Finite VS Infinite

THE FINITE VERSUS THE INFINITE Architectural studies Architectural Reflections

N. Nadareishvili Tutor: Jorge Mejia Hernandez 4185463

FINITE VS INFINITE Finite - having limits or bounds Infinite – limitless or endless in space, extent, or size, impossible to measure (dictionary)

Introduction In the dictionaries the word capriccio is mostly defined as: an instrumental work with an improvisatory style and a free form, or as a prank, a caper or a whim.

In painting, a capriccio means an architectural fantasy, placing together buildings, archaeological remains and other architectural elements in fictional and often fantastical combinations, perhaps with staffage of figures. For example: The Capricci, the series of etchings by Gianbatista Tiepolo published in 1743, reduced the architectural elements to chunks of classical statuary and ruins, among which small groups of exotic and elegant figures of soldiers, philosophers and beautiful young people go about their enigmatic business.

No individual titles can explain these works; mood and style are everything.

As mentioned, capriccio is a sort of imaginary prank of combining two or more entities, which in real life would have never been combined, due to several and/or many reasons.

What will happen if we translate this “prank” into architecture? How can we combine two entities and let them grow Image 1

Collage: Guggenheim in Barcelona

together? How will they change each other? Will they mutate into one? Or, what will happen if you plant a building in a foreign location, like a seed in the unknown?

Fascinated by the drawings of Tiepolo mentioned earlier, I decided to make my own Caprricio, to try and answer above questions. For this reason I chose to combine Guggenheim Museum of Frank Lloyd Wright and Museu Picasso in Barcelona.

(Image 1)

Two totally different buildings, in sense of ar-

chitectural appearance, locations, surrounding environment and tissue of the city, style and period when they were built.

Guggenheim museum is one of my favorite buildings. I was thrilled to see, despite its modest size, how magnificent it is.

The façade has little communication with people outside (for example unlike Centre Pompidou, where the façade acts like continuation of public sphere, similar to a street that you can walk up and down on), but the fact that you are able to partially see the spiral ramp from outside makes you anxious to go in, curious for whatever awaits you there. This gives you an enthusiasm to enter and explore.

Image 2

Carrer de Montcada

Museum Picasso fascinated me with its appearance, or rather with its lack of appearance.

(Image 2)

It combines 5 old,

neighboring buildings. These buildings are very similar to Picasso museum, Barcelona their adjacent ones. They do not stand out. It is almost surreal when you walk in the small alley and see lines and Location lines of people going into the door that looks exactly like Museu Picasso is located in the old part of Barcelona. It the one next to it. The museum basically doesn’t have an occupies five large town houses (palaces) on the mediexterior. It is mostly an introvert building.

eval street- Carrer de Montcada. (Image 3) The original pal-

The courtyard plays an important role in the complex; all aces are from 13th to 14th centuries, occupying a total five buildings are concentrated around them and these area of 10,628 m2. They are an example of Catalan civic courtyards serve as an entrance to each. All courtyards gothic style palace. In medieval architecture, the palace are surrounded by the galleries, which act like transition had larger front facade than regular dwellings, and was spaces between inside and outside.

characterized by having a courtyard in the center, which

As much as Guggenheim is different from this complex, was accessed through a portal. This courtyard contained there is one similarity that drew my attention, and triggered a main staircase, and galleries, usually open or half open. my interest to investigate further.

In XV and XVI century noble families and rich merchants

After close examination of both buildings one can con- who had earned their fortune from sea trade inhabited the clude that Guggenheims ramp can be compared to those street. Today Carrer de Montcada is the most important galleries of Picasso museum and the open space in be- area of medieval civic architecture in the city. tween the ramp can be paralleled to the courtyard.

The street was declared an artistic-historical heritage site

The following part of this essay is concentrating on how in 1947. (Picasso, 2008) building (in this case Guggenheim museum) can influence The establishment of Picasso museum brought other muthe surrounding environment, once it’s placed instead of seums and art galleries to the neighborhood. other building (Picasso museum) considering its scale, ap- The street kept is original appearance as a very narrow alpearance, program, and how can the surrounding space ley, surrounded by the medieval stone palaces. The main change the building. It provides the hybrid of two entities functions surrounding the street on the ground level are and analyzes how can this hybrid develop further as one.

art galleries, museums, and couple of old shops that have been there for centuries.

Image 3

Model: Museu Picasso With indication of Carrer de Montcada

Concept During my stay in Barcelona I lived near by Carrer de Montcada and visited this part of the city almost every day.

Barcelona is a very touristic city, always full of people. It amazed me to see how crowded these small streets can get. Even when those limited number of shops and entertainments are closed. The most remarkable thing that I have witnessed was when I saw a huge line of people waiting to enter the museum. As mentioned above, the museum buildImage 4

Palau Agular

ings are pretty much similar to their neighboring ones, both in typology and appearance. Thus, they do not stand out. It was a magical feeling to walk in the small alley and suddenly encounter lines of people going into the regular door that is neither in any case special nor outstanding from neighboring ones. It was hard to understand what I was going on and only when entered I realized that I was standing in this incredible, breathtaking patio of medieval palace.

Image 5

Palau Baro de Castellet

Space Since the complex consists of five buildings and each one is independent medieval structure, each has the courtyard in the middle. Each building has an individual entrance through façade that leads to courtyard and gallery surrounding it.

The patio of palau meca plays important role in the complex; Surrounded by old gallery, it is the main entrance to the mu-

Image 6

seum.

Palau Meca

Palau Agular (Image 4) Palau Agular is the first building occupied by the museum.

The courtyard of the Palau Aguilar is one of the Museu Picasso’s most distinctive spaces; it has a grand staircase leading up to the first floor, the balcony on the first floor and the various doors and windows, which date from different periods.

Image 7

Palau Finestres

Major parts of the palace were built in the 13th century, and the coexistence of Medieval, Renaissance and Baroque styles helps to determine long life of the building, one of the oldest on this historic street.

Palau Baro de Castellet (Image 5) This palace is also from medieval period. It is built around a

Image 8

Casa Mauri

central courtyard, which has distinctive façade with religious themed reliefs. The main floor interior is executed in the neo-classical style of the mid-18th century, including elements of marble and polychrome reliefs. Its courtyard is considerably smaller than those of the other noble houses on carrer Montcada, and has no external stairway giving access to the upper floors.

Palau Meca (Image 6) Similar to the other palaces, it contains a central courtyard.

Highlights include the medieval polychrome-coffered ceilings of the main floor as well as unique ceilings from the 19th century. This palace is the largest one on the block.

The courtyard of Palau Meca serves as a main entrance to the Picasso museum.

Palau Finestres (Image 7) This is one of the best-preserved courtyards of a medieval residential building in the city of Barcelona. The mullioned windows with their distinctive arches date it approximately to the thirteenth century, as does the stairway, one of the most expressive examples of Catalan Gothic. Arcades surround courtyard on the ground floor. The building is currently used as an exhibition space.

Casa Mauri (Image 8) Casa Mauri is one of the few example buildings from medieval period in Barcelona with its unique wood facade. It is like other buildings set around the courtyard. The big part of the building is used for industrial purposes.

Image 9

Structure

Museu Picasso floor plan/courtyards/facade

To analyze the whole complex together, here below I want to refer to Adolf Looses “Raumplan”, specifically the essay “Adolf Loos – patterns of town houses” where Loos provides the patterns for analyzing the buildings. Because the complex consists of palaces, which were initially built as a living space, I believe that above-mentioned type of analyzing system is suitable fin this case.

The complex consists of five different (build in different times) buildings, with five patios in the center of each building. (Image 9) Living plan The difference between up and down During renovation of the museum in 1978, the long avenue was created on the ground floor of the five palaces, parallel to Carrer Montcada and of a long avenue on the ground floor crossing the street through to garden behind. This space is open to public. (Image 10) Elevator and staircases carry the movement from down up and from up to down.

Upper floor of the complex consist of a corridor, which just like one on the ground floor forms a longitudinal connection between the buildings.

Image 10

Public avenue on the ground floor

The difference between front and back Image 11

The centrifugal use of space. Museu Picasso

Front facades of five buildings form the front façade of the complex. They relate to the street, the street front is most public and contains entrance. The façade is more magnificent and festive, embellished by stone and beautiful windows.

Functions close to the front of the building are more public, than on the back where more private facilities like the hall of events is located The interesting feature of the “difference between front and back” is that building is located between the two public spaces: the street and the garden and has a gradient of: public to more private facilities The difference between left and right On both levels of the building the movement from left to right and the other way is linear. Central corridor on first and second floor provides circulation line with gallery rooms attached on both sides. Gallery rooms are stacked around the courtyards.

Image 12-13

The compound interior. Open staircase. Museu Picasso

The centrifugal use of space (Image 11) Just like Adolf Looses arrangement of the rooms around empty space, in Picasso museum the spaces (exhibition rooms) are arranged around courtyards, which are on the other hand arranged around linear circulation corridor.

Space plan Exterior The exterior of the complex is executed in the classical medieval style, with thick stonewalls and small windows.

The difference back and front Front façade of the building is kept as close to original as possible. Back façade is more open for new additions and has been renovated into contemporary structure with concrete finishing.

The difference between in and out The building from inside is very different from what you see from the outside, After entering, classical structure is tuned into modern, white clean interior.

The compound interior (Image 12) The interior is composed with cube shaped rooms. Larger exhibition spaces have big windows that provide daylight.

Some of the old walls inside are restored and create nice contrast against modern white walls.

Open staircases (Image 13) Open-air staircases provide entrance to the galleries from courtyards.

Eccentric Circulation Circulation perimeter is placed in the middle of the building with long corridor connecting left to right.

Material Plan Supporting construction External thick walls are load bearing. The construction is made of stone, like most medieval buildings. The floors are made of stone as well.

Exterior cladding Stone finish is used for exterior cladding, at some places showing brick, usually at the top of the arches.

Interior cladding The inside surface is plastered in white; some parts of the old construction in stone are saved and contrasted against modern interior.

Image 14

Location of Guggenheim museum

On the first floor floors are finished with marble and on the ground floor with stone

Solomon Guggenheim museum, New york Location Guggenheim museum is located in New York City, in the heart of the city- corner of Fifth Avenue and has a view on central park.

(Image 14)

It is clear that museum is unlike the

buildings around it, which are straight walled extrusions from rectangular ground plots. Guggenheim makes its mark through non-standard devices, (Foundation, 2009) The monumental character of the museum based on its three dimensional sculptural form erupting from the restricted framework

Image 15

Circulation and gallery spaces. Guggenheim Museum

of the grid.

Concept Designed by Frank Lloyd Wright to be “a temple of spirit, a monument!,�(Richard Cleary, 2009) the museum is a round building spiraling around an empty space/void/atrium.

(Image 15)

From the street the building looks like a white rib-

bon rolled into cylindrical shape, slightly wider at the top than at the bottom. Initially Wright designed the routing in a way that visitor would go up by an elevator and come down

Image16-17

Inverted ziggurat concept

by ramp while going thru a collection of paintings. Today the routing had been changed; the visitor has to walk up the ramp while seeing works of art.

A “ziggurat” - Babylonian temple pyramid, inverted, inspired the museums design. Ziggurats were Mesopotamian temples built for high priests to praise the God and make sacrifice on top of it, where it is believed that temple was located. Basically Ziggurats were houses of Gods, and were Centralized Organization A central dominant space about which a number of secondary spaces are grouped

built to be infinitely high to reach the sky. The idea behind the Guggenheim form is both Wrights fascination with ancient architecture and his ambivalence toward the modern city and its paradigmatic morphology - skyscraper. With Guggenheim, Wright chose to transform the ancient Ziggurat, by turning it over. This can be easily seen at close investigation: in the design of the museum the base is narrower than its top. (Image 16-17) Wright makes circulation internal to the building, and uses its spiral circulation as the museums prime organizing system.

(Image 18-19)

By inverting the ziggurat-based setback form in Guggen-

Linear Organization A linear sequence of repetitive spaces Image 18-19

heim, Wright critiques forms used by skyscraper designers. Museum does not simply adapt the form of the Tower

Centralized Organization & Linear Organization Guggenheim Museum

of Babel (ziggurat) but with new inverted ziggurat form, and Organization its possibilityLinear of endless growth upwards – (the “optimistic A linear sequence of repetitive spaces

ziggurat” as Wright would call it) generates an alternative for the modern city.

Interior The interior consists of central spiral ramp going up and secondary spaces connected to the main spiral space. The entrance slowly leads visitors to a path where the artworks

1. Space within a space 2. Interlocking spaces 3. Adjascent spaces

3.

1. 2.

3.

1.

1.

2. 1.

1. 2.

are exposed along a spiral ramp lit by a large skylight at its

3.

zenith divided in the shape of a citrus fruit. “The museums interior space with its spatial continuity, counters the isolating, repetitive and boxlike quality of the metropolis and the skyscraper. And with this Wright created a new hybrid form

1.

of the museum, where tradition and innovation stand in bal-

3.

ance”.(Foundation, 2009) 3.

1. Space within a space 2. Interlocking spaces 3. Adjascent spaces

Space Guggenheim is very different from the museum buildings that we are used to, because of its spiral shape, manifested

Image 20

Space organization. Guggenheim Museum

by the merging of triangles, ovals, arcs, circles and squares, which correspond to the concept of organic architecture used by Wright in his designs. (Image 20) If you stop for a moment and look toward the center of the spiral you realize how impressive this building is, reminiscent

of a snail, which allows us to see the center of the rotunda and various levels of exposure of the spiral ramp downward.

At any place on the ramp, one is able to see where one was, and at the same time, where one is going. Like this, the ramp provides a sort of “time-space continuum, a sort of “when past is future”. The very nature of the ramp itself suggests change and motion.” (Richard Cleary, 2009) Structure The building has a spiral structure featuring a large exhibition hall lit by a skylight. More than any other form spiral signified both spatial and temporal continuity for Wright(Foundation, 2009) Finite vs Infinite From here I want to introduce the notion of finite and infinite in both buildings.

Although the patio space in Museu Picasso is magnificent, it is still limited; it has clear beginning and the end. It starts at the exact point when you enter the gate, because you do not have any idea about it before. You experience space while going up the stairs, through a gallery. And then it ends.

Exactly when you enter the door of the museum. Your experience of the courtyard space, your excitement suddenly disappears. You jump into different world, and your interests and excitement shifts to a new space (museum), forgetting about the older one, like a child forgets about old toy when he gets a new one for Christmas.

This I believe is a finite space. The space that has borders: physical and/or mental.

On the other hand, the definition given above about the ramp of Solomon Guggenheim museum gives an idea behind the spiral ramp. In contradiction to finite perimeter circulation in atrium of Picasso museum, here the spiraling, rotating ramp can go on forever, to infinity.

Based on all above mentioned I tried to imagine how building like Guggenheim museum will develop in the environment of Barcelona, if it was to be planted instead of museu Picasso.

Here below I want to propose two: Horizontal and Vertical development scenarios for Guggenheim Museum in Barcelona based on two reference projects.

Horizontal development Museum of unlimited growth (Le Corbusier) In 1929 Le Corbusier produced his first design for a museum of contemporary art the “museum of unlimited growth”.

(Im-

Image 21

The Museum of unlimited growth. Le Corbusier

age 21)

It was a square spiral that would eventually devel-

op and grow according to the needs of the project. Based on golden section, floor plan illustrates a design in which continuous circulation dominates the museum’s spatial organization. This scheme later appeared as a basic idea for the Guggenheim Museum, presenting restricted circulation around a central core. (Kaynar) Le Corbusier proclaimed the failure of the museum as he saw it in an essay of 1925 “Other icons; the museums” he rejected the design of 19th century classical museum by calling it “a Liar” and proposed new, “transcendental Geometry” of spiral routing which will grow infinitely depending on how much space museum will need. Le Corbusier’s design was, like many other of his works utopian. But the “museum of unlimited growth” was an inspiration behind Guggenheim design.

Since the museum of unlimited growth was an inspiration and an idea behind Guggenheim museum, I found it logical to apply this concept in exaggerated manner to he hybrid development of Guggenheim museum in the new environment of Barcelona.

This is how I imagine it: Based on the fact that the “museum of Unlimited growth” Image 22

Unexpected door to Museum in the alley

develops infinitely in horizontal layer, the Guggenheim museum most logically has to do the same. Lets imagine, the ramp structure of Guggenheim being pilled of like an orange skin from the structure, dismembered and turned into one long striped corridor. Just like the existing Picasso museum, this structure will have no distinctive façade. The structure from outside will consist of old existing buildings and streets, ordinary doors that are no different from each other and the doors next to them. Like Howl’s moving castle from Miyazakis famous animated movie: The ordinary façade, non-different form any other one on the same street, but only be-

Image 23

Infinite spiral horizonthal development / Diagram of main streets

fore you enter and see white, sleek, contemporary interior of Guggenheim museum. (Image 22) White long corridor goes on spiral circles around the city. The feeling of “time space continuum” is lost in smaller scale but obtained in larger, city scale. (Image 23) This long corridor in a way also forms a courtyard, which is much bigger scale than in museums of Picasso or Guggenheim. In this case the part of the city, which is inside the corridor perimeter, can be considered as a giant courtyard.

(Image 24) This

space will obtain all the positive features of the

courtyard. It will become the cultural hart of the whole city, because literally this space is enclosed by culture itself.

Image 24

Infinite spiral horizonthal development. Space in Between

Note here that: infinite spiraling development of the building might provide the feeling of confusion, in a sense that one

doesn’t understand anymore, is he inside or outside? Which part of this enormous structure is interior and which is exte-

Image 25

Infinite vertical development of Guggenheim

rior? This characteristic can later be linked to the notion of indefinite.

Can Guggenheim museum develop this way? If the idea of the museum scheme by Frank Lloyd Wright was based on museum of unlimited growth than this development scenario is quite logical.

Vertical development The library of babel (Jorge Luis Borges) “I remember its circularity.. Light was entering through a glass dome, they told me, and I perceived it over my head, as if we weren’t inside the building but in open air, and I wondered in anguish if it would all end abruptly in the void and I would fall over the edge” Jorge Luis Borges about Guggenheim Museum

“The library of Babel” is a short story by Argentinian author Jorge Luis Borges, conceiving of a universe in the form of a

Image 26

Collage new skyline of barcelona/tension

vast library. Library consists of hexagonal planes with bookshelves that are connected with spiral staircases and go vertically to infinity.

Despite their obvious differences buildings like libraries, museums and archives have similar identity. They are all spaces that contain and influence knowledge and culture. (Psarra) Although Borges story is fictional, it describes very solid architectural structure/space, which doesn’t have beginning or end. But can the endlessness of the libraries, museums and similar facilities be considered as an endlessness of the knowledge that they are capable of giving? And than interpreted this idea into endless infinite construction of the tower, which is like a tornado, black hole in the city. (Image 25) It spins and goes up to infinity of knowledge. Isn’t “ziggurat”, another inspiration behind Guggenheim museum, based on

Image 27

Collage of public triange/Tension between monuments

the idea of infinite tower/temple (temple of knowledge?)

rated in architecture? How can these structures be trans-

that goes to the Gods in the sky?

lated to fit the demands of architecture? Will this create

In this case limitless or finiteness of Picasso museum inner

the utopian architecture, since infiniteness basically will

space is turned into infiniteness of spiral tower. You do not

be just a promise of infiniteness rather than actual state

need to enter the space and exit it. You are in the space

of it, or there can be ways to truly incorporate them into

all the time. The experience of space and art/knowledge

design?

is united.

While writing the first part of the essay I noticed that in

This action of implementation and growth will drastically

both projects analyzed by me, one thing was recurring.

change Barcelona’s skyline.

While writing, the courtyard was the central element

(Image 26)

There aren’t only

two dominant figures on horizon anymore: Sagrada famil-

around which I built my analysis and research.

ia and Tori Agbar is joined by third monument. This third

The courtyard is a shared figure in both designs, but it

new monument creates together with two other ones cre-

functions in different ways. It is so essential, because it’s

ates new tension zone, triangle of cultural space, which

an absence (of content, of building), which defines the

feeds on tree cultural monuments and tensions created

quality of space.

between them. (Image 27)

The way the courtyard is applied in both presented cases differs in such a way that the potential of unlimited growth

Transition to part two

is opened in the one horizontally and in the other vertically.

The most important operation for the Guggenheim is

This essay provided very subjected view of the possible

the inversion of the pyramid. A normal pyramid cannot

building (Guggenheim) development in new environment,

grow vertically because the form unites in a single point.

based on analysis and reference projects. In both cas-

Through the inversion, however, the form implicit tends to

es the essential two notions that have to be worked out

diverge, in an unlimited widening of the base. It can grow

– linked to finiteness and infiniteness – are those of the

infinitely as a top-heavy figure—until the weight of history

courtyard, and of horizontal and vertical growth.

topples it over. This can also be considered as a circular

For the next couple pages I want to reflect more on the

structure of infinity.

idea of infinity and how can it be applied to architecture

The vertical walls of the Picasso have no imbedded ten-

based on above-mentioned projects.

dency in form. The do not converge nor diverge. A vertical

The notion of infinity is discussed, and more or less de-

extension will just be more vertical walls.

fined in philosophy, mathematics, physics, ethics and etc.

But the courtyard as a center provides the possibility for

But how can it be applied to architectural spaces?

the building mass surrounding it to expand to indefinite.

Since architecture itself is the game of borders and limits,

In this case, the generality of the façade is also very im-

can infinity – the notion in its nature the most contradictive

portant. The museum, as it is now, is already an assem-

to the limits, be implied within it? What can be the tools

blage of different components that are all in a way simi-

(lubricants, mediators) that can help these two contradic-

lar. This assemblage has no natural end (infinity). While

tions come together smoothly?

in Guggenheim’s museum, the façade is so defined and

Based on metaphysics, the notion of infinity has couple

characteristic that to put another museum against it would

structural definitions:

destroy an essential quality of the building, the Picasso could theoretically spread to other buildings. The muse-

1. Eternity: linguistically the opposite of finite, having no edges,

um could be like a parasite, infesting other buildings with

limits, and an end: mostly used in connection with time: some-

the same form. In that sense, the border of the museum

thing that has no end in time.

as it is now, is actually quite artificial, and it does not need

2. Indefinite: How could God be sure that there is no one greater?

a specific enveloping line. It can be seen as a kind of

3. Circularity: The line defining a circle does not have an end.

archipelago.

4. Recursion: Like semantic satiation a phenomenon in which

Context is the other notion of the urban fabric that is very

repetition causes a word or phrase to temporarily lose meaning

important. For the Picasso museum, the courtyard is ac-

for the listener, who can only process the speech as repeated

tually essential for it to work in the fabric. Without, there

meaningless sounds.

would be no air, no light and it would be unlivable. The

Which of those structures (if all or none) can be incorpo-

courtyard is necessity.

For the Guggenheim, however, has the possibilities to

Essentially, what I am trying to find out and discuss further

open windows to its outside because it is an autonomous

is possibility of Infiniteness, for architecture and the tool,

object not touched by other buildings in its surroundings.

that as a� recurrence� appeared in my previous analysis

The courtyard (the absence in the middle) is a deliberate

as a centerpiece for this infiniteness.

(voluntary) operation in order to create a kind of experience.

The Courtyard

Now, the tension that appears if you would transpose the

The main problem that I see with using courtyard, as a

Guggenheim into the urban fabric of Barcelona is one of

tool around which I want to build up theme of infiniteness

autonomous object, vs a building subservient to the ur-

is that, in its most basic character - the courtyard is super

ban fabric. The only reason why such an operation would

finite archetype. Thus, basically what I am trying to prove

work, is because the Guggenheim as in itself the court-

is that: white is black, or, white can be black.

yard, which would allow it to work with the fabric.

The courtyard is finite notion because it creates the space that has borders, the space that is surrounded by walls and is defined by them. It was and still is widely used in worlds many cultures, if not all of them, for different reasons, for privacy and private meetings with neighbors, for security, storage, relaxation and etc. This space totally shelters its inhabitants from outside world, surrounds them with privacy and safety. Courtyard is a super introvert and finite entity. That is why it might be a bit strange to consider it as a central piece, the mediator for providing infinite space.

Although, just like in mathematical problems, we can allow ourselves to set the rules in the beginning that will determine the consequent process of analysis. For instance, define the procedure that we will have to apply to a courtyard to turn it into infinite space.

Firstly define the components and their characteristics: The figure of the Picasso museum (square) allows for an indefinite multiplication of an amount of side-placed units.

It can spread, grow, and infest like an archipelago. The

Image 28

verically developed courtyard

figure of the Guggenheim (circular) allows for an indefinite extension of one and the same unit. It can only grow as a singular entity.

As we spoke above, In case of Picasso museum, stacking buildings on top of each other will just create more walls (Image 28),

expanding the courtyard will create just bigger

courtyard, (Image 29) which will still have walls to border it.

Hence, what will be the operation, if there is one at all?

While working on Guggenheim and Picasso museum I’ve noticed that besides vertical and horizontal development there is third option that can provide ultimate infinite space. So, what will happen if courtyard develops diagonally? (Image 30) What I mean here is that diagonal development of the Image 29

horizonthaly developed courtyard

building can provide the possibility of infinite growth and development of the building.

Diagonally developed courtyard can have the mix of best

features from both worlds. It provides secure feeling of the courtyard, while at the same time is more open and provides the ability of breathing and connecting to outside world. Here the strict distinction between private and public is somewhat blurred. One is inside the courtyard, thus is in the private space, but because of partial openness of the space one becomes the participant of the public scenery. This feature makes courtyard become more inhabited and used, it has “loopholes” which allow you to sneak beyond them into some larger, further space.

Because of this feature we can assume that the space is some way indefinite. Which, as stated above, is one of the typologies of infiniteness.

The scenario of diagonal development feeds from the several features from the both buildings analyzed earlier.

For example, as we spoke before, the design of Guggenheim museum was inspired by turned ziggurat. This shape exactly corresponds to the diagonal development of the building. Ziggurat spins from wide base and squeezes itself to the top, with this operation setting the limit to its growth. By turning ziggurat upside down the chance for unlimited development is provided. Logically, turned ziggurat is diagonal shaped and can continue developing with same direction.

Hereby I want to add, that in relation to infiniteness and eternity of the space, the reference to ziggurat is a very important one, considering that, Ziggurat is an archetype of a temple. Therefore, it references to the idea of an eternal space, that proves itself to be mediator between the human and the divine. In this case divine doesn’t necessarily mean the God, but it can be any sort of mediator/tool/ space/place etc. that makes you feel close to it. And the architecture can be this sort of a tool. That’s when architecture becomes eternal and infinite, when it becomes the mediator between human and divine. To clarify, the good architecture is not simply something that is visual. There is an invisible, metaphysical, ritualistic order in architecture that is constructed by the culture’s mythology through its poetic memories and imagination. Our beliefs and memories of the past are embedded in architecture, creating a fourth dimension of time and space.(Ayda Zeinali Farid) I truly believe that Guggenheim museum by Frank Lloyd Write is one of those architectural monuments that make you feel close to that divine once you enter. That’s how it achieves eternity and infiniteness in real life. Therefore based on above statement, we can say that architecture Image 30

Diagonally developed courtyard

can be eternal. At least derived from presented essay.

Following structural definition of infinity, as stated above is

The most obvious definition of infinity to notice was eterni-

circularity. I am not quite positive If it applies In the case

ty. There has been enormous amount of discussion about

of Guggenheim diagonal structure, Since, most probably

eternal architecture; everybody has its own idea of what

this translation will be too literal. The courtyard and the

qualities make architectural piece eternal, but for me the

building wrapped around it of course goes in spiral up,

architectural piece becomes eternal if as I stated above,

and this can be considered as an circular development,

it creates an atmosphere that makes you feel comfortable

but the main idea of infinite circularity is that you don’t go

once you enter, you feel calm, at the peace of your mind

in spirals but in circles. You end where you started, you

but at the same time exited, driven to explore and can not

do not develop, rise or evolve. I do think that courtyard

get enough of the space. I am not sure how you achieve

in its basic form is circularly infinite, but maybe, and it

this feeling in architecture but it must have connection with

is my opinion, the diagonally developed structure looses

your memories, beliefs senses. The space has a definitive

its ability to be so, because of its capacity to evolve up/

quality to touch your senses, and make you think. If the

down/to infinity

space has these qualities, it can become eternal. Even if

From ancient times, recursion and/or repetition of the ar-

it turns into ruins you will still (and maybe even more) be

chitectural elements was considered one of the known

driven to go back and explore it, over and over again.

tools for achieving visual infinity of the space. Starting

Indefinity of the space is connected more or less to the

from Greeks and Romans, who were masters of designing

quality of the space to leave its inhabitants “confused”.

endless repetitions of columns, that were as solid as they

In the example mentioned before, diagonally developed

were disappearing when repeated (colonnades in ago-

courtyard combined two contrary notions: private and

ras, the sides of temples when viewed from certain angle)

public. The scenario of combining these two opposite

to create infinite, dissolving space with spirit of disappear-

concepts was not possible until courtyard existed in its

ance and at the same time presence, which today we ask

basic form. Projected operation of twisting it diagonally

of things in the world (glass)

gave a possibility of the fusion.

The knowledge obtained from Ancients was broadly used

And lastly, the recursion: to add to what has been said

throughout the history, during renaissance or even in re-

before, architecture of presence is suffering from “bad in-

cent centuries.

finity”. We are recreating more and more “finite” pieces

Endless repetition of elements with the purpose on

just for sake of creating new, false infiniteness only based

achieving infinity is largely discussed theme of 20th cen-

only on the quantity.

tury. From copying and exploring ancient traditions in

In this second part of the essay I attempted to analyze

hope to achieve the infinite spaces by many architects, to

four structural definitions of the infinity, I tried to apply

critically analyzing this notion, like Pier Vittorio Aureli did,

those notions to the architecture, more particularly to a

in his book “the possibility of an Absolute Architecture”.

building chosen for earlier essay analysis.

Where he states that main task of late modern culture has

After analyzing the chosen buildings, creating capriccio,

been the development of the idea of processing infinity

developing and reflecting on it, I can conclude that infi-

through endless repetition. This he describes as Hegel’s

niteness is a notion that can be achieved in architecture.

“bad infinity”, the infinity where “everything is reduced to

This infiniteness will not be the literal infinity, but as read

bling faith, to the infinite creation of new finite things just

above almost all structural definitions of the infinity: eter-

for sake of new things” (Aureli, 2011)

nity, indefinity, and recursion can be reached with archi-

In case of diagonal Guggenheim, The whole structure be-

tectural piece. The attempt to do a research about infinity

comes the endless repetition of itself, which grows verti-

and architecture proved me that it is quite a largely dis-

cally and at the same time horizontally. Endless repeti-

cussed theme in architectural sphere and it seems like

tion of stairs, ramps and one might also imagine endless

every architect or non-architect, has its opinion about it. In

repetition of exhibited art pieces, which one follows while

this essay I tried to shortly present my observations and

going up to infinity, to endless temple of divine.

opinion about the theme of infinity in architecture.

Conclusion Finally I want to sum up the observations made while researching and writing this essay.

BIBLIOGRAPHY Foundation, S. G. (2009). The Guggenheim: Frank Lloyd Wright and making of the modern museum. New York: Guggenheim Museum Publications.

Kaynar, I. Visibility, movement paths and preferences in open plan museums: An observational and descriptive study of the Ann Arbor Hands-on Museum. Retrieved from http://www.spacesyntax. tudelft.nl/media/longpapers2/ipekkaynar.pdf Picasso, T. M. (2008). museupicasso.bcn.cat. 2012, from http://www.museupicasso.bcn.cat/en/ Psarra, S. Reading the library - architectural, Topological and Narrative Journeys in Borges Library of Babel. Retrieved from http://www.spacesyntax.tudelft.nl/media/longpapers2/sophiapsarra.pdf Richard Cleary, N. L., Mina Marefat, Bruce Pfeiffer, Joseph Siry, Margo Stipe. (2009). Frank Loyd Wright - From Within Outward. New York.