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A Critical Analysis of the representation of the project T-Knot

designed by Lebbeus Woods
Considered by many to be the first and only built project of the late visionary Architect Lebbeus
Woods; the project T-Knot (Technological-Knot; also referred to as Light Pavilion) (Kumpusch,
2013) is a project by Lebbeus Woods working alongside Christoph A. Kumpusch and Steven
Holl. It is positioned as an experimental space within Steven Holl Architects project Sliced
Porosity Block located in Chengdu, China. (Woods, 2011)

Figure 1: Sliced Porosity Block by Steven Holl Architects. Photograph by Hufton + Crow (2012)

T-Knot has been represented in a multitude of media throughout its lifespan; and not only by
Woods. The project has been represented through sketches, technical drawings, photographs,
sketch models, 1:1 scale models, rendered images, text, presentations and exhibitions to name
but a few media.

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The project was represented in an exhibition by the MAK center running between 17th June and
6th August in 2011 (MAK Center, 2011). The project has also featured in publications; both in the
Architectural Review (Williams, 2013) and the LOG magazine series (Morris, 2013).

Figure 2: Light Pavilion Exhibition at the MAK center. Photograph by Joshua White (2011)

Analysis of the Representation of the Project

This section of the paper will analyse the representation of the project; focusing predominantly
on the hand drawn pre-construction drawings from Woods website and blog.
The experimental nature of the project makes the representation techniques hard to position.
Amongst the architectural profession Woods was considered a visionary, famous for his
dystopian hand drawings depicting the future (Frearson, 2012). Reflecting upon Woods death,
Peter Eisenmann said:
Lebbeus was one of the last of a generation of visionaries who dedicated a life in
architecture to drawing an alternative world, one important for the present and the future.
(Wainwright, 2012, citing Eisenmann, n.d.)
Yet the project was to be realised as a physical object; a space within a building. This struggle
between dreams and reality is ever present within Woods initial sketches of the project. The
early sketch elevation seen in figure 3 clearly depicts a desire by Woods to rebel against the
structured grid of the building, and the space he has been given to work within. However, the
drawing is clearly grounded in reality via the use of finished floor levels on the right hand side. I

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would argue that this is a conscious decision by Woods to develop a clear juxtaposition between
the two schemes. The drawings purpose is to display the scheme as being unconstrained by the
limitations of the larger project.

Figure 3: Early Sketch Elevation (cdusk1day) by Lebbeus Woods

Woods describes the space as a freespace; in that anyone choosing to inhabit it has to invent
the reason and ways to do so, working with the spatial conditions it creates. (Woods, n.d.).
However, this type of space is difficult to portray and describe in drawings. The initial sketches
of the scheme seen in Figure 4 do not portray a freespace in the drawings; and do even less to
provide an answer to the question, what is a freespace? It is for this reason that Woods
appropriates large quantities of hyper-descriptive text with each of his projects, and T-Knot is no
different.
Lebbeus Woods kept a blog and a website in which several of the posts and pages reflect upon,
describe or reference the T-Knot project (Woods, n.d.) (Woods, 2011). This text is as much a part
of the representation of the project as the drawings are; and both are required if the audience
are to fully understand Woods scheme. In this way, the representation of T-Knot is an analogy of
a Student Architectural Critique; the student will pin-up drawings, but no matter how descriptive
and articulated the drawings are, the student will still require the verbal presentation to fully
explain their ideas.

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Figure 4: Early project sketches (cdusk0-2) by Lebbeus Woods

Woods however seems sympathetic to the idea that drawings and text go hand-in-hand when
representing a project. For an architect who is famous for his drawings, Woods once stated that
he only drew to express ideas (Bernstein, 2012); and it could be argued that he views text in the
same manner. In the manifesto of the project on Woods (2011) website he describes the project
as such:
Set within a more known three-dimensional geometry and framed by it, the Light Pavilion
exerts its differences. Most apparently, the elements defining it do not follow the known,
rectilinear geometry of its architectural setting. (...) Their deviation from the rectilinear grid
releases its spaces from static stability and sets them in motion, encouraging visitors to
explore. (Woods, 2011)

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The text on itself is difficult to both read and understand, but when positioned alongside Woods
drawings then the project awakens. Both the early sketched perspective in figure 5 and the black
and white render in figure 6 clearly correlate with the text above. The planer elements of the
pavilion clearly disobey the grid set out by Steven Holl. Woods use of light and shadow depict
movement and the inclusion of people references back to the idea of exploration.

Figure 5: Early sketched

perspective by Lebbeus Woods

Figure 6: Early project render (Light-Pavilion-460) by Lebbeus

Woods

There is however, people who argue the opposite and Woods use of over zealous text to
describe his projects has come under criticism in recent years. Austin Williams (2013) in a recent
Architectural Review writes:
The sculpture lights up at 6pm to create what Woods suggested would be 'one that gives
us the opportunity to experience a type of space we haven't experienced before'. Having
experienced the sculpture several times, there is something arrogantly fatuous and, at
the same time, incontrovertible in that statement. (Williams, 2013).
Although Williams makes a clear point, even within his statement there is elements of
uncertainty. The word incontrovertible shows that even Williams understands the need for such
text even if at times it may seem rather fatuous in the manner it is written and constructed.
Various statements from Kristoph A. Kumpusch argue for the case of Woods; Kumpusch uses a
similar style of writing to describe the project (Frearson, 2013, citing Kumpusch, n.d.). In a
statement released after Woods death Kumpusch described Light Pavilion in the following way:
This project, from my perspective, was an extension of drawing, a condensation of
thoughts as a material manifestation. (Frearson, 2013, citing Kumpusch, n.d.).

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Two sentences within this statement relate closely to the analysis within this section of the paper.
Firstly, the ideal that the project manifests itself as an extension of drawing is both poetic in its
description yet readable within the drawings discussed within this paper, most notably in Figure 8
when compared to Figure 9. Secondly, Kumpuschs use of language in the whole statement is
similar to that of Woods; in that it not only describes the project, but furthers the project as a
whole. (Frearson, 2013, citing Kumpusch, n.d.).

Figure 7: Internal sketched perspective by Lebbeus

Woods

Figure 8: Photograph by Iwan Baan

Throughout this section of the paper, the focus has been on Lebbeus Woods sketches from the
project T-Knot. The final aspect of the projects representation to be analysed ties together the
key arguments within this section of the paper. Figure 9 shows various methods of
representation used throughout the project.
The structural columns articulating the Pavilions interior spaces are illuminated from
within and in the twilight and night hours visibly glow, creating a luminous space into
which the solid architectural elements appear to merge. This quality is amplified by the
mirrored surfaces enclosing the Pavilion, which visually extend its spaces infinitely. We
might speculate that this new type of space stands somewhere between traditional
architecture and the virtual environments of cyberspace. (Woods, 2011)
When viewed alongside the text above then Figure 9 helps to further articulate the relationships
between various representations throughout the whole design process. Displaying the
representations side-by-side clearly shows a progression in the design for the space, and it is
clear to see that the early sketches of the scheme have had a large influence on the final design.
This triptych-esque display of various representations shows a compelling argument that
sketching and sketch model making where of the utmost importance throughout the project and
the initial ideas are highly valued even as the project progresses through construction.

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Figure 9: Collage of images representing the progression of early ideas through sketching and
model making.
From Top-Bottom; Left-Right: Early project sketches (cdusk0-2) by Lebbeus Woods, Sketch Model
(ltpav-modst-12) by Lebbeus Woods, Original concept drawing of the illuminated column by
Lebbeus Woods, Polycarbonate Typ. Plan (Anon), Polycarbonate mockup (ltpav-mockup-131)
(Anon)

Figure 9 as a whole alongside the text by Woods and the description of the project as an
extension of drawing helps to argue for the importance of sketching and model making within
the design process; this argument is extremely poignant, especially within a project which
grounds itself in the deepest of modern theory.

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Conclusion
This paper has discussed and argued various positions around the representation of Lebbeus
Woodss project Technological-Knot. Although several positions have been analysed, the paper
has predominantly focused on the discussion of 3 key points. They are as follows:
1. Each drawing should have a purpose which is easily identifiable within the method of
representation. A drawing should position itself in such a way as not to confuse the
reader, and any information within the drawing should have a clear purpose.
2. Descriptive text can be as powerful a tool in the representation of a project as drawings or
models etc. Text can not only describe the project, but further the project as a whole. The
use of text can be used to add information to individual drawings or to provide information
to the project as a whole.
3. The use of sketches and sketch models is extremely important throughout the design
process. The sketch has various roles in the representation of a project, in T-Knot it is
most prevalent in the representation of key information that drives the project from the
early stages of the design.
The 3 points discussed above which were highlighted throughout this paper have a close
relationship to the architectural design studio. I would argue that the 3rd and 1st point are
already heavily grounded within the theory of architectural representation. Within studio it is
encouraged that sketching and models are used to develop and represent ideas early within the
project. With regards to the use of text, then it sometimes feel like a faux pas if it used rather
than representing through a visual media i.e. drawing. The representation of the project T-Knot
however argues against this, and shows us that text plays a pivotal role in the representation of
the project; and we should not be afraid to use more of it on our own projects.

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References
Anon. (no date) Polycarbonate Typ. Plan (CAD Drawing) in: Wordpress [online] Available from:
http://lebbeuswoods.wordpress.com/2012/03/25/light-pavilion-under-construction/ [Accessed 27
December 2014]
Anon. (no date) ltpav-mockup-131 (Photograph) In: Wordpress [online] Available from:
http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 27 December 2014]
Baan, I. (no date) Sliced Porosity Block [Photograph] In: iwan [online] Available from:
http://www.iwan.com/photo_Chengdu_Raffles_City_Steven_Holl.php [Accessed 22 December
2014]
Bernstein, F. (2012) Ever the Visionary, Lebbeus Woods Gets Real. Available from:
http://archrecord.construction.com/news/2012/03/Lebbeus-Woods.asp [Accessed 20 December
2014].
Frearson, A. (2012) Lebbeus Woods dies aged 72. Available
from:http://www.dezeen.com/2012/10/31/lebbeus-woods-1940-2012/ [Accessed 20 December
2014].
Frearson, A. (2013) The Light Pavilion by Lebbeus Woods with Christoph a. Kumpusch. Available
from: http://www.dezeen.com/2013/01/19/light-pavilion-by-lebbeus-woods-at-sliced-porosity-block/
[Accessed 21 December 2014].
Hufton + Crow. (2012) Sliced Porosity Block [Photograph]. In: Hufton + Crow [online]. Available
from: http://www.huftonandcrow.com/projects/gallery/sliced-porosity-block/ [Accessed 27
December 2014]
Kumpusch, C. (2013) The light pavilion by Lebbeus Woods and Christoph a. Kumpusch for the
Sliced Porosity Block in Chengdu, China 2007-2012. Ennetbaden: Lars Muller Verlag.
MAK Center, (2011) Light Pavilion. Available from: http://makcenter.org/programming/light-pavilion/
[Accessed 27 December 2014].
Morris, M. (2013) Two Hundred and Eighty-Eight Lines. Log. (27) pp. 128-136.
Wainwright, O. (2012) Lebbeus Woods, visionary architect of imaginary worlds, dies in New York.
Available from: http://www.theguardian.com/artanddesign/architecture-designblog/2012/oct/31/lebbeus-woods [Accessed 20 December 2014].
White, J. (2011) Light Pavilion Installation View [Photograph] In: MAK Center [online]. Available
from: http://makcenter.org/programming/light-pavilion/ [Accessed 27 December 2014]

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Williams, A. (2013) Chinese Chequers. The Architectural Review. (1393) pp. 50-61.
Woods, L. (2011) A Space of Light. Available from:
http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 27 December 2014].
Woods, L. (no date) cdusk0-2 [Drawing] In: Wordpress [online] Available from:
http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 20 December 2014]
Woods, L. (no date) cdusk1day [Drawing] In: Wordpress [online] Available from:
http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 20 December 2014]
Woods, L. (no date) Light-Pavilion-460 [Computer Generated Image] In: cab.rs [online] Available
from: http://www.cab.rs/wp-content/uploads/2012/10/LW-Light-Pavilion-460.jpg [Accessed 21
December 2014]
Woods, L. (no date) ltpav-modst-12 [Cardboard Model] In: Wordpress [online] Available from:
http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 27 December 2014]
Woods, L. (no date) Original concept drawing of the illuminated column [Drawing] In: Wordpress
[online] Available from: http://lebbeuswoods.wordpress.com/2012/03/25/light-pavilion-underconstruction/ [Accessed 27 December 2014]
Woods, L. (n.d.) T-Knot. Available from: http://lebbeuswoods.net/ [Accessed 27 December 2014].
Woods, L. (no date) Untitled [Early sketched perspective] [Drawing] In: Lebbeuswoods.net [online]
Available from: http://lebbeuswoods.net/ [Accessed 21 December 2014]
Woods, L. (no date) Untitled [Internal sketched perspective] [Drawing] In: Lebbeuswoods.net
[online] Available from: http://lebbeuswoods.net/ [Accessed 21 December 2014]

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Figure List
Figure 1 Hufton + Crow. (2012) Sliced Porosity Block [Photograph]. In: Hufton + Crow [online]. Available
from: http://www.huftonandcrow.com/projects/gallery/sliced-porosity-block/ [Accessed 27
December 2014]
Figure 2 White, J. (2011) Light Pavilion Installation View [Photograph] In: MAK Center [online]. Available
from: http://makcenter.org/programming/light-pavilion/ [Accessed 27 December 2014]
Figure 3 Woods, L. (no date) cdusk1day [Drawing] In: Wordpress [online] Available from:
http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 20 December 2014]
Figure 4 Woods, L. (no date) cdusk0-2 [Drawing] In: Wordpress [online] Available from:
http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 20 December 2014]
Figure 5 Woods, L. (no date) Untitled [Early sketched perspective] [Drawing] In: Lebbeuswoods.net [online]
Available from: http://lebbeuswoods.net/ [Accessed 21 December 2014]
Figure 6 Woods, L. (no date) Light-Pavilion-460 [Computer Generated Image] In: cab.rs [online] Available
from: http://www.cab.rs/wp-content/uploads/2012/10/LW-Light-Pavilion-460.jpg [Accessed 21
December 2014]
Figure 7 Woods, L. (no date) Untitled [Internal sketched perspective] [Drawing] In: Lebbeuswoods.net
[online] Available from: http://lebbeuswoods.net/ [Accessed 21 December 2014]
Figure 8 Baan, I. (no date) Sliced Porosity Block [Photograph] In: iwan [online] Available from:
http://www.iwan.com/photo_Chengdu_Raffles_City_Steven_Holl.php [Accessed 22 December
2014]

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Figure 9 Woods, L. (no date) cdusk0-2 [Drawing] In: Wordpress [online] Available from:
http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 20 December 2014]
Woods, L. (no date) ltpav-modst-12 [Cardboard Model] In: Wordpress [online] Available from:
http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 27 December 2014]
Woods, L. (no date) Original concept drawing of the illuminated column [Drawing] In: Wordpress
[online] Available from: http://lebbeuswoods.wordpress.com/2012/03/25/light-pavilion-underconstruction/ [Accessed 27 December 2014]
Anon. (no date) Polycarbonate Typ. Plan (CAD Drawing) in: Wordpress [online] Available from:
http://lebbeuswoods.wordpress.com/2012/03/25/light-pavilion-under-construction/ [Accessed 27
December 2014]
Anon. (no date) ltpav-mockup-131 (Photograph) In: Wordpress [online] Available from:
http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 27 December 2014]