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The Journal of Space Syntax

The Journal of Space Syntax

ISSN: 2044-7507

Year: 2011. Volume:2, Issue: 2

Online Publication Date: 15 December 2011

http://www.journalofspacesyntax.org/

Is Architectural Form Meaningless?

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Bill Hillier

The Bartlett School of Graduate StudiesLondon, UK

Pages: 125-153

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Journal of Space Syntax, Volume 2, Issue 2, Pages 125-153, 2011


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Bill Hillier

The Bartlett School of Graduate Studies, London

Once we have re-interpreted the optical image into a conception of space en-closed my mass, we read its purpose from the spatial form.

(Frankl, 1914, p.1)

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LQJLQDUFKLWHFWXUH,WFDQEHWKRXJKWRIDVDWKHRU\RIgeneric meaningE\DQDORJ\ZLWKWKHWKHRU\

ofgeneric function in architecture, outlined in Chapter Eight ofSpace is the Machine (1996, p.216-

261). Generic functionPHDQWWKHEDVLFDFWVWKDWSHRSOHFDUU\RXWLQEXLOGLQJVEHIRUHZHFRQVLGHUWKH

contents or purposes of their acts, so occupying space and moving in space aregeneric functions.

Generic meaningLVHTXDOO\EDVLFDQGUHIHUVWRFHUWDLQVLPSOHVRFLDOLGHDVWKDWWKHPDVVHVDQGHOHPHQWV

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,WDLPVWRLGHQWLI\WKHVHOLPLWVE\GLVWLQJXLVKLQJWKHLGHDRI meaningfrom the idea of the aesthetic

125

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taken as the characteristics of beautiful objects; yet these characteristics are

obviously insufficient to comprehend all the elements which make up the

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class of phenomena whose reality cannot be disregarded by any observa-

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as harmonious proportion and strict unity of form does not awaken in usthe deepest emotions of the soul or the most intense artistic experiences.

A different and stronger emotional effect appears when, instead of unity of form,

we are confronted with its disintegration, even with its complete dissolution.

(Ernst Cassirer, 1951, p.328)

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126

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meaning is given by culture, whether or not it is assumed that this meaning ultimately has a basis on

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that the ways in which buildings seem to convey social and cultural ideas to observers have nothing

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all social meaning. Both paradigms agree that in itself, architectural form is meaningless.

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a landscape and see a building in the distance [Figure 1]DQGDVNZKDWLVWKDWLWVDEXLOGLQJZRXOG

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The Abbey of St. Hilaire in the Vaucluse region of

France

Hilaire in the Vaucluse region of France. Of

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location of the building. But this does not alter the

fact that initial judgements from a distance about

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the building itself.

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3. Exploring the problem

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129

Figures 2-4. Dry stone circular 'bories', Vaucluse, France.

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terms as the Greek chapel, in spite of the differences in function and content, it is this abstract scheme

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Figure 6. Greek chapel.

Figure 5. Village in Tarn, France

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so that each part complements a similar part on the

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131

Figures 7, 8. On the left, a shrine in Greece;

on the right, a church in Xoximilco, Mexico.

Figure 9. Le Corbusier's Chapelle de Notre Dame

de Haute, Ronchamp; the main entrance.

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for emphasis but not others. We can illustrate the principle in a simple diagram [Figure 10].5HDGLQJ

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132

A square shape is bilaterallysymmetric, but we scarcelynotice it.

But if we add the inverted V

shape, we make the bi-lateralsymmetry much more obvious

We can then emphasis theaxis of symmetry much mo re

by placing figure along itwhich are themselvesbilaterally symmetric. The

result is a form with clear'systematic intent'. On theright we achieve a similar

effect by different means.

In information theoretic terms, the shape and the figures are all saying the same thing. The more we develop this, the more redundant we are

making the message, and the more obvious we are making the configurational 'meaning'. This is what we tend to do when we want to give aform signification. We make everything say the same thing, so that each element is predictable from the othe rs. We add nothing new byaddiing more figures once we have made it clear. This is why pure and simple forms can be more powerful than figured forms.

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information theoretic terms, adding structural

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Figure 10. Emphasising symmetry.

Figure 11. Figures within the basic form with differ-

ent relations to the axis of symmetry.

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its chapel.

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133

Figure 11. Le Corbusier's monastery of Sante Marie de la Tourette.

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134

Join another to it as

its neighbour. Is it one

object or two?

It is ambiguous.

This time instead of adding a vertical line

orthogonal to the 'earth line' we add a horizontal

line parallel to the earth-line. Again, the two initial

squares come to look like similar elements in

similar relations, so again we have an overall

'order', and again this makes the composite

object read as a single object.

Take an elevation

Then add a vertical line along the axis of

symmetry. Now it looks like a single object

because pointing up the axis of symmetry makes

the two elevations look like similar objects in a

similar relation. In other words we have made it

look like an 'order'. It is this that makes it read

as one whole object.

Figure 13. Collection of elements read as a single object.

Figures 14, 15 and 16. Horizontal and vertical themes in architecture;

staring from the left, the Town Hall and church in San Gimignano, and on the rightthe University campus in Charlotesville.

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135

Figures 17, 18. Symmetries in a form.

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136

md = 4.609 si = .7 md = 5.604 si = .867 md = 4.073 si = .367

Figure 19. Different arrangements of thirty square elements.

md = 4 .6 09 s i=0. 7 md = 5.6 04 s i=0. 86 7 md = 4 .0 73 s i=0. 36 7

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asymmetry'.

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RISOHDVXUH3OHDVXUHKHDUJXHVLVPL[HGZKHUHLW LVLQWHUGHSHQGHQWZLWKVRPHWKLQJXQSOHDVDQW

VXFKDVUHOLHYLQJDQLWFKWKURXJKVFUDWFKLQJDQGXQPL[HGZKHUHLWFRPHVWKURXJKWKHVHQVHVIURPWKH

EHDXW\RIFRORXUDQGIRUPVPHOOVDQGVRXQG+HJRHVRQ,GRQRWPHDQE\EHDXW\RIIRUPVXFK

138

2

3

4

5

6

7

8

9

6x5rect

angle

6x5rectangle

Fig1acircs

Fig1ccircs Fig1bcircs

si = .7 si = .867 si = .367

6 x 5 rectangle

si=0.7 si=0.867 si=0.7

Fig. 1 a circs

Fig. 1c circs Fig. 1b circs

Figure 21. Graph of Total Depth Values for shapes in Figure 19.

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DFFRXQWLQJIRUPRUHWKDQDVPDOOKDQGIXORIEXLOWIRUPVWKURXJKWKHVHVLPSOHJHRPHWULFDOLGHDV(YHQ

so, it is hard to rid the mind altogether of the suspicion that simple geometric forms do sometimes

SOD\DVLJQLFDQWUROHLQDUFKLWHFWXUH,QGHVLJQWHUPVDOVR LWLVQRWHDV\WRGLVSHQVHZLWKWKHLGHD

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in the search for form.

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tectural forms.

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WKHHOGRISRVVLELOLWLHV7KLVHIIHFWFDQEHVKRZQFOHDUO\E\FRQJXUDWLRQDODQDO\VLV2QWKHOHIWRI

Figure 22 LVDGHSWKDQDO\VLVRIDQ[VTXDUHVKDSHVKRZLQJWKHSDWWHUQRIPHDQGHSWKIURPUHG

IRUORZWKURXJKWREOXHIRUKLJK,WVKRZVWKHH[SHFWHGFHQWUHWRHGJHSDWWHUQZLWKWKHORZHVWYDOXHV

LQWKHFHQWUHDQGWKHKLJKHVWLQWKHFRUQHUV7RLWVULJKWLVWKHVDPHIRUPZLWKDOLQHUHSUHVHQWLQJWKH

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V\PPHWU\DUHPDUNDEOHEXWOLIHOLNHHIIHFW

139

Figure 22. On the left the analysis of a 8x8 square shape;

on the right the analysis with the earth-line added.

Figure 23. The same analysis (as in

JIRUD[VKDSH

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VTXDUHKDVRIFRXUVHORZHUPHDQGHSWKPRUHLQWHJUDWLRQWKDQWKHUHFWDQJOHDQGDOVRPRUHV\PPHWU\

When the earth line is added to create three forms, [Figure 25] the square becomes less integrated

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information to us through their forms.

140

5.25 .141 6.56 .234

4.91 .462 3.98 .3086.65 .492

Figure 24. Mean depth and symmetry index for the 8x8 and the 12x4

shapes of Figures 22-23.

Figure 25. Mean depth and symmetry index for the 8x8 and the 12x4

shapes with the line-earth added.

See Note 1

Relevant examples: San

Sebastian Design by Alberti

and Mies van der Rohes

Barcelona Pavilion.

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141

.0960 .431.0963 .600

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.0965 .692.0969 .723

.098 .677

rra .131 si .369 rra .131 si .413 rra .132 si .446

rra .132 si ..523 r ra .1 34 si .61 5 r ra .1 36 s i .56 9

Figure 26. 16x3 rectangles: horizon-

tal addition of 8x2 sub-forms.

Figure 27. 16x3 rectangle: vertical

addition of 8x2 sub-forms.

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142

.35

.4

.45

.5

.55

.6

.65

.7

.75

-1 0 1 2 3 4 5 6 7 8cellsfromedge

8x2horSI

8x2horSI 2x8vertSI

Scattergram for columns: X 1 Y1 X 1 Y2

Figure 28. The effect on the symmetry index by the elaborations

in Figures 26 and 27.

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143

md 4.58 si .169 4.65 .492

4.77 .738

md 4.61 si .431

4.74 .4154.87 .523

4.40 .4854.44 .758

4.53 .667

4.41 .497

4.5 .409 4.61 .636

4.582 .878 4.52 ..833 4.43 .818

4.449 .758 4.63 .833 4.68 .636

4.40 .4854.44 .758

4.53 .667

4.41 .497

4.5 .409 4.61 .636

3.88. .591 3.86 .591

3.86 .682 3.86 .636

3.86 .621 3.86 .576

3.86 .424

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6.35 .303 3.86 .4244.50 .409

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144

If horizontal strips are added to a vertical form, differentiation increases, but if to a horizontalform, differentiation decreases. NB in all these forms other forms were added to the earth-line

SI .465 SI .496 SI .503 SI .517

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SI .321 SI .316

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See Note 2

Relevant example: The AEG

Turbine Factory by Behrens.

See Note 3

Relevant example: Wells

Coates Isokon Building,

Hamstead London.

Figure 36. Effects on differentiation by horizontal additions to vertical and

horizontal forms.

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of meaning that architecture transmits is not meaning in the sense of natural language, but something

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are focusing our attention on.

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loops. Parallel processors outside these loops perform pre-attentive sub-conscious computations, but

145

5.11 .4624.99 .415 4.66 .363 4.55 .403

Figures 36, 37. Symmetry of the Greek chapel.

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serial processors embodied by the loops perform attentive conscious ones. (Kong H More Self than

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Relevant examples: Le

Corbusiers Villa Stein and Villa

Savoie, and Mario Bottas House

at Massagno.

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Notes: Sophia Psarra's Comments

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emphasise the horizontal elongation of the form and its

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Figure c2. Mies van der Rohes Barcelona Pavilion.

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Figure c4. Wells Coates Isokon Building,

Hamstead London.

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encountered in modern housing blocks (though

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Figure c7.

Le Corbusiers Villa Savoie.

Figure c5. Mario Bottas House at Massagno

Figure c6. Le Corbusiers Villa Stein.

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