Circle of Form: Think similar - Think opposite. Architecture

Publikation: Bog/antologi/afhandling/rapportBog


Opposites is a tool often used to determine the basic elements in complex systems. Our culture uses opposites on all levels: Within the law, a clear distinction between truth or false, guilty or not guilty is fundamental, in politics opposites defines the socialist left and the conservative right in most democracies. Opposites also define basic elements in art, like e.g. the circle colour and the definition of complementary colours, the language’s vowels and consonants, the music’s major and minor, harmony and dissonance, as well as the difference between the beat and rhythm. On reflection, you will find that opposites are one of the most used methods to create a quick and immediate breakdown of things or problems into clear and well defined pieces.
Other researchers, such as the psychologist and Nobel Prize winner Daniel Kahneman, explains our whole thinking as an ongoing fight and collaboration between two opposite types of thinking: thinking fast (intuitive) and thinking slow (logic). (Kahneman, Daniel. Thinking, fast and slow. Penguin Books 2012) He argues, that intuitive (emotional based) fast thinking is used for decision making in far too many situations, where the complexity of the problem actually demands slow logic thinking. But we use it because it is fast and easy!
The same could be said about many aesthetic judgements, where intuitive judgement of taste has been favored so much, but at the same time is the source for misunderstandings and frustrations in many discussions on art, architecture and design. This book tries to implement some slow thinking on architectural form, because it takes time and effort to split a composition into pieces, in order to achieve a deeper understanding when reassembling the parts into a unified whole.
My research ended up showing that the same type of thinking could be used to isolate and determine the basic elements of form - and to put these into a model. This book aims to demonstrate how this rather narrow perspective on form makes sense in relation architecture.
On the analytic level, this tool will show to the reader an ability to split compositions in well-defined parts, creating a simple and clear understanding of form and composition. On the practical creative level the models definition of the basic types of form and their special nature support the user in making coherent choices during a design process - just as the examples in the last part of the book show many famous architects has been doing through the ages. The book will demonstrate to the reader that good design is not something related exclusively to some intuitive artistic intelligence – but is based on principles with a special kind of mindset and logic, we can understand and learn.
Antal sider110
StatusAfsendt - 2020