Architectural Sequence

7/28/2019 Architectural Sequence

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notes architectural sequencesequence as an itinerary architectural promenade (Besset) The plan is not an abstract factor, but the organizational scheme of a visual experience which takes place

in movement and unfolds in time - the scenario of an "architectural promenade." In movement - the eye of the spectator sees architecture born. (Le Corbusier) One enters. The architectural spectacle presents itself successively to the eye. The spectator follows an

itinerary andthe scenes unfold in a wide variety of forms. There is the play of inflowing light illuminatingthe walls or creating half-lights. The bays provide views of the exterior where thanks to the right angle

arrangement of the house and the indentations formed by the outer covering one discovers architecturalunity once more. (Le Corbusier)

sequence as encounters and events (Besset) Theme variability and mobility of the constructed mass. The intuitionwhich enabled Le Corbusier to

abolish the classic concept of the roomand treated the museum as a veritable thoroughfare interspersedwith"encounters" representing so many "events" for stimulating"meditation", could only derive from a way

of thinking completelydominated by the idea of circulation; of intercourse and exchangewithin thearchitectural organism. He avoided straight flights ofstairs and replaced them by ramps with a low angle

of slope whichcreated an almost imperceptible gliding movement from level to level.Quite apart from theramps, the passageways in Le Corbusier'sarchitecture are often laid out along a very slight incline, so

slightthat it passes unnoticed in photographs and small scale plans was adevice of optical correction - butalso an effective means ofdiversifying the muscular experience of architectural promenade.

sequence as dynamic (Besset) Sequence has nothing to do with recreation or picturesqueness. Forms in light - inside, and outside;

below, and above. Inside: you enter, you walk about and look around you. and the forms explainthemselves, they develop, they combine. Outside: you approach, you see, you get interested, you

appreciate, you go all the way around, you discover things you keep getting different impressions, oneafter the other. And the game being played becomes apparent. You walk about, you keep moving and

turning around. It is his promenade. His ramble, that counts, that is the prime mover of architecturalevents, therefore the game being played has not been set out around a fixed central ideal, rotary point, apoint of simultaneous circular vision. That is the architecture of the schools, the academies the decadent

fruit of the great renaissance, the death of architecture, its petrification (dynamic vs static). (Le Corbusier)

sequence and space (Besset) Le Corbusier's Villa Savoye as three-dimensional example of spatialsequence: Contrast between freely

articulated planes or concave screens(membrane) and highly individualized plastic object.

sequence and space (Besset) Miess Barcelona Pavilion as two-dimensional example of spatial sequence:only the free surfaces intervene in

order to make the essential stagesin the unfolding of the "Architecture promenade" which is more fluidbut less

animated and less rich in inventions and surprises than Le Corbusier's. Mies promenade is developed on one

level only and doesn'tlead to that complete take-over of space in three dimensions.

sequence front and back (Besset) A description of the sequence at Villa Savoye: A walk through the house produces architectural

impressions of a diversity that disconcerts every visitor unaware of the architectural liberties madepossible by modern techniques. The simple stilts of the ground floor are so arranged as to pattern the

landscape with a regularity whose effect is to do away with any notion of a 'front' or 'back' or 'side' of thehouse. (Le Corbusier)

ARCH 5901-301 - Comprehensive Design Studio! TTU/COA - spring 2013

Bennett Neiman, Professor of Architecture! architectural sequence 1


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sequence inside and outside (Besset) Le Corbusier - was determined to discipline this wealth to classifyclearly and simply the "Architectural

events" which occur at everystage of the promenade. To envelop the complexity of it in a "unity"whichwould transform the house itself a simple architectural eventsituated in an always infinitely complex site("The outside is alwaysan inside") into an element of order and serenity. The outside isdifferent from

inside but outside alludes to what is inside - cluesand cues.

corbusian sequence as compaction composition (Jencks) Le Corbuisier's buildings are like a collage superimposition of elements; parts obscure parts instead of

allowing them to be seen through; a succession of partially hidden and partially revealed excitement andsuspense; a sequence of primary forms and object types.

sequence as variety of spatial experiences (Rudolph 1974) We need desperately to relearn the art of disposing our buildings to create different kinds of space: the

quiet, enclosed, isolated, shaded space; the hustling, bustling space, pungent with vitality; the paved,dignified, vast, sumptuous, even awe-inspiring space; the mysterious space; the transition space which

defines, separates, and yet joins juxtaposed spaces of contrasting character. We need sequences ofspace which arouse one's curiosity, give a sense of anticipation, which beckon and impel us to rush

forward to find that releasing space which dominates, which acts as a climax and those outer spaceswhich encourage social contact.

circulation as sequence (Rudolph 1977) Pedestrian sequences of space and circulation are developed in elaborate ways with stairs divorced from

the structural-mechanical bays. Circulation twists and turns are calculated to bring people together, foralienation is a major problem in commuter campuses. Several entrance spaces are celebrated byallowing space to flow vertically through three floors, but breaking down these spaces through the use of

platforms cantilevered from stairs which wind around vertical shafts of elevators and "caves" withfireplaces cut into the earth.

spatial sequence, movement, and simultaneity (Rudolph 1977) Moving in space and spatial sequences are the epitome of Twentieth Century architecture because of (a)

the relationship of architecture to transportation systems, (b) the idea that a building is never completedand, indeed, constant changes, and (c) the pervasiveness of simultaneity: i.e. space/time.

space, place, and sequence (Rudolph 1956) psychological demands of the building or place. Such necessities are met primarily through the

manipulation of space and the use of symbols. We are particularly unsure in this aspect, partly because

the revolution threw out much which still has validity. We must learn anew the meaning of monumentality.We must learn how to create a place of worship and inspiration; how to make quiet, enclosed, isolatedspaces; spaces full of hustling, bustling activities pungent with vitality; dignified, vast, sumptuous, even

awe-inspiring spaces; mysterious spaces; transition spaces which define, separate, and yet joinjuxtaposed spaces of contrasting character. We need sequences of space which arouse one's curiosity,

give a sense of anticipation, beckon and impel us to rush forward to find that releasing space which

dominates, which promises a climax and therefore give direction.




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avoid the pinball interpretation of sequence (Neiman) sequence is not literally bouncing from object to object. sequence is not being led by the hand. sequence should have an intellectual and conceptual basis. sequence is not just connecting the dots.

sequence as beginnings, middles, and ends (Neiman) the minimum number of components for a sequence is three: beginning, middle, end. beginning of sequence as introduction, entrance, preparation. middle of sequence as development, transition, elaboration, climax. end sequence as conclusion, exit, finale, arrival.

sequence as celebrated path (Neiman) sequence as progression and motion. sequence as a celebrated journey. sequence as a spatial journey. sequence as an itinerary/route. transformation/metamorphosis.

sequence and orchestration of events (Neiman) sequence as physical maneuvering and redirection competitions between the body and the mind (eye) are created the eye is seduced into going in a direction other than where the body is going cues, clues, and references decision making points in the sequence pause points in the sequence transition points in the sequence creation of a scenario sequence as a chess game: a series of interrelated moves and counter moves dynamic balance, dynamic repetition rhythm-arhythm; the orchestration of cadences (ABABA or ABABBAB, for example) intervals: diminishing and increasing density or cadence of increment sequence of spatial events, episodes, unfolding of spaces and places and events. augmentation of sequential orchestration by creating clues, cues, markers, notations, and references velocity; either increasing or decreasing (non-constant rate); path, pause, and reflection things that touch and things that do not touch variegated thickness

sequence and place (Neiman) places within a place transitions to a place points of intersection

sequences with increasing complexities sequence as space and light at-under-beyond space within a space sequence as a thing beyond a thing beyond a thing one into another into another




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BESSET, M., & KEMBALL, R. (1987). Le Corbusier: [to live with the light]. New York, Rizzoli.

JENCKS, C. (1973). Le Corbusier and the tragic view of architecture. Cambridge, Mass, Harvard University Press.

RUDOLPH, P. (1956). The six determinants of architectural form. Architectural Record, Oct. 1956, Vol. 120:4, P. 183-190;

with Photos.

RUDOLPH, P. (1974). Alumni Day Speech: Yale School of Architecture, February, 1958. Oppositions, Oct. 1974, Vol. 4, P.

141-143.

RUDOLPH, P. (1977). Enigmas of Architecture. A+U Architecture and Urbanism, P 317-320.



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Architectural Sequence