THE DIFFERENT DETERMINANTS

SHARING ARCHITECTURE BY ROBRET L. VICKEY JR.

o A postulate for art is a creative statement about the human predicament.

· Sub postulates will be:
1. Art is a human endeavor. It is created by humans, for human understanding and
enjoyment- the meaning is found in human concerns.
2. Art is always creative, creativity being the placing of things in new perspective,
or the discovery of new meanings by rearranging known relationship into new
forms.
3. The beauty of art comes through the shaping of its content. Art has form that is
ordered or shaped for us to understand it.

o A postulate for architecture is that field of art that deals with shaping the environment.
· Sub postulates will be:
1. Architecture is concerned with the total physical environment.
2. Architecture is a human endeavor and exists as a field of art for man’s
enrichment.
o Vickey probably emphasizes how architecture can serve as a foundation for building and
sustaining communities. The design of shared spaces—like parks, community centers, or
urban gardens—plays a critical role in fostering social ties and a sense of collective identity.

o Functional (need) determinant: The necessity of shaping environments for both public
and private human wants.
· The purpose and usage patterns of a space dictate its layout, proportions, and
overall structure.
o Technological (ability) determinant: The state of architectural crafts and the economic
means of a society.
· The choice of materials and the available construction technologies determine the
possibilities and limitations of architectural form. Vickery discusses how innovations
in materials and construction techniques can expand the horizons of design.
· Materials and methods of construction available
· Economy of means
· Contextual precedence
· Poetic expression of construction/structure
o Cultural (society’s symbolic need) determinant: The desire of a people for symbolic art
expression.
· Amos Rapoport in House Form and Culture: Cultural factors play a more
significant role in shaping house forms than purely functional or environmental ones.
The values, beliefs, traditions, and social structures of a society deeply affect the way
homes are designed and used.
· Example: In some cultures, houses are designed with communal spaces to reflect
the importance of social interaction, while others may emphasize privacy and
individual spaces.
1. primitive: built with few modifications by all the people on a common model.
2. Vernacular: divided into preindustrial, which is built by tradesmen on a model
that comes from the people and post-industrial built by specialists from a model
for the people.
 ◦ Vernacular architecture often communicates the identity of a community Vickery or
tribe, preserving its cultural heritage.

3. High-style: built by specialists and designed by specialists for an elite cultural

group.
o Artistic (style) determinant: The architect’s personal intellectual contribution.
· The use of light and shadow. Architects like Le Corbusier often play with natural
light to create dynamic visual effects, casting shadows that change throughout the day.
Also, material selection.

SIX DETERMINANTS FROM PAUL RUDOLPH

1. Site
· Incorporates the various aspects of context.
· Constructed consideration: Cultural traces and marks
· Non-constructed consideration: Climate and environmental aspects
2. Space
· It should be used space-the closest thing that architects have in their spirit.
· Space should be fluid and dynamic, with multiple layers and levels that create an
engaging experience for users.
3. Scale
· Scale and our lack of understanding interferes with our ability to consistently
participate in urbanism
4. Structure
· An integral part of its design expression.
5. Function
6. Spirit
· Convey a sense of purpose and identity, creating an emotional and intellectual impact
on its users and observers.

BOOK NEED TO KNOW

THE POETICS OF SPACE BY GASTON BACHELARD

o In The Poetics of Space, Gaston Bachelard explores the intimate relationship between
memory and physical space, emphasizing how the body engages with the environment to
create lasting impressions.
o The latch symbolizes a threshold or boundary, representing the transition between different
spaces—such as safety and adventure, childhood and adulthood. The emotional weight of
these transitions enhances the memorability of the physical sensations associated with them.

· Phenomenology: A philosophy concerned with being and understanding based on upon

human experience.

· Poetry is a constant theme throughout this and metaphor is used to describe our
relationship to space.

o Bachelard believes that the poetic images emerge into our consciousness as a direct product
of the heart, soul and being of a person.
 o He believes the image comes before thought and therefore he looks a not the
phenomenology, but the soul.
o The house is seen as a maternal figure in which we store out treasures from previous years.
For example, Bachelard pays attention to small, secluded spaces within the house, like corners,
attics, cellars, and drawers. These spaces represent the intimacy and depth of the human
imagination.
o Bachelard explores how imagination and memory interact with space. He argues that the
spaces we inhabit are filled with memories and that our imagination reshapes and reinterprets
these spaces over time. The poetic imagination transforms mundane spaces into places of
significance.
o Attics and Light: Attics are portrayed as spaces filled with light, often associated with
clarity, thought, and rationality. The imagery of sunlight streaming through attic windows
creates a sense of openness and connection to the outside world.
o Cellars and Darkness: In contrast, Bachelard describes cellars as dark, mysterious spaces.
They are places of the unknown, where fears and suppressed emotions reside. The darkness of
the cellar symbolizes the depths of the subconscious, where hidden memories and emotions are
stored.
o Bachelard describes “house” as the physical, architectural structure and a place where people
live. It serves as a shelter and contains the necessary amenities for daily life.

The house functions around two axes of existence:

1. A house is a vertical entity, running between the polarities of attic and cellar.
2. A house is a concentrated entity containing numerous objects and shapes, each invested with a
heavy and specific meaning.

Examples of the Spirit of Place:

o Traditional Vernacular Architecture: In many traditional societies, buildings are
designed to blend seamlessly with the landscape and climate. These structures often reflect a
deep understanding of the local environment and a respect for the spirit of place.
o Sacred Spaces: Churches, temples, and other religious buildings are often designed to
evoke a strong sense of place and connection to the divine. The architecture of such spaces
often reflects the cultural and spiritual significance of the location, enhancing the spirit of
place.
o Modern Architecture: Norberg-Schulz also examines modern architecture, critiquing
approaches that ignore the spirit of place in favor of abstract, universal designs. He
advocates for a more context-sensitive approach that considers the unique character of each
location.

BUILDING, DWELLING, THINKING BY HEIDEGGER

1. Building as Dwelling: Heidegger begins by addressing the traditional notion of building. He

argues that building is not just about constructing physical structures but is intrinsically tied to the
act of dwelling. For Heidegger, the act of building stems from the deeper need to dwell, and true
dwelling is not possible without a thoughtful relationship between people and their environment.
The purpose of building, therefore, is not simply to create shelter, but to foster spaces where
humans can dwell in harmony with the world.
2. The Fourfold: Central to Heidegger’s conception of dwelling is the “fourfold,” which represents
the interconnected elements of earth, sky, divinities, and mortals.
 o Earth refers to the physical, material world—the ground upon which we build and the
resources we draw from.
o Sky includes the heavens, the weather, the seasons, and the passage of time, which
remind us of the larger cosmic order.
o Divinities symbolize the spiritual or metaphysical dimensions of life, connecting human
existence to something transcendent or beyond.
o Mortals are human beings, defined by their awareness of death and their finite existence
in the world.

Heidegger argues that to truly dwell is to live in a way that respects and balances these four
elements. Dwelling is achieved when humans understand their place within the fourfold and live
in harmony with it.

3. Dwelling as a Mode of Being: For Heidegger, dwelling is not just an activity but a mode of
being. It represents a way of inhabiting the world that involves care, respect, and mindfulness.
Dwelling is about more than physical comfort; it is a state of attunement to one’s surroundings,
both natural and built, and an acknowledgment of the interconnectedness of human life with the
earth, the cosmos, and the divine.
4. Language and Meaning: Heidegger also reflects on the role of language in shaping our
understanding of dwelling. The German word for building (bauen) is linked to both dwelling and
being, highlighting the fundamental relationship between living and creating meaning in the
world. Through language, we name and shape our surroundings, influencing how we perceive our
relationship to the spaces we inhabit.

Application of Heidegger’s Ideas:

Heidegger’s exploration of dwelling extends beyond architecture into broader philosophical questions
about how humans relate to the world. His ideas challenge us to consider how our buildings, cities, and
interactions with the environment reflect a deeper sense of connection and care. In an increasingly
industrialized and urbanized world, Heidegger’s call for mindful dwelling is a critique of modern society's
tendency to separate humans from nature and reduce living spaces to mere functional objects.

One example of Heidegger’s ideas in practice is the work of architects like Frank Lloyd Wright, who
designed buildings that integrate with their natural surroundings, such as Fallingwater (1935). Wright’s
designs reflect an awareness of the fourfold, harmonizing the built environment with the earth, sky, and
the human need for spiritual and material fulfillment.

CRADLE TO CRADLE BY WILLIAM MCDONOUGH AND MICHAEL BRAGGART

o Talks about rethinking industrial processes by challenging the “reduce, reuse, recycle” mentality
o McDonough and Braungart critique the "cradle-to-grave" design, where products are created,
used, and discarded. They argue that this linear model is inherently wasteful and unsustainable.
Most products, designed to be used and then disposed of, end up in landfills or are incinerated,
leading to pollution and toxic byproducts.
o The authors highlight how this approach disregards the full lifecycle of materials and the
interconnectedness of ecosystems, ultimately creating products that harm rather than help the
environment.
o The authors introduce the concept of “less bad” design, a well-intentioned but flawed approach
that focuses on minimizing harm. This includes efforts like using less energy, producing less
waste, and recycling, which they argue simply slow the rate of degradation rather than solve the
 core problem. A key tenet in this chapter is the concept of “waste equals food,” which advocates
that all products should be designed so that their eventual disposal or breakdown contributes
positively to other systems. The authors argue that if waste products are designed to nourish the
ecosystem, they cease to be waste altogether. For example, discarded textiles made of
biodegradable fibers can decompose into soil nutrients, while decommissioned electronics can be
disassembled into valuable components for reuse. By shifting to closed-loop systems, industries
can eliminate the environmental and economic costs associated with waste disposal.
o They emphasize that sustainable design is not about returning to pre-industrial standards or
avoiding technology but rather about harnessing innovation in a way that aligns with ecological
systems.
o Their vision is not merely about minimizing harm but redesigning systems to regenerate
ecosystems and create abundance. By focusing on principles such as eco-effectiveness, renewable
energy, and the biological and technical nutrient cycle, Cradle to Cradle lays the foundation for a
sustainable future.

THE SPACE BETWEEN BY SANDA LLIESCU

o “The space between” as a concept that enhances our understanding of art and architecture by
focusing on the relationships and interactions within a space rather than on isolated objects.
o She highlights that spaces gain meaning not only from the physical forms they contain but from
the interactions between forms, people, and the environment.
o She emphasized that the “in-between” spaces-such as those between walls, open areas within
structures or gaps within art-are just as significant as the defined structures. These spaces create
tension, dialogue, and continuity, guiding our movements, framing our views, and shaping our
experiences in profound ways.
o Iliescu emphasizes that spaces between objects or forms are not merely voids but are charged
with potential. This aligns with the Japanese idea of ma, where the absence of material or sound
is seen as an opportunity for contemplation and heightened awareness. Both perspectives
celebrate emptiness not as a lack but as a presence that enhances the surrounding elements.

WABI SABI BY LEONARD KOREN

o Wabi initially referred to a sense of solitude, poverty, or quietude, while sabi related to the beauty
that comes with age, wear, and the natural patina of time. Together, they evolved into the aesthetic
of wabi-sabi, celebrating simplicity, imperfection, and the organic cycle of life.
o It embraces the idea that true beauty lies in transience and imperfection—qualities that challenge
Western ideals rooted in symmetry, logic, and permanence. Wabi-sabi is less about the visual
appeal of an object and more about the experience it evokes, often through understated, rustic,
and asymmetrical forms.
o In wabi-sabi design, the natural cycle of life is paramount, reflecting how things are created, used,
worn down, and eventually return to nature. For Koren, this is a deeply spiritual approach to art
and life—a way of finding beauty in simplicity and wisdom in the fleeting nature of existence.
o By accepting and celebrating impermanence, wabi-sabi becomes not just an aesthetic choice but a
philosophical path that encourages mindfulness, acceptance, and a profound appreciation for life
as it is.
o Koren describes wabi-sabi as embracing the “imperfect, impermanent, and incomplete,” which
aligns with wa’s approach to fostering relationships and balance among disparate parts. Both
philosophies suggest that true harmony arises from embracing life’s inherent irregularities and
working with them rather than against them.
A JAPANESE WAY OF DESIGNING: AMBIGUOUS BOUNDARIES BY BEITA

o Japanese design examines how spatial boundaries in architecture and design are often fluid,
subtle, and flexible rather than rigid and definitive. This approach reflects a fundamental aspect of
Japanese aesthetics, where the separation between spaces is softened, creating an organic flow
that blurs interior and exterior, private and public, natural and constructed environments.
o Ambiguous boundaries are evident in traditional Japanese architecture, where sliding shoji
screens, paper walls, and open verandas allow spaces to be redefined according to need. This
design technique embraces a state of "in-betweenness" that encourages openness and adaptability,
allowing inhabitants to experience a room or garden differently as lighting and seasons change.
o Ambiguous boundaries, by minimizing harsh demarcations, create an environment that invites
contemplation and fluid movement. The gradation between inside and outside allows nature to
“enter” the living space, turning homes, gardens, and even urban structures into places of
seasonal change and ephemeral beauty.
o Beita emphasizes how Japanese design often avoids rigid separations, such as walls or sharply
defined zones, to create fluid transitions. This design principle enhances the ba, as the lack of
clear demarcation fosters an open field where people, objects, and activities can interact
dynamically.
o A Japanese engawa (veranda) embodies the ba supported by ambiguous boundaries. Positioned
between the indoors and outdoors, the engawa is neither wholly inside nor outside but an
interactive space where nature, light, and human activity converge. Beita’s ideas highlight how
such spaces dissolve clear divisions, encouraging fluid exchanges between the home and the
garden, much like ba encourages interaction within a "field."

A WAY OF LOOKING AT THINGS BY PETER ZUMTHOR

o Zumthor places a strong emphasis on creating atmospheres that engage all the senses—sight,
sound, touch, smell, and even taste. He believes architecture should evoke specific emotions and
memories, drawing on the textures, sounds, and scents that permeate a space.
o He is drawn to materials that have a tactile quality, allowing people to feel the building’s presence
through touch. He argues that materials should be chosen not just for their functionality but for
their ability to tell a story and evoke a connection to a particular place. Zumthor believes in the
timelessness of materials, and how a material can carry a memory of the past, making the
building resonate with history and place.
o Zumthor believes that every building should respond to its specific context—its landscape,
climate, and cultural surroundings. He approaches architecture to reinforce or even intensify a
sense of place.
o Zumthor advocates for what he calls "quiet architecture"—buildings that do not shout for
attention but rather exist calmly and naturally in their environment. This contrasts with much of
contemporary architecture, which often prioritizes spectacle and visual impact over subtlety and
integration.
o Zumthor’s architecture is often described as minimalist, but it is not minimalism for its own sake.
Instead, he seeks purity in form, where every element serves a purpose, and nothing is
superfluous. His buildings are stripped down to their essentials, but they remain rich in meaning
and sensory impact.
o Zumthor views architecture as a repository of memory, capable of evoking personal and
collective histories. In A Way of Looking at Things, he reflects on his childhood memories of
buildings and spaces, noting how these experiences shape his understanding of architecture. He
 believes that great architecture resonates because it taps into a shared human experience,
triggering emotions and associations.
o “A good building has a form of soul”

SUBCONSIOUS LANDSCAPES OF THE HEART BY RANDY HESTER

o Sacred Spaces: Hester defines sacred spaces as places in a community that carry deep emotional
and cultural significance for its inhabitants. Sacred spaces are central to the community's
collective memory and sense of belonging.
o Hester argues that people’s connection to these places is often subconscious, making it difficult to
quantify or recognize through traditional planning processes. However, these places hold
profound importance in the emotional landscape of a community.
o importance of involving local communities in the planning process to identify these sacred
landscapes. He advocates for a participatory design approach that listens to the voices of residents
to ensure that development respects the underlying emotional and cultural fabric of a place.
o Hester emphasizes that successful urban planning and development should preserve the identity
of a place by safeguarding its sacred landscapes. This requires not only protecting historical or
natural landmarks but also maintaining the spaces that allow for social interaction, continuity, and
a sense of home.
o Hester’s essay challenges planners and designers to broaden their understanding of space,
recognizing that the emotional and subconscious connections people have with their environment
are as important as functional and aesthetic considerations. By identifying and preserving sacred
landscapes, planners can help foster community cohesion, protect local identity, and ensure that
development respects the deeper values and attachments of the people it serves.
o Hester uncovers layers of meaning in landscapes, emphasizing their role as more than physical
settings—they are repositories of memory, identity, and collective values.
o Landscapes reflect the essence of a community’s identity, embodying its history, traditions, and
shared experiences. Hester’s concept of "sacred spaces" reveals how these places anchor people
to their sense of belonging. Losing these spaces through development risks fracturing cultural and
emotional continuity.
o Hester suggests that landscapes serve as vessels for collective memory. Sacred spaces are not just
aesthetic or functional; they are imbued with stories, rituals, and meanings that connect
generations. Disrupting these spaces risks erasing vital threads of cultural memory, leaving
communities disoriented or alienated.

THE PAINTED DESERT BY GERALDINE BROOKS

o One of the central ideas of Brooks' essay is the role of Aboriginal art as a cultural expression and
a means of survival. In the 1970s, a movement began where Aboriginal people started painting
large canvases with traditional stories and Dreamtime (ancestral creation) narratives. These
paintings not only represent the landscape but also the spiritual and cultural history tied to the
land.
o Brooks describes how these paintings are often abstract to Western eyes, but for the Aboriginal
artists, they are loaded with meaning, encoding knowledge of the land, family ties, and sacred
sites.
o Brooks dives into the history of the Aboriginal people, their displacement, and the suffering they
endured due to colonization and forced removal from their lands. The essay explains how, for
many Aboriginal communities, the creation of art is a form of resistance and a way to assert their
identity and connection to the land that was taken from them. For these communities, the land is
 not just a physical space but a repository of their ancestors' stories and a key to understanding
their cultural identity.
o "The Painted Desert" emphasizes the deep connection Aboriginal people have to their land, which
is not just a backdrop for their lives but an integral part of their existence. For the Aboriginal
communities, land ownership is tied to their spiritual beliefs and their identity.
o For many Aboriginal people, the creation of art is a way to heal from the traumas of colonization
and the ongoing struggles of living in a modern world that often disregards their cultural
significance. The painting of sacred stories and landscapes allows the artists to keep their cultural
knowledge alive while adapting to the pressures of contemporary life. The art becomes a living
record of their history, one that is continually evolving yet rooted in the past.
o The essay emphasizes the intrinsic link between the Pintupi people and their land. Despite being
forcibly removed from their ancestral territories, their art reflects a spiritual and emotional
attachment to the desert landscape. Brooks underscores the idea that the land is not just a physical
place but a repository of cultural memory and spiritual significance—a sacred space, much like
Hester’s “subconscious landscapes.”

LECTURE NOTES

PLACE

o Place may be defined as living within a particular location with its specific environment,
inhabitants, culture and traditions. To dwell within a real and sustainable place you need to
become part of a living totality of the combined natural and artificial environment, which
determine a “sense of place.”
 Four key aspects to making a sustainable place
 Access and linkages= what are connected, what is adjacent what is the next town over.
 Comfort and identity=amenities, what are the hole-in-the-wall landmarks unique to
place?
 Use and activity= what is the place about? Industry, farm, fishing?
 Sociability=how do people relate” porches, parks, town square, community?

WHAT ARE SACRED STRUCTURES?

o A “Hester Sacred Structure” diagram is a visual representation of a community’s most valued
spaces and elements within a town or neighborhood, as identified by the residents themselves,
highlighting places that hold significant cultural, historical, or emotional meaning, essentially
mapping out the “sacred places” of a community as described by urban designer Randolph
Hester.
o “Sacred structures”
 Revitalization of town
 Randy Hester-community developer
 Sacred structure identified
 Community wide discussion
 Preserve small town atmosphere
 Locals willing to sacrifice economic sources

o Places such as the waterfront, the village, and specific shops, were mentioned as being important
because they represented home or provided roots
 Example: exchanging gossip at the post office, hanging out at the docks, checking out the
water
  Atonement: reparation for an offense or injury
 Arkhitekton: chief building

COMPLETED LANDSCAPES QUOTE FROM PETER SUMTHOR

To me, the presence of certain buildings has something secret about it. They seem simply to be there. We
do not pay any special attention to them. And yet it is virtually impossible to imagine the place where
they stand without them.
These buildings appear to be anchored firmly in the ground. They make the impression or being a self-
evident part of their surroundings and they seem to be saying: “I am as you see me, and I belong here.”

JAPANESE CONCEPTS OF SPACE

o Shinto: an indigenous spiritual tradition in Japan
o Buddhism: imported from mainland Asia

THE FOUR KINDS OF JAPANESE SPACE

o Relational space (wa)
 Wa signifies a sense of harmony within a space, emphasizing unity and the seamless
integration of all elements, including people, objects, and the natural environment.
 This principle underscores the importance of creating spaces that feel balanced and
promote tranquility, reflecting broader Japanese cultural values of peace and coexistence.
o Knowledge-mobilizing space (ba)
 It is about the arrangement of elements to create connections that are more likely to
produce new knowledge or experiences
 While Wa focuses on relationships, ba is concerned with how knowledge is formed and
shared. If wa is about social and interpersonal harmony, ba is about ensuring that people’s
knowledge and experience can be put to good use.
o Location (tokoro)
 Tokoro is used to describe the location or site of something, but it is also used to describe
a state of being
 In Japan, the idea of place is indistinguishable from the historical, cultural, social, and
other connections contained within it. The idea of tokoro therefore implies the idea of
context, as the place is inevitably connected with all the activities around it.
o Space between (ma)
 Ma is often translated as negative space, gap space, pause. However, ma is better
understood as a free zone that allows for dissimilar things to co-exist. When we
communicate something, we like to assume that the person will receive our message and
understood it in the way we intended.
 Ma is particularly present in Japanese art and aesthetics; it is also essential to understand
how it affects human relations and Japanese culture.

SUSTAINABILITY
o Sustainability may be defined as “meeting the needs of the present without compromising the
ability of future generations to meet their own needs. But it must also expand to embrace the
prospects of restorative acts, the hope for an abundant future based on new systems and
definitions of design and productivity.”
o To keep in existence; maintain
o To supply with necessities or nourishment; provided for…and fix damage already done
o Meeting the needs of the present without compromising the ability of future generations to meet
their own needs. But it must also expand to embrace the prospects of restorative acts, the hope for
 an abundant future based on new systems and definitions of design and productivity-William
McDonough

WHAT IS ECOLOGY

o The political movement that seeks to protect the environment, especially from pollution
o Relations of organisms to one another and to their physical surroundings

Aldo Leopold: “Father of wildlife conservation in America”

The land Ethic: proposes that we should have a relationship with the land similar to what the Native
Americans had, need to see beyond our individual interests.

o “A land ethic of course cannot prevent the alteration, management, and use of these resources, but
it does affirm their right to continued existence, and their continued existence in a natural state.”
o A system of conservation based solely on economic self-interest is hopelessly lopsided
o Key principle: we do what we perceive to be in our own best interests
o Need to develop ecological conscience
1. Land is not merely soil
2. Native plants and animals kept energy circuit open
3. Human made changes are of a different order than evolutionary changes

Cradle to Cradle

o Waste equals food: everything is a resource for something else

o Use renewable energy: use clean and renewable energy
o Support diversity: celebrate diversity

Sustainable city, town or community: public transportation, walkable and bikeable neighborhoods,
vehicle charging stations, green buildings, alternative energy, local food, accessibility, water
conservation, public green space, safe and equitable housing, diversity of population and industry, dignity
and delight.

PETER ZUMTHOR

o Central to Zumthor’s philosophy is the concept of atmosphere, which he describes as the "soul"
of architecture. For him, atmosphere is the intangible yet powerful quality of a space that
resonates emotionally with its occupants. In his essay A Way of Looking at Things, Zumthor
reflects on the sensory and emotional dimensions of architecture—how light, sound, texture, and
spatial proportions create a unique and memorable experience.
o For Zumthor, architecture is intimately tied to memory and emotion. He often draws inspiration
from his own childhood experiences of spaces, such as the warmth of a sunlit room or the scent of
wood. He sees these sensory memories as universal, forming the basis for architecture that
resonates with people on a primal level.