voices

We naturally learn from the past to move into the future. There is always a PRECEDENT that we can draw inspiration from, whether we use it or not. Looking at the details and special moments in these previous buildings, we can use the elements that work and incorporate them into the new design. All civilizations have borrowed from those before. A building type favored by early Christians was the centralized plan, derived from royal tombs. The tomb Diocletian built for himself is an example (Roth 280). “Saint Peter’s and other early churches were clearly derived from the great imperial basilicas, but additional modifications were necessitated by the special needs of Christian worship” (Roth 282). Precedents serve as inspiration that is adapted to suit present needs. In drawing, our assignment was to mimic the style of other artists. However, the purpose was to expose us to new styles that we can use in the development of our own style.


The juxtaposition of opposites forces a designer to find a way to deal with the DUALITY. Dualities can occur on a variety of levels, whether from abstract ideas, or in the details of the architecture. The designer is forced to find ways to bridge the two… or keep them separate. these elements can serves a foils that bring out qualities in the other (much like characters in a novel). In studio, we designed a series of models based on the light/dark relationship. I handled the duality by contrasting the two and keeping them separate. The form of the basilica started out as a clash between the classic shapes of circle and rectangle. Eventually, designers found ways of integrating the two into one cohesive form. One solution was the dome on pendentives. After the development of the pendentive, Byzantine architects were able to evolve numerous plan variations with domes on top of large subdivided squares (Roth 293). Finding a way to accommodate dualities opens up new heights and special moments that otherwise would not be achieved.


A big part of what brings out the voice of a building or work is the MOMENTS within it. These are unique details that set it apart from its surroundings. Moments are usually achieved through details. In the critique room, a special moment might be the placement and form of the concrete columns, or the joinery of the beams in ceiling, or even the translucent ceiling itself. None of these elements are found in other buildings on campus. This idea of uniqueness should also be translated into a designer’s personal style. When I was looking for inspiration images for drawing class, it was interesting to see how each artist’s style was different and to notice the little quirks that make their style different from the rest. Moments in any type of work make it distinct and special.



It is important that a space evokes a feeling in the user. This makes the space memorable, but also allows the user to relate to it. How is this conveyed? The special moments and details create PRESENCE. In the Temple of Amon, the superhuman scale conveys an awe-inspiring and important presence. The space has a voice that is resonant and distinct. A lot of times in studio, we relate the appearance and presence of our artifacts to a type of music. The same can be said of buildings and the voices they possess. “Unlike the static and rationally perceivable forms and spaces of Classical architecture, [in Hagia Sophia] all seems in motion, surfaces curving and intersecting, bathed in a mystical, suffused light issuing from marbled walls and mosaics” (Roth 290). The architectural details and surfaces in Hagia Sophia give it a presence that makes it unique and lets the work speak for itself.


METRIC is defined as a way of thinking about a building as a system. Buildings are all a function of parts linked by a common element. I find myself looking at buildings in terms of circulation zones. How do the parts work together to direct (or not direct) people through the space? I created a model of a hallway in which a series of panels gradually opened up to create a less restricted flow. Gothic cathedrals direct flow in a different pattern. “The Christians required not only buildings that would accommodate large numbers of converts, but also enclosed spaces that would facilitate hearing the spoken word and chanted psalms” (Roth 279). The central nave is the largest space in the center. The walls reach upward, seemingly forever, creating a grandiose scale that draws people to that area. At the same time, the path to salvation is personal. The side aisles and ambulatory have lower ceilings than the nave and are the circulation paths around to the apse and radiating chapels. The smaller scale of the space invites the user to these spaces and makes them feel that they belong.

As we look at a building, we are at least subconsciously aware of the voice it has. All of the above elements are important to how a user experiences a space. The ultimate goal is to create a space that engages the viewer. A successful design speaks for itself and leaves a lasting impression on those who experience it.


Roth, Leland M. (2007). Understanding Architecture: Its Elements, History, and Meaning. Boulder, CO: Westview Press