Edifice and edification: to build and to learn. Every project must begin anew with its given conditions and develop its own logic and procedures. Wonder in itself is a fleeting phenomena, excited by novelty and lending itself to the addictive cycles of fashion.
Edifice and edification: to build and to learn. Every project must begin anew with its given conditions and develop its own logic and procedures. Wonder in itself is a fleeting phenomena, excited by novelty and lending itself to the addictive cycles of fashion.
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Edifice and edification: to build and to learn. Every project must begin anew with its given conditions and develop its own logic and procedures. Wonder in itself is a fleeting phenomena, excited by novelty and lending itself to the addictive cycles of fashion.
Droits d'auteur :
Attribution Non-Commercial (BY-NC)
Formats disponibles
Téléchargez comme PDF ou lisez en ligne sur Scribd
On the Mantic Paradigm in Architecture:
The projective evocation of future edifices
MARCO FRASCARI
WILLIAM BRAHAM
University of Pennsylvania
WONDER, MAGIC AND GEOMETRY
Ethical and aesthetic values no longer coincide
naturally in architecture. A conjunction which was once
common now requires careful attention to the design,
construction, and inhabitation of buildings. The quality of
thinking required for this activity can be discerned in the
meaning of the words edifice and edification: to build and
to learn. These concepts are connected because
architecture is a practice based on specific sites and
‘occasions. Every project, no matter how trivial, must begin
‘anew with its given conditions and develop its own logic
‘and procedures. Theories can be gencralized from
Previous projects, but each edifice demonstrates its
attendant process of edification,
‘A clue to the nature of this edification arrived in
a fax, solicited from Emilio Ambasz by ID magazine: “I
hold that design's real task begins once functional and
behavioral neds have been afi Is not hunger, but
Jove and fear, and sometimes wonder,
feat” We Would go futher and sy that wondes
fact, always the source of design. It was just such a
“ceaseless wonder” which Plato, and then Aristotle,
credited as the origin of philosophy.’ Only the magical
essence of wonder can inspire the long investments of time
in such intangibles and at the same time, deliver sufficient
‘gratification to sustain their pursuit. Architects must forget
their fashionable methods of design in order to rediscover
the presence and proper role of wonder in everyday life.
Wonder in itself is a flecting phenomena, excited by
novelty and lending itself to the addictive cycles of fashion
There is, however, a
architecture and the ion is the subject of this paper.
In a subscquent fax, Ambasz suggested that an
architect should aspire to be an erring magus." A magus or
magician is a solitary individual who receives acute and
prudent visions. He certainly doesn’t belong to the tribe of
shamans that specialize in predictions of fashion or style.
The crucial distinction was captured in a final missive: "a
shaman may forecast rain, but a Magician, when really
Fig. 1. Maisonneuve prospecting with a pendulum. Vire,
Comment devenir sourcier.
‘good, can bring tears to our eyes."* This power is a
rediscovery of the pathos of design and its passionate, non-
rational origin. Non-rationality does not imply irrationality,
but rather the discovery of a reasonable knowledge that
accepts magical events in the everyday life of the intellect.
Magic is extremely difficult to define. The word
hhas had many meanings, including the natural, the
wonderful, the impossible and the absurd. From this
immense spectrum magic has arrived at two extremes
which define it today: poetry and charlatanism, In his
Social Theory of Magic, Daniel O'Keefe has observed that,
“the difference between modern and primitive socties is
not that they had magic and we do not, The difference
isthat they accepted the magic around them, whereas we
deny it The postic value of magic in design was
rediscovered by —the —sirrealis
“Thorndike argues that magic is not surreal, but
experimental and that it constituted the origin of modernscience and technology. It is this experimental, even
pragmatic, pursuit of wonder that informs architectural
thinking.
James Frascr has shown that magic operates
analogically according to"two fundamental principles: first,
that like produces lke, effect resembling cause; second that
things which have once been in contact continue ever
afterwards to act on each other In the case of
resemblance, magic is called homeopathic or sympathet
Its poetic counterparts are metaphor and simile. Contact
assumes the contagious affinity of parts or fragments to
the objects of their contact and the corresponding poctic
figures are metonymy and synecdoche. Marcel Mauss has
identified a third principle, that of negation or irony, which
can be generalized as the attraction of opposites.” Irony is
considered a dark form of humor, but the tension between
‘opposites is the magical force underlying love of all kinds
‘and haunting the infinite series of opposites which concern
metaphysics. Magic is above all preternatural and its
greatest product is a wonder founded on intellectual
construction.
The investigation of architectural wonder must
proceed without coveting the logic of other disciplines or
producing even more convoluted definitions. Wonder is an
alogical form of judgement, classed by convention among
the passions, but very much an intellectual passion. The
measure of its emotional judgement can be discovered
everywhere in the long tradition of architectural
speculation, from Vitruvius to Venturi, Our purpose is to
make the mantic and geometric face of that wonder
evident, demonstrating that through its application the
discipline is ever compressible, resilient, and resourceful.
From the beginning, geometry was the tool with which the
magic of wonder was pursued. Vitruvius presented the
types of columns according to their metaphoric
resemblance to men, women and maidens. The operative
connection was secured with proportional measures taken
from a human footprint (pedis vestigium). The precision of
their geometric manipulation easily lends itself to the
rigors of construction and also permits the open-ended
incorporation of human characteristics.
It is our contention that the techniques of
geometry can still unite the ethos and pathos of
architecture, although its magical and symbolic role has
been limited by pseudo-mathematical and analytical
interpretations. When the medieval masons declared that
“art was nothing without science’ (ars sine scientia nihil
est), it was to this geometry that they referred, Its full
understanding requires a rethinking of current
architectural discourse,
Geometry is more than mere technique.
Etymologicallyit described the measurement of farm lands
applied annually with ropes and boards to the flooded arca
around the Nile. In construction, the measures it most
often conveyed were the dimensions and proportions of
the body, poetically elaborating human tales and
characteristics. Conversely, in Euclid’s
manipulation of geometric figures became the highest
standard of logical reasoning. Yet these same
‘manipulations were employed in divinatory procedures as
‘a form of natural writing to be deciphered from the
chance arrangement of things such as stars or lots or
cracks. These "pre-visions" contrast with the optical
analysis of vision. Geometry explains the interactions of
material with light, the projection of shadows, and the
distortions of surfaces. Even the complementary opposites
by which color is understood are themselves a geometrical
method for managing otherwise fleeting and corporeal
phenomena.
Fig. 2. Aristippus, Récréations Mathématiques, 1696
MANTIC PROCEDURES
Architecture is based on geometric acts of
prediction which are used to evoke future constructions.
‘These are projections in both the literal and figurative
sense, The possibility of projection is born of two
distinctions: the fist between information and knowledge,
the second between description and demonstration.outs
torent
Projective demonstrations are built on constructive
Knowledge and represent both the physical building and
the story of its distant origin Origins are not beginnings
and like histories they are the result, not the source, of
knowledgeable projections. As Lewis Mumford conceded,
the historians measure is mot abstract truth, but the
usability’ of his stories. This is not simple relativism but
the higher standard of relevance, which distinguishes
knowledge from information and demonstration from
mere descriptions. Like histories, architectural projections
are attempts to make the future constructions available
and usable. They are quite literally “self-fulfilling”
prophecies. As such, they are both a class of gcometric
procedures and acts of imagination; the one making the
others visible.
‘The examination of architectural projection begins
‘with some figures traced on the sand and partially erased
by the sea. According to Vitruvius, a follower of Socrates
named Aristippus of Cyrene was shipwrecked with his
fellow travellers on the coast of Rhodes. As. they
disembarked, he came upon some geometrica schemata in
the sand and exclaimed, “There is hope; I see human
footsteps" (bene speramus! hominum enim vestigia video).
Following this discovery, Aristippus went into the city
where he engaged in friendly discussions of philosophy and
various arts and amassed a fortune, He ultimately decided
not to return home?
The fact that Vitruvius chose this rather sibyline
story to introduce the book. ilding
has always seemed puzzling, The traditional interpretations
of this story assumed that the geometrica schemata were
the figures and proofs of Euclidian geometry. As emblems
of rational thought, Arristipus was presumed to interpret
them as indications of civilized human presence on the
island of Rhodes. This was not an uncommon activity;
geometric exercises were frequently executed on sand in
ancient stories. Archimedes himself was killed while
teacing geometica schemata on the beach during the
invasion of Syracuse. Completely focused on his drawing,
he did not respond to the legionnaire who asked what be
‘was doing. The Centurion of the invasion had ordered that
the famous thinker be spared and so the Roman soldiers,
asked the name of each Syracusan they executed. But,
after the third unanswered request, the soldier lost bis
patience and deprived humanity of both the lines that
Archimedes was tracing and their meaning, The orthodox
interpretation again assumes the construction of Euclidian
figures like those on the beach at Rhodes. But, in our
view, the fact that Archimedes could not be distracted
from a procedure which he was conducting while his home
city was under attack, indicates that the figures belonged
to a semiotic specter much more profound and far-
reaching. It was, after all, Archimedes who invented
focusing mirrors to burn an carlier attacking fleet in the
harbor. What was the subject of his speculation during this
attack?
‘A revealing analogue to these sea-side exercises
is found in the Marriage of Mercury and Philology by
Martianus Capella. This is an allegorical text in which the
arts of the givium and the quadrivium are combined and
presented as feminine figures. In the ceremony, lady
geometry wears a hat embroidered with the signs of the
zodiac (astrology) and shoes tattered from walking the
earth (geomancy). She is accompanied by two maids,
Philosophy and Paidea (learning), who carry a silver
abacus ~ a flat tray with raised borders and feet that is
covered with a fine green sand.” The courts of the time
used the sand of the abacus in which to delineate their
geometrica schemata. In part, Capella’s allegory ilustrated
the proper relationship among the arts of the quadriviurn:
Arithmetic is the science required to understand the ratios
of Harmony, both of which are added to Geometry for the
unified study of Astrology. Understanding the motion
(astronomia), music (armonia), and influence (astrologia)
of the stars is the art of philosophers, who nevertheless are
constrained to keep their feet on the ground and fingers
in the sand,
However, this sand-traced geometry, which forbids
distraction and is so important that it must be performed
on a silver tray, is not the Euclidian geometry we know,
but the non-rational practice of geomancy. In the
‘unorthodox version of Archimedes’s death, he was drawing
figures in the sand to determine the outcome of the
battle." Unlike the “ideal objectivity” of geometry, which
remains the same in each demonstration, geomantic
exercises are specific to time and place, differing in each
‘construction and repetition.” The lack of self-sufficiency
disqualifies it as a modern science, with its rules of testing,
‘ut the ambiguous specificity of geomancy links it to non-
ideal practices such as architecture. The assassination of
‘Archimedes can further be read as a warning about the
‘contentious nature of predictions. Visions of the future,
whether artistic, religious, or scientific are inherently
political and deeply bound to cultural identities."
Moreover, every prediction affects the future it foretells in
some fashion. Even the most mundane extrapolation is, in
part, hopefully magical. Architecture is no exception; it
involves deeply mantic procedures through which its
constructions are imagined. Nevertheless, the classic
warnings are still relevant, The invocation of artifacts
quickly becomes a suspect science when it is separated
from the ethics and wonders of everyday life.
In this spirit, an architect can imagine, or more
properly divine, a plan and section simply by observing an
existing building. He can also reconstruct them from
ruined building and ultimately envision those of a building
Goro
ieeethat doesn’t yet exist. The common denominator of these
operations is the capacity of the architect to formu
graphic evocation of the invisible. Through the operations
of composition, decomposition, and recomposition, and the
polysemic use of marks on a site (paper, ground...),
architects trace the figures of rooms and walls as
functional and symbolic operators. Identical signs render
visible the different invisible aspects and qualities of the
space, connecting those that will eventually be hidden in
the completed building. A plan or section simultaneously
demonstrates the inside and outside of a building,
revealing temporal sequences and different perceptions in
a single image. These are acts of projective geometry.
Descriptive and projective geometry are the
disciplinary basis of any architectural representation. The
change from Euclidian to Non-Euclidian geometries has
reduced geometric representations to a seemingly objective
‘modelling which separates architecture from its original
representational matrix. Both geometries ori
attempt to understand shadows. Descriptive geometry is
the reading of edifices, based on its edges, surfaces
through shadows." Projective geometry is the writing of
them in graphic form, literally as a foreshadowing, Both
are necessary to architecture. While descriptive geometry
deals with the metric factors of construction, projective
geometry deals with the edifying factors of design. The
translations and distortions of projection, which fascinated
both the 17th century anamorphicists and the surrealists,
constitute the pathological (pathos) starting point of a
mantic architecture."*
The architect makes visible the invisible through
the figures of geometry. In the descriptive drawings of
construction documents a building is represented in its
entirety, yet there is no longer an iconic connection
between building and drawing. In projective divination,
plans and sections are neither facsimiles nor symbols nor
‘models; they represent architecture through their methods,
invoking the project in a poetic manner. In this
Fig. 3. Tracing the Knights Tour in Chess, Claude
Bragdon, The Frozen Fountain
sraphic poesis lies the enigmatic nature of design as a
projection; the pursuit of wonder through design becomes
won
its own final purpose. For the Romans, the idea of !M*
descriptio was not separate from the idea of scripnura,
descriptions were actual translations of objects into
«drawings; they were icons. Dario Sabbatueci has described
this divination as the reading and writing of the world. In
‘our modern condition, the act of projection isa radical act
of invention, constructing the secular tracing of this
divinatory scripnura. However, if the various arts of
divination are misunderstood as improper semiotic systems
and judged for abstract truth, then the interpretations of
symbolic relations will confuse objects with their traces,
Projective drawings arc the “use” of a building, not a literal
representation, The recognition of divination as reading
and writing undermines the negative vision, giving
jection a twofold character which bounds the world of
B.
In this way, a mantic architecture imagines its
constructions in edifying acts of graphic prediction. The
devices used to elaborate these representations reveal its
evocative and magical nature. There are two types of
instruments employed by architects in their reading and
writing of past constructions and prefiguring of future
constructions. As magical procedures, these instruments
act through analogies based on metaphor and metonymy.
Fig. 4. Dowsing. Speculum Metallurgiae Politissimum,
Dresden, 1700
1<‘The metonymic instruments are the square and the
compass, which are the same as those used by carpenters
and builders in construction. The metaphorical instruments _
are di
din two categories. On one side we have the
rectilinear ordering developed from the plumb-lines or
_szidclines with which the building is laid out.
=
Fig. 5. Frontispiece - 1 Quatri Libri
Fig. 6. Greck Canons
Using these analogous instruments, the
‘opportunity for a project is developed. This is not simply
a spatial procedure, but a mantic operation requiring
careful timing and specific opportunities. The act of
projection initiates what the Greeks called Kairos, the
fundamental act of weaving, which is a procedure of
separation and edification, It marks the opportune
moment when the bobbin carries the woof across the
warp. The support of the bobbin by the warp is the
ordering rule and the woof it carries becomes the trace of
the projective weaving. Kairos, the god of projective
occasions, collaborates with Metis, the divinity of acute and
prudent intelligence, required for successful designs. The
acolytes of Metis are Tekmar (signs of guidance) and Poros
(Signs of safety), which we find in the geometric
constructions both on paper and on construction sites.
Palladio posed these complementary divinities on the base
of the columns that adorn the frontispiece of his Quattro
Libri dell Architetura. On the let is Metis with the head of
the slain minotaur, an edifying symbol that was only
possible with the help of Ariadne’s thread that functioned
as both a sign of safety and of guidance. On the right is
Kairos, who prescrves the canon, Projection is the
interpretation and production of signs for safety and for
{guidance in the invention of monuments. Kairos provides
a canon of proportion which is assembled through 2
hermeneutic examination of the opportunities for the
constructive procedure that produces wonder.
‘An architectural projection is graphically divined
through rules when the opportunity for construction arises.
‘The translation of edifices into drawings and of drawing
into edifices is the foundation of the mantic paradigm in
architecture. This speculative chiasm determines the
structure underlying projective making, weaving a method
that rediscovers a tradition of mantic translation and
transcription. The final piece of the puzzle of mantic
projection was given by Vitruvius in the middle of his
treatise, at the point of the symmetrical roman numeral V.
He suggests that a treatise following the pythagorean
tradition must be constructed as a cube inscribed to
resemble dice. Cubes are stable and memorable forms,
however dice are projective devices based on chance, so
his treatise is both a weaving and a writing.” The
projection of a future architecture is always risky and
though the science of probability can define the odds, it
‘can neither tell us how to play nor what to bet. Only by
reuniting the ethos and pathos of everyday life in edifying
projections is a memorable and wonderful architecture
achieved. ‘Alea Tacta EstDas Fiinfe Buch Bitrauj
‘ugenfbctaiche Muffraiffung Geomersfcher absheitung bey Cube
‘geredhein cinander Suucricichnens nach der meinung Views
in oupbe fer ber tfage ten Bhtfophe.
‘Son der feelfung ond {ebictung der herlichen gebew der
Geideonnd Nhatheuler Foumgmant. Das esp Car
lee Des fanften Buchs der ecitectar isu).
Fig, 7. Cube/Dice, Vitruvius, De Architectura
NOTES,
1. Emilio Ambasz, Fax, ID Magazine, February, 1992, pp-
50-51
2. Plato, Timacus, 55d. Aristotle, Metaphysics, Book I.
3, Ambasz, pg. 50
4, Daniel Lawrence O'Keefe, Stolen Lightning: The Social
Theory of Magic (New York: Continuum, 1982)
5. Lynn Thorndike, The History of Magic and Experimental
Science 14 vol. (New York: Columbia University Press)
6. James Frascr, The New Golden Bough, abridged (New
York: New American Library, 1959), pg. 35
7. Marcel Mauss, A General Theory of Magic (Boston:
Routledge & Kegan Paul, 1972)
8. Much of this discussion is clearer in Italian, where
project/projection (progetto, progettasione, progetiare) are
the common words used to discus planning and design as
well as the English sense of propelling something outward
or forward, especially into the future.
9, Vitruvius, De Architectura. Preface of Book VI.
10. The Marriage of Philology and Mercury, Vol. 1 of
‘Martianus Capella and the Seven Liberal Arts, edited by
WAH. Stabl & R. Johnson (New York: Columbia
University Press, 1977)
111 It should be noted that Capella directly links geometry
to painting (Apelles) and sculpture (Polycitus) but cites
her as the daughter ofthe first architect (Daedulaus). "The
‘woman soon to appear doubtless surpasses Apelles and
Polyclitus, indeed, she is so highly reputed to be able to
represent any object that we must conclude that she is the
offspring of Daedalus, of Labyrinth fame.” Capella, pg. 218
12, Nigel Pennick, “Ancient Secrets of the Earth: The
Oracle of Geomancy" in The World Atlas of Divination:
The Systems, Where they Originate, How They Work. John
Matthews, ed. (Bulfinch Press - Little, Brown and
Company, 1992), pg 195.
13, Edmund Husserl, “Origin of Geometry’ in Jacques
Derrida, Edmund Husser!’s Origin of Geometry: An
Introduction (Nicholas Hays, 1978). pg. 160: “But
geometrical existence is not psychic existence: it does not
‘exist as something personal within the personal sphere of
consciousness: it is the existence of what is objectively
there for “everyone” (for actual and possible geometers, or
those who understand geometry)... This is, we note, an
"ideal" objectivity. It is proper to a whole class of spiritual
products of the cultural world, to which not only all
scientific constructions and the sciences themselves belong
but also, for example, the constructions of fine literature,
Works of this class do not, like tools (hammers, pliers) or
like architectural and other such products, have a
repeatability in many like exemplars. The Pythagorean
theorem, [indeed] all of geometry, exists only once, no
matter how often or even in what language it is expressed.
It is identically the same in the “original language" of
Euclid and in all “wanslations’: and within cach language
it is again the same, no matter how many times it has
been sensibly uttered.”
14. Jean Pierre Vernant, "Speech and Mute Signs" in
Mortals and Immortals: Collected Essays (Princeton:
Princeton University Press, 1991), pp. 303-317
15. For a partial discussion see Thomas da Costa
Kaufman, "The Perspective of Shadows: The History of the
‘Theory of Shadow Projection’, Joumal of the Society of
Architectural Historians, V. 42, 1979.
16, See for example, Jurgen Baltrusaitis, Aberrations:
Story in the Legend of Form (Cambridge: The MIT Press,
1989)17. Girolamo Cardano, Liber de Ludo Aleae (1564). See
EN. David, Games, Gods, and Gambling: The origins and
history of probability and statistical ideas from the earliest
times to the Newtonian era, (London: Charles Griffin and
Co,, 1962) pp. 40-60