many types of diagrams. Many other professions. (music, math, business, etc) use diagrams to. The paper discusses the use of freehand diagrams in architectural design. designing, architects draw diagrams and sketches to develop, explore, and.
The Architectural Design essay offers a topographical description of the site near Taos, an area popular with hippies, which hosted several intentional communities. Read diagrammatically, the warping of the geodesic figure from Fuller to Lama neatly illustrates the shifting ontological concerns within a community of designers. The warping geodesic figure assists in a comparative study of ontology: Through the deployment of putatively abstract figures, designers choose between affecting a mechanical neutrality or metaphysical emotiveness.
They choose which of the parameters that hem in the design process to diagram. Linking them was the posing of a ques- tion: Diagramming from Nature to Culture, and from Counterculture to Mainstream Culture One answer agreed between countercultural designers was that the whole is linked by pattern and energy. With each reappearance, the shell represents not simply the rules of nature but also the rules of culture. The shell divulged patterns and energies which Design and Culture could be disrupted through dogmatic rationalism, inflexible social institutions, etc.
Here is not the place to discuss whether this view of the world, this ultimately bio-determinist ontology, is true or not — suffice to say that many find it overbearing, while to others it still rings true. Seen like this, even the bid to defer utterly to the patterns and energies of the world by creating a closed loop ecosystem in which everything humans, plants, air, bacteria has its place assigned by scientific-ecological authority should be read as an ontology Figure 5.
Gall plan of —26 CE. Inevitably, ecology itself was a culture, one formed through the obsessive interest in pattern, energy, and relation.
In the nineteenth century the polarities of culture were the romantic artist and the industrial engineer. Then Shelley could say that: Science is dead. Thompson The New Alchemists were, in short, impressing upon readers the need to grapple with Design and Culture their place in the world as the absolute necessity of a thinking being. What the diagrams also make clear is that the counterculture unevenly acknowledges the paradigm of natural pattern and energy.
Courtesy of Sim van der Ryn. The architecture itself is that in- strument.
As mecha- nisms they are tuned separately, Drop City to the safe release of dysfunction through eruptive will and creativity, Lama to the making of stillness as the negation of dysfunction, day-to-day life conducted semimonastically.
Nonetheless, all the diagrams convert supposed Design and Culture physical and metaphysical principles into culture. This culture was one of exile from a world in crisis, the basics of life rotating around the individual body like a survival mechanism in an age of seemingly imminent political and environmental collapse. The politics of this cultural exile are troubling, needless to say, and will be reviewed in a moment. One thing seems clear: Probably the best approach is dialectical, then — imagining oneself on the inside and outside of the diagram, charmed but distanced.
As it happens, designers are trained to think in this way, back and forth — from the inside of designs to the outside between the orderly interior of a building, say, and its environment , and from center to periphery connecting a villa back to town, for instance. And this experience of traverse was known, we can fairly specu- late, to many countercultural searchers in the late s and s, among them surely designers, who left the cities and suburbs, perhaps pointing their cars toward the communes for a sojourn before returning to the cities and suburbs days or months or years later.
The return to mainstream America was practically as significant as the departure: Most retained an idealism about community and familial relationships. To traverse Cold War, Vietnam era America did not entail absolute retreat from it, but its mental and physical crisscrossing — diagram- ming it; cognitively mapping it.
Its ambitions are too cognate with ecological tendencies and diagrammatic methods surviving in contemporary architecture for the point of comparison to be ignored. For all its introversion, the Integral Urban House was also purposively urban, too, sited in a rundown area of Berkeley, California like some kernel for the next generation of urban renewal. Critical attention has recently focused on the degree to which the new communalism of the s and s was modeled upon the smooth self-regulation that was believed to govern the systems of nature itself.
This suggests the end of politics and the initiation of bio-politics the corporeal control of subjects , aided by withdrawal from the heterogeneity of the city.
But it is difficult to prove that the cybernetic model was rigorously ap- plied in theory or in practice to the social functioning of the intentional communities cited in this article. The more immediate motivation to form intentional community was the search for shared values. No one was forcibly herded into countercultural camps, and though plenty of accounts suggest that interns felt bullied by the silent politics that the new communitarianism was meant to have left behind, so too are people routinely oppressed in schools, workplaces, and streets.
Their value systems drew on sources ranging from cybernetics to religious beliefs, from white settler and Native American traditions to communism. It entailed, in other words, an empathy with what matters to people at large — with what it is to be fully human — and it is this enlarged cognitive sphere that also appears to be mapped in countercultural diagrams. Environmental Communications, c. Soleri found several thousand volunteers willing to merge their labor and intellectual activity into the collectivized construction of his Arcosanti project.
Courtesy of the Cosanti Foundation. In its pages Soleri places his idiosyncratic ontology on an equal footing with his architectural design. Preceding the thirty specimen arcologies, which he argues will reintegrate a set of natural interac- tions that have been severed by acquisitive society, Soleri details his understanding of the relationships and processes undergirding the cosmos in more than fifty fantastical diagrams.
The effect of these two sources is to frame arcology as an emanation of the deep evolution of humans, of life on earth, and of the cosmos. Again, the countercultural diagram is founded upon some lost ecological order.
But Soleri requires from his audience a general acceptance of contentious and tacitly de- terministic holistic philosophies. So I would like to turn to a final pair of countercultural diagrams that admitted into the eco-ontological worldview some vitiation, some running room for dialog and debate, some concession that the world is not a fixed and stable entity producing fixed and stable human subjects.
Because at their most ingenious, countercultural diagrams revived modernist interests in a dynamic totality, but also acknowledged the monistic limitations of ontological schema that project but a single container for all being.
The Catalog was strictly speaking nothing more than a shopping catalog for hippies, an en- trepreneurial alternative to Sears. It was virtual, collective, totalizing, and localizing all at once — a new global order fashioned with insouciant ease.
All modes of design praxis were called upon by the Whole Earth Catalog to compete and coexist. Quite suddenly, architecture, technology, consciousness, nature — in short, the very meeting of mind and matter that is the foundation of materialist ontology — were again in flux.
The components of reality overlapped as a concert which we might think of as life itself.
Halprin depicts program, performance, and force; Eisenman depicts form, language, and representation Somol They preferred, in a tradition traceable at least to Thoreau, to direct attention outward from structures of often limited intrinsic aesthetic merit. More surpris- ingly, countercultural architecture is also dissimilar to the somewhat positivistic assumptions of the architectural sustainability that suc- ceeded it. The sustainable architecture of the last few decades is predominantly a conventional architecture built in ways that better conserve energy.
It follows that countercultural architecture was mostly bad according to the measurements of conventional architecture, of durability, beauty, and utility: And yet, diagrammatic continuities bridge countercultural designs with the most remarkable of their diagrammatic successors.
There is, after all, a curious resemblance in the diagrams of the Droppers, Soleri, Eisenman, and Rem Koolhaas as they trace — in their own ways — complexity, struggle, and intuition, stratified forms and non- Euclidean geometry.
This observation suggests a hypothesis about why some designs are more interesting than other designs, cutting the architectural canon laterally, from the s to the present, rather than verti- cally along an epistemological and chronological rupture between counterculture and postmodernism. Step back far enough from the profound differences in programs, conditions of production, formal languages, technical facilities, intellectual foibles, and worldviews, and one notices how some designers are more inclined than others to wrestle with the relationship between form, program, parameter, and ontology.
Their remarkable aesthetics trace their remarkable Design and Culture ontologies, and thus their remarkable design ethics. It is not pos- sible to form clean and simple diagrams relating the components of totality.
To do so would be to oversimplify the parameters which architecture registers. In the process, the relation between architecture and reality is revealed as being mechanical only in fairly limited ways, such as energy conservation.
Authentic diagram architecture has the quality of invention.
The author made every effort to contact the copyright holders of figures credited to Environmental Communications and the Hanuman Foundation, but with no success. However, they are invited to contact the author and publisher with any concerns.
Notes 1. Commune historian Timothy Miller explains that there was no singular communal movement; several thousand communes of the s and s followed a wide variety of philosophies, social forms, and housings often in commandeered traditional houses , which we retrospectively see circumscribed as a single counterculture Miller Borobudur and Islamic patterns recur as examples of paths for the body and eye in Bloomer and Moore It is worth noting, then, the overlapping interests of countercultural architecture and the ascent of interest in phenomenology within advanced architectural circles after the Second World War see Otero-Pailos The two are not quite equivalent, though; countercultural architecture is more proactively trying to model and form belief about ecology, spiritualism, etc.
Probably the most powerful synthesis of the view that ecology, Design and Culture cybernetics, counterculture, and neoliberalism combine into a single disquieting history is that forwarded by Adam Curtis dir.
See, for example, the slide sets distributed c. A Photo Chronicle of the Counterculture A Memoir Of Life in the Counterculture offsets her idyllic pictorial depiction of the communes with a frank account of struggle. Volume licenses e. Contact me. Note, while it is technically possible to read the PDF on a small screen, I do not think it is really feasible. I advise you to download the free syntax excerpt first and try it out before downloading. Version 2. It is sold through normal bookseller channels, such as site, Book Depository, etc..
It is printed by Ingram in a premium quality on premium paper, above all to make the diagrams maximally readable. So, in one year, we create about AWS architecture diagrams by Cacoo. Before using Cacoo, we were using PowerPoint. But as our customers increased due to business expansion, and the diagrams we needed to draw also increased, PowerPoint did not have enough functions for us, and in terms of managing diagrams, I felt that it was unsatisfactory.
How did Cacoo help?
We were able to reduce the work time spend on drawing the architecture charts. When using PowerPoint, the following steps had to be taken to draw diagrams from scratch, and it took more steps than using Cacoo.
Share the created diagram to team members via email Aggregate multiple feedback comments and revise Repeat steps 4 and 5.
PDF output and attach to email. Whereas with Cacoo, which is in the cloud, you can edit one diagram in real-time with all members.
Work efficiency is improved because you no longer need to attach a diagram to an email and consolidate all the review comments. From your experience, how much was the improvement in work efficiency? The time spent on drawing diagrams varies for each respectively, but if we usually spent two hours drawing large system architecture diagrams, I feel that our work time has been reduced by more than half now.
For example, a newly hired member of the team can view a Cacoo diagram and see the name of the diagram creator. They can also easily search diagrams in the team folder. With Cacoo, not only workflow, but team communication also became smooth.