Material
From the head of Jove
Aesthetically motivated curiosity
Whose eyes had seen and whose fingers had felt
More than the Graces and less than the Muses
The idea grows as they work
Materials and how to employ them
What the material wants to be
What the brick really wants.
We are working against the grain of the wood
Violence to the very structure of our being
A passive beauty of right structure
In conformity with its proper nature
A single material
The material finds the right object
Rather than the craft object finding the most suitable material, it can be said that the material finds the right object. Folk crafts are invariably the product of a local environment. When a certain locality is rich in a certain raw material, that material gives rise to a certain craftware.
Invisible substance
We wanted wood, not only in many visible places, but also in the roof trusses of the homeroom buildings, where they are invisible. Fujita wanted to replace the invisible trusses with steel trusses. They could not understand the idea that it was the actual substance — even though not visible — which would control the feeling of the thing.
207. Good Materials
Problem
There is a fundamental conflict in the nature of materials for building in industrial society.
Solution
Use only biodegradable, low-energy-consuming materials, which are easy to cut and modify on site. For bulk materials we suggest ultra-lightweight 40–60 lbs. concrete and earth-based materials like tamped earth, brick, and tile. For secondary materials, use wood planks, gypsum, plywood, cloth, chickenwire, paper, cardboard, particle board, corrugated iron, lime plasters, bamboo, rope, and tile.
Separation of surface and structure
The nineteenth century saw an increasing separation between the treatment of the surface and the structure of designed objects. Mass production and a mobile market economy encouraged the production of heavily ornamented yet cheaply fabricated products. Affordable manufacture allowed the burgeoning middle class to acquire “luxury” goods fashioned after objects formerly reserved for an elite.
Lacquerware
There are good reasons why lacquer soup bowls are still used, qualities which ceramic bowls simply do not possess. Remove the lid from a ceramic bowl, and there lies the soup, every nuance of its substance and color revealed. With lacquerware there is a beauty in that moment between removing the lid and lifting the bowl to the mouth when one gazes at the still, silent liquid in the dark depths of the bowl, its color hardly different from that of the bowl itself.
Nearer to the surface
If in the following I overemphasize the Orient, this is simply because in the Far East the properties of materials are a little nearer to the surface, a little more consciously a part of what the artist is trying to show. The naturalistic aspects of Oriental philosophy encourage a sensitivity to the quality of materials — or is it the inverse, that an early enjoyment of stone, wood, clay, and fiber gave rise to the philosopher’s perception of the soul in all natural things comparable to man himself? Westerners tend to override materials, usually in ignorance, but sometimes proudly as a tour de force.
The inner nature of material
The work of an artist in getting the details that he wants is greatly facilitated if he selects a material whose inner nature makes it want to take the desired shape.
Lightness & Heaviness
"Lightness is born of heaviness and heaviness of lightness, instantaneously and reciprocally, returning creation for creation, gaining strength proportionally as they gain in life, and as much more in life as they gain in motion. They destroy one another also at the same time, fulfilling a mutual vendetta, proof that lightness is created only in conjunction with heaviness, and heaviness only where lightness follows."
— Leonardo da Vinci
We must go with them
"You cannot make what you want to make, but what the material permits you to make. You cannot make out of marble what you would make out of wood, or out of wood what you would make out of stone. Each material has its own life, and one cannot without punishment destroy a living material to make a dumb senseless thing. That is, we must not try to make our materials speak our language, we must go with them to the point where others will understand their language."
— Constantin Brancusi
Wood
Wood speaks of its two existences and timescales: its first life as a growing tree and the second as a human artefact made by the caring hand of a carpenter or cabinet maker.
American Folk Art Museum, New York City, 1998–2001
As we draw closer, we see that the three-faceted planes of the museum are fabricated out of rectangular panels made of white bronze that was poured directly into dammed forms on the concrete floor of the foundry, producing a surface texture similar to both metal and stone.
Power law
Buildings which most profoundly communicate subtle harmony are composed of a complex mixture of materials, with the overall amounts of different materials jumping in a calibrated cascade — typically according to a power law. The relative proportions — the statistical distribution of materials by quantity of total visible area — is critical. It is this specific distribution, not just the mixture, which creates depth of feeling.
A Search for Structure
A Book by Cyril Stanley SmithThe Craftsman
A Book by Richard SennettIn Praise of Shadows
A Book by Jun'ichirō Tanizaki & Thomas J. Harper- Things that shine and glitter
- A naked bulb
- The Japanese toilet
- Empty dreams
- Most important of all are the pauses
In praise of pastiche
An Essay by Samuel HughesSo: it is perfectly true that contemporary traditional architecture tends to be structurally dishonest. But traditional architecture has always tended to be structurally dishonest. So if this is what makes contemporary traditional architecture pastiche, then most traditional architecture has been pastiche since the faux timbering of the Parthenon. Contemporary traditional architects have most of the great builders of our history as their companions in guilt.
The Finish Fetish Artists
An EssayFor others, perhaps especially those artists who worked with light and transparency and were involved in the birth of the Light and Space Movement, an immaculate surface is a prerequisite. Helen Pashgian explained this very clearly:
“On any of these works, if there is a scratch... that’s all you see. The point of it is not the finish at all – the point is being able to interact with the piece, whether it is inside or outside, to see into it, to see through it, to relate to it in those ways. But that’s why we need to deal with the finish, so we can deal with the piece on a much deeper level”.
The importance of a pristine surface calls for a very low tolerance to damage by the artists. The feeling is shared by Larry Bell:
“I don’t want you to see stains on the glass. I don’t want you to see fingerprints on the glass... I don’t want you to see anything except the light that’s reflected, absorbed, or transmitted”
The light that hits the glass
A Quote by Larry BellMy media isn’t glass, it’s the light that hits that glass.
On 'The Master and His Emissary'
A Quote by Ian McGilchristPeople who make works of art, whatever they might be, have gone to great trouble to make something unique which is embodied in the form that it is, and not in any other form, and that it transmits things that remain implicit
...Works of art are not just disembodied, entirely abstract, conceptual things. They are embodied in the words they’re in or in paint or in stone or in musical notes or whatever it might be.
Craft and Material in Digital Design
An ArticleThe joy of the humble brick
An Article by Tim HarfordThe brick is one of those old technologies, like the wheel or paper, that seem to be basically unimprovable. ‘The shapes and sizes of bricks do not differ greatly wherever they are made,’ writes Edward Dobson in the fourteenth edition of his Rudimentary Treatise on the Manufacture of Bricks and Tiles. There’s a simple reason for the size: it has to fit in a human hand. As for the shape, building is much more straightforward if the width is half the length.
An audio professional's take on vinyl
An ArticleThe analog-digital debate in audio is a longstanding one, and while it is unlikely to be resolved anytime soon, I thought I might be able to offer some background as a longtime audio professional and musician. Recordings are a beautiful mix of technical and aesthetic concerns, and this post will attempt to tease out how to navigate these two framings of music recording, especially with regard to the often-oversimplified distinction between analog and digital recordings.
Washi
An Essay from The Beauty of Everyday Things by Yanagi SōetsuHandmade washi (traditional Japanese paper) is replete with appeal. Looking at it, touching it, fills me with an indescribable sense of satisfaction. The more beautiful it is, however, the more difficult it is to put to use. Only a master of calligraphy could possibly add to its beauty; it is exquisite just as it is. This is wonderfully strange, for it is merely a simple material. Yet plain and undecorated as it is, it is alive with nuanced beauty. Good washi makes possible our most ambitious creative dreams.
Material tour de force: The work of Eladio Dieste
An Essay by Eladio DiesteI have explained, and supported with evidence, the concern for rationality in construction and economy understood in, I dared to say, a cosmic sense rather than a financial sense. However, this is not the whole thing that has guided me. I have also been guided by a sharp, almost painful, awareness of form.
Cosmic economy
A Quote by Eladio DiesteThere are deep moral/practical reasons for our search which give form to our work: with the form we create we can adjust to the laws of matter with all reverence, forming a dialogue with reality and its mysteries in essential communion... For architecture to be truly constructed, the materials must be used with profound respect for their essence and possibilities; only thus can 'cosmic economy' be achieved... in agreement with the profound order of the world; only then can have that authority that so astounds us in the great works of the past.
A Pattern Language
- Its place in the web of nature
- 9. Scattered Work
- 21. Four-Story Limit
- 51. Green Streets
- 53. Main Gateways
Its place in the web of nature
This is a fundamental view of the world. It says that when you build a thing you cannot merely build that thing in isolation, but must also repair the world around it, and within it, so that the larger world at that one place becomes more coherent, and more whole; and the thing which you make takes its place in the web of nature, as you make it.
9. Scattered Work
Problem
The artificial separation of houses and work creates intolerable rifts in people’s inner lives.
Solution
Use zoning laws, neighborhood planning, tax incentives, and any other means available to scatter workplaces throughout the city. Prohibit large concentrations of work without family life around them. Prohibit large concentrations of family life without workplaces around them.
21. Four-Story Limit
Problem
There is abundant evidence to show that high buildings make people crazy.
Solution
In any urban area, no matter how dense, keep the majority of buildings four stories high or less. It is possible that certain buildings should exceed this limit, but they should never be buildings for human habitation.
51. Green Streets
Problem
There is too much hot hard asphalt in the world. A local road, which only gives access to buildings, needs a few stones for the wheels of the cars; nothing more. Most of it can still be green.
Solution
On local roads, closed to through traffic, plant grass all over the road and set occasional paving stones into the grass to form a surface for the wheels of those cars that need access to the street. Make no distinction between street and sidewalk. Where houses open off the street, put in more paving stones or gravel to let cars turn onto their own land.
53. Main Gateways
Problem: Any part of town—large or small—which is to be identified by its inhabitants as a precinct of some kind, will be reinforced, helped in its distinctness, marked, and made more vivid, if the paths which enter it are marked by gateways where they cross the boundary.
Solution: Mark every boundary in the city which has important human meaning—the boundary of a building cluster, a neighborhood, a precinct—by great gateways where the major entering paths cross the boundary.
66. Holy Ground
Problem
What is a church or temple? It is a place of worship, spirit, contemplation, of course. But above all, from a human point of view, it is a gateway. A person comes into the world through the church. They leave it through the church. And, at each of the important thresholds of their life, they once again step through the church.
Solution
In each community and neighborhood, identify some sacred site as consecrated ground, and form a series of nested precincts, each marked by a gateway, each one progressively more private, and more sacred than the last, the innermost a final sanctum that can only be reached by passing through all of the outer ones.
70. Grave Sites
Problem
No people who turn their backs on death can be alive. The presence of the dead among the living will be a daily fact in any society which encourages its people to live.
Solution
Never build massive cemeteries. Instead, allocate pieces of land throughout the community as grave sites—corners of parks, sections of paths, gardens, beside gateways—where memorials to people who have died can be ritually placed with inscriptions and mementos which celebrate their live. Give each grave site an edge, a path, and a quiet corner where people can sit. By custom, this is hallowed ground.
80. Self-Governing Workshops and Offices
Problem
No one enjoys their work if they are a cog in a machine.
Solution
Encourage the formation of self-governing workshops and offices of 5 to 20 workers. Make each group autonomous—with respect to organization, style, relation to other groups, hiring and firing, work schedule. Where the work is complicated and requires larger organizations, several of these work groups can federate and cooperate to produce complex artifacts and services.
104. Site Repair
Problem
Buildings must always be built on those parts of the land which are in the worst condition, not the best.
Solution
On no account place buildings in the places which are more beautiful. In fact, do the opposite. Consider the site and its buildings as a single living ecosystem. Leave those areas that are the most precious, beautiful, comfortable, and healthy as they are, and build new structures in those parts of the site which are least pleasant now.
106. Positive Outdoor Space
Problem
Outdoor spaces which are merely “left over” between buildings will, in general, not be used.
Solution
Make all outdoor spaces which surround and lie between your buildings positive. Give each one some degree of enclosure; surround each space with wings of buildings, trees, hedges, fences, arcades, and trellised walks, until it becomes an entity with a positive quality and does not spill out indefinitely around corners.
109. Long Thin House
Problem
The shape of a building has a great effect on the relative degrees of privacy and overcrowding in it, and this in turn has a critical effect on people’s comfort and well-being.
Solution
In small buildings, don’t cluster all the rooms together around each other; instead string out the rooms one after another, so that distance between each room is as great as it can be. You can do this horizontally—so that the plan becomes a thin, long rectangle; or you can do it vertically—so that the building becomes a tall narrow tower. In either case, the building can be surprisingly narrow and still work—8, 10, and 12 feet are all quite possible.
112. Entrance Transition
Problem: Buildings, and especially houses, with a graceful transition between the street and the inside, are more tranquil than those which open directly off the street.
Solution: Make a transition space between the street and the front door. Bring the path which connects street and entrance through this transition space, and mark it with a change of light, a change of sound, a change of direction, a change of surface, a change of level, perhaps by gateways which make a change of enclosure, and above all with a change of view.
126. Something Roughly in the Middle
Problem
A public space without a middle is quite likely to stay empty.
Solution
Between the natural paths which cross a public square or courtyard or a piece of common land, choose something to stand roughly in the middle: a fountain, a tree, a statue, a clock-tower with seats, a windmill, a bandstand. Make it something which gives a strong and steady pulse to the square, drawing people in toward the center. Leave it exactly where it falls between the paths; resist the impulse to put it exactly in the middle.
127. Intimacy Gradient
Problem
Unless the spaces in a building are arranged in a sequence which corresponds to their degrees of privateness, the visits made by strangers, friends, guests, clients, family, will always be a little awkward.
Solution
Lay out the spaces of a building so that they create a sequence which begins with the entrance and the most public parts of the building, then leads into the slightly more private areas, and finally to the most private domains.
134. Zen View
If there is a beautiful view, don’t spoil it by building huge windows that gape incessantly at it. Instead, put the windows which look onto the view at places of transition—along paths, in hallways, in entry ways, on stairs, between rooms.
If the view window is correctly placed, people will see a glimpse of the distant view as they come up to the window or pass it: but the view is never visible from the places where people stay.
135. Tapestry of Light and Dark
Problem
In a building with uniform light level, there are few “places” which function as effective settings for human events. This happens because, to a large extent, the places which make effective settings are defined by light.
Solution
Create alternating areas of light and dark throughout the building, in such a way that people naturally walk toward the light, whenever they are going to important places: seats, entrances, stairs, passages, places of special beauty, and make other areas darker, to increase the contrast.
159. Light on Two Sides of Every Room
Problem
When they have a choice, people will always gravitate to those rooms which have light on two sides, and leave the rooms which are lit only from one side unused and empty.
Solution
Locate each room so that it has outdoor space outside it on at least two sides, and then place windows in these outdoor walls so that natural light falls into every room from more than one direction.
168. Connection to the Earth
Problem
A house feels isolated from the nature around it, unless its floors are interleaved directly with the earth that is around the house.
Solution
Connect the building to the earth around it by building a series of paths and terraces and steps around the edge. Place them deliberately to make the boundary ambiguous—so that it is impossible to say exactly where the building stops and earth begins.
172. Garden Growing Wild
Problem
A garden which grows true to its own laws is not a wilderness, yet not entirely artificial either.
Solution
Grow grasses, mosses, bushes, flowers, and trees in a way which comes close to the way that they occur in nature: intermingled, without barriers between them, without bare earth, without formal flower beds, and with all the boundaries and edges made in rough stone and brick and wood which become a part of the natural growth.
179. Alcoves
Problem
No homogeneous room, of homogeneous height, can serve a group of people well. To give a group a chance to be together, as a group, a room must also give them the chance to be alone, in one’s and two’s in the same space.
Solution
Make small places at the edge of any common room, usually no more than 6 feet wide and 3 to 6 feet deep and possibly much smaller. These alcoves should be large enough for two people to sit, chat, or play and sometimes large enough to contain a desk or a table.
180. Window Place
Problem
Everybody loves window seats, bay windows, and big windows with low sills and comfortable chairs drawn up to them.
Solution
In every room where you spend any length of time during the day, make at least one window into a "window place".
190. Ceiling Height Variety
Problem
A building in which ceiling heights are all the same is virtually incapable of making people feel comfortable.
Solution
Vary the ceiling heights continuously throughout the building, especially between rooms which open into each other, so that the relative intimacy of different spaces can be felt. In particular, make ceilings high in rooms which are public or meant for large gatherings (10 to 12 feet), lower in rooms for smaller gatherings (7 to 9 feet), and very low in rooms for one or two people (6 to 7 feet).
197. Thick Walls
Problem
Houses with smooth hard walls made of prefabricated panels, concrete, gypsum, steel, aluminum, or glass always stay impersonal and dead.
Solution
Open your mind to the possibility that the walls of your building can be thick, can occupy a substantial volume—even actual usable space—and need not be merely thin membranes which have no depth. Decide where these thick walls ought to be.
205. Structure Follows Social Spaces
Problem
No building ever feels right to the people in it unless the physical spaces (defined by columns, walls, and ceilings) are congruent with the social spaces (defined by activities and human groups).
Solution
A first principle of construction: on no account allow the engineering to dictate the building’s form. Place the load bearing elements—the columns and the walls and floors—according to the social space of the building; never modify the social spaces to conform to the engineering structure of the building.
207. Good Materials
Problem
There is a fundamental conflict in the nature of materials for building in industrial society.
Solution
Use only biodegradable, low-energy-consuming materials, which are easy to cut and modify on site. For bulk materials we suggest ultra-lightweight 40–60 lbs. concrete and earth-based materials like tamped earth, brick, and tile. For secondary materials, use wood planks, gypsum, plywood, cloth, chickenwire, paper, cardboard, particle board, corrugated iron, lime plasters, bamboo, rope, and tile.
239. Small Panes
Problem
When plate glass windows became possible, people thought that they would put us more directly in touch with nature. In fact, they do the opposite.
Solution
Divide each window into small panes. These panes can be very small indeed, and should hardly ever be more than a foot square. To get the exact size of the panes, divide the width and height of the window by the number of panes. Then each window will have different sized panes according to its height and width.
247. Paving With Cracks Between the Stones
Problem
Asphalt and concrete surfaces outdoors are easy to wash down, but they do nothing for us, nothing for the paths, and nothing for the rainwater and plants.
Solution
On paths and terraces, lay paving stones with a 1 inch crack between the stones, so that grass and mosses and small flowers can grow between the stones. Lay the stones directly into the earth, not into mortar, and, of course, use no cement or mortar in between the stones.
249. Ornament
Problem
All people have the instinct to decorate their surroundings.
Solution
Search around the building, and find those edges and transitions which need emphasis or extra binding energy. Corners, places where materials meet, door frames, windows, main entrances, the place where one wall meets another, the garden gate, a fence—all these are natural places which call out for ornament.
Now find simple themes and apply the elements of the theme over and over again to the edges and boundaries which you decide to mark. Make the ornaments work as seams along the boundaries and edges so that they knit the two sides together and make them one.
250. Warm Colors
Problem
The greens and grays of hospitals and office corridors are depressing and cold. Natural wood, sunlight, bright colors are warm. In some way, the warmth of the colors in a room makes a great deal of difference between comfort and discomfort.
Solution
Choose surface colors which, together with the color of the natural light, reflected light, and artificial lights, create a warm light in the rooms.
251. Different Chairs
Problem
People are different sizes; they sit in different ways. And yet there is a tendency in modern times to make all chairs alike.
Solution
Never furnish any place with chairs that are identically the same. Choose a variety of different chairs, some big, some small, some softer than others, some rockers, some very old, some new, with arms, without arms, some wicker, some wood, some cloth.
252. Pools of Light
Problem
Uniform illumination—the sweetheart of the lighting engineers—serves no useful purpose whatsoever. In fact, it destroys the social nature of space, and makes people feel disoriented and unbounded.
Solution
Place the lights low, and apart, to form individual pools of light which encompass chairs and tables like bubbles to reinforce the social character of the spaces which they form. Remember that you can’t have pools of light without the darker places in between.
253. Things From Your Life
Problem
“Decor” and the conception of “interior design” have spread so widely, that very often people forget their instinct for the things they really want to keep around them.
Solution
Do not be tricked into believing that modern decor must be slick or psychedelic, or “natural” or "modern art", or “plants” or anything else that current taste-makers claim. It is most beautiful when it comes straight from your life—the things you care for, the things that tell your story.