HARTAIXX2016-V006500

Summary

In Gund Hall, K. Michael Hays explores the concept of architectural imagination as a bridge between perception and understanding. He posits that imagination is essential for treating architecture as a mode of knowledge, highlighting its unique ability to create images not present in reality. Through the comparison of two contrasting buildings, Hays illustrates how the architectural imagination transcends material and function, leading to a fundamental aesthetic judgment shaped by shared architectural characteristics.

Takeaways

• 🏛 The script discusses the importance of imagination in architecture, suggesting it as a bridge between perception and understanding.
• 💭 Imagination is distinguished from other mental processes as it can create images without the need for pre-existing material.
• 🎨 Imagination is necessary for materializing abstract concepts, such as 'freedom', by constructing a visual scene or picture.
• 🏙 The architectural imagination is a specific kind of imagination that is independent of materials, function, or patronage.
• 🌟 The script introduces the concept of the 'architectural imagination' as a mode of knowledge in the field of design.
• 🏞 The script uses two contrasting images of buildings to illustrate how architectural imagination can perceive and compare different structures.
• 🏡 One building is described as being nestled into the ground, almost becoming part of the landscape, while the other is lifted off the earth.
• 🌆 Both buildings are shown to have a 'wrapper' made of columns, with different materials and spacings, emphasizing the importance of proportion and rhythm.
• 📐 The script highlights the significance of the relationship between the building and the ground, as well as the building's integration into the landscape.
• 🔄 The architectural imagination allows for a comparison of buildings based on shared characteristics, even without knowing their function or origin.
• 🏛️ The script concludes with the idea that the architectural imagination is at the core of aesthetic judgment, shaping our perception of buildings old and new.

Q & A

What is the setting of the conversation in the script?

The conversation takes place in Gund Hall, which is the home of the Graduate School of Design, specifically in the studio space where design, analysis, research, and imagination activities occur.

Why is the concept of 'imagination' considered necessary in treating architecture as a mode of knowledge?

Imagination is considered necessary because it bridges the gap between perception and understanding, allowing architects to create and visualize concepts that may not physically exist yet.

What does the classical philosophers' statement 'the soul never thinks without phantasm' imply about the nature of thought?

It implies that thought requires a material or an image to carry it, suggesting that the mind needs a visual or sensory component to process abstract ideas.

How is the imagination different from the process of perceiving?

Imagination is different from perceiving because perceiving requires the presence of an object or event, whereas imagination can create images without the need for an external stimulus.

What is the role of the imagination in the context of architectural design?

In architectural design, the imagination serves as the capacity for producing images and mental pictures of structures, spaces, and environments that can guide the design process.

How does the script differentiate between the imagination and a concept?

The script differentiates them by stating that while a concept like 'freedom' can be understood and explained, the imagination is required to materialize or visualize this concept in a tangible form.

What are the two images being compared in the script, and what do they have in common?

The script does not specify the exact images being compared, but they share common architectural features such as the way they meet the ground, their relationship with the landscape, and the use of a modulated wrapper made of columns.

What is the significance of the 'wrapper' in the architectural context of the script?

The 'wrapper' refers to the outer structure or façade of a building, which is significant because it encloses the volume of the building and is articulated by columns, creating a rhythm and proportion that contribute to the architectural aesthetic.

How do the buildings in the script relate to their respective landscapes?

One building is described as being nestled into the ground, almost becoming part of the landscape, while the other is lifted off the earth, perching on it. Both demonstrate a conscious relationship with their landscapes.

What does the script suggest about the process of architectural imagination when comparing two buildings?

The script suggests that the architectural imagination involves constructing and comparing buildings based on shared characteristics and assumptions, which can lead to a fundamental instance of aesthetic judgment.

How does the script describe the process of aesthetic judgment in relation to architectural imagination?

The script describes aesthetic judgment as emerging from the comparison of buildings, where a set of assumptions about architectural characteristics preexists and shapes our perception of the buildings being compared.

Outlines

00:00

🏛 Architectural Imagination and Perception

K. Michael Hays introduces the concept of architectural imagination as a critical component in understanding architecture as a form of knowledge. He discusses the classical philosophical notion that the soul requires a material image to think, suggesting that imagination bridges perception and understanding. Hays emphasizes the unique capacity of imagination to create images that do not pre-exist in the physical world, unlike perception or memory. He further illustrates the point by contrasting two architectural structures, highlighting how their material, form, and interaction with the landscape can be compared despite differences in function or patronage. This comparison reveals the emergence of an architectural imagination that is independent of specific details and is rooted in the shared characteristics of design.

05:02

🔍 The Role of Architectural Imagination in Aesthetic Judgment

This paragraph delves into the process of aesthetic judgment within the context of architecture. It suggests that a pre-existing template of architectural characteristics influences our perception and comparison of buildings. Hays posits that this template is a manifestation of the architectural imagination, which shapes our understanding of both old and new structures. The comparison of the two buildings in the previous paragraph exemplifies how assumptions about architectural elements like the wrapper, ground interaction, and landscape integration are not just a product of perception but also guide it. This reciprocal shaping of perception underscores the active role of the architectural imagination in forming aesthetic judgments.

Keywords

💡Architectural Imagination

Architectural Imagination refers to the mental capacity to visualize and conceptualize architectural forms and spaces. It is central to the video's theme as it is presented as a necessary component for treating architecture as a mode of knowledge. The script discusses how this imagination allows architects to bridge the gap between perception and understanding, creating images that are not physically present but can be visualized through design.

💡Material Image

A material image is a tangible representation that carries and conveys thought. In the context of the video, it is mentioned that the classical philosophers believed the soul never thinks without a phantasm, implying that thought requires a material image to be expressed. This concept is integral to the discussion on how the imagination works in architecture, providing a medium for architects to manifest their ideas.

💡Perception

Perception is the process by which the senses gather information from the environment and the brain interprets it. The video uses this term to contrast with imagination, stating that while perception requires the presence of something to be perceived, imagination does not. It is a key concept in understanding how architects use their imagination to create designs beyond what is physically present.

💡Understanding

Understanding, in the video, is the cognitive process of comprehending or interpreting information. It is juxtaposed with imagination to highlight the role of imagination in bridging the gap between what is perceived and what is understood in the context of architectural design. The script suggests that imagination aids in the process of understanding complex architectural concepts.

💡Mental Capacity

Mental capacity, as discussed in the script, refers to the cognitive abilities of the mind, particularly the ability to picture things. It is highlighted as a crucial aspect of the architectural imagination, allowing architects to produce images and envision designs that can then be materialized in the built environment.

💡Materialization of Thought

Materialization of thought is the process of giving physical form to abstract ideas. The video emphasizes this concept to illustrate how architects use their imagination to transform abstract concepts into tangible designs. For instance, the script mentions the difficulty of showing freedom without constructing a scene that embodies this abstract idea.

💡Picturing

Picturing is the act of forming a mental image or visualization of something. The script discusses picturing as a key function of the imagination, especially in the context of architecture where it allows for the creation of images that can guide the design process. It is a fundamental part of the architectural imagination.

💡Wrapper

In the script, a 'wrapper' refers to the outer structure or enclosure of a building, often defined by columns and an entablature. The term is used to describe the modulated outer layer of the buildings in the provided images, which is a key element in the architectural imagination as it contributes to the building's aesthetic and functional characteristics.

💡Columns

Columns are vertical structural members that support a building's entablature or roof. The video script uses the term to highlight the importance of columns in defining the architectural style and rhythm of a building. Columns are integral to the architectural imagination as they contribute to the geometrical and proportional systems of a design.

💡Entablement

Entablement, also known as entablature, is the horizontal structure supported by columns in a building. The script discusses how the way columns meet the entablature is significant in architectural design, indicating the joinery and the transition from vertical to horizontal elements, which is a part of the architectural imagination's focus on detail and proportion.

💡Landscape

Landscape refers to the natural setting or environment around a building. The video emphasizes the importance of the relationship between architecture and its landscape, showing how the architectural imagination takes into account the building's integration with its surroundings. The script provides examples of buildings that are either nestled into or lifted off the landscape, illustrating the imagination at work in architectural design.

💡Aesthetic Judgment

Aesthetic judgment is the evaluation or appreciation of the sensory or artistic aspects of an object or phenomenon. In the video, it is presented as a fundamental outcome of the architectural imagination, where a set of assumptions about architectural characteristics is used to make comparisons and judgments about different buildings, reflecting the viewer's perception shaped by the architectural imagination.

Highlights

Imagination is essential for treating architecture as a mode of knowledge.

Imagination bridges the gap between perception and understanding.

Imagination creates images where thought materializes.

Imagination is distinct from perceiving and remembering as it does not require pre-existence of the subject.

The image produced by imagination isn't there until it is created by the imagination itself.

Imagination requires the materialization of thought, unlike conceptualization.

Architectural imagination is a specific kind of imagination that is independent of materials, function, and patronage.

Two images, despite unknown origins, can be compared using architectural imagination.

Architectural features such as how a building meets the ground are part of the architectural imagination.

The architectural imagination involves comparing and contrasting different buildings' relationships with the landscape.

The 'wrapper' of a building, articulated by columns and space, is a key element of architectural imagination.

The proportion and rhythm of columns are important in the architectural imagination.

The way columns meet the entablature is a significant aspect of architectural design.

Negation of articulation in design can still convey intensity through architectural imagination.

Architectural imagination allows for aesthetic judgment through comparison of architectural characteristics.

A set of assumptions about architectural features pre-exists our perception of buildings.

Old and new buildings shape each other's perception through a template of shared architectural assumptions.

Transcripts

[MUSIC PLAYING]

K. MICHAEL HAYS: I'm in Gund Hall, which is the home of the Graduate

School of Design.

And I'm in the studio space, which is where the most intense activity takes

place of design, of analysis and research, of imagination.

We'll speak about the architectural imagination.

And I'm going to suggest that some concept like the imagination

is necessary if we want to treat architecture as a mode of knowledge.

The classical philosophers said, the soul

never thinks without phantasm, which is to say that thought needs a material

image, something to carry the thought.

So we begin to think of the imagination as bridging the gap between perception

and understanding.

What's implied is that there is actually a space in the mind

where the work of picturing takes place.

The imagination is different from other mental processes

like perceiving or remembering insofar as to perceive something requires

that something has to be there.

And that's not required of the imagination.

And even to remember something-- the event or the object or the person--

it had to have already been there in order to remember.

But the imagination creates its image.

The image isn't there until the imagination produces it.

The imagination is also different from a concept

because the imagination requires the materialization of thought.

For example, I can conceptualize freedom.

I can even explain to you what freedom is as a concept.

But it's very difficult to show you freedom.

In order to show you freedom, I would have to construct a picture.

I would have to construct a scene.

Then I could help you imagine freedom in that materialization, in that scene,

in that picturing.

So we should think of the imagination as the capacity

for producing images, the mental capacity to picture things.

And what we want to show is that there is a specific kind of imagination,

which is the architectural imagination.

Look at these two images.

Let's say you know nothing about them.

You don't know what their function is.

You don't know who their patron was.

You don't know where they are.

But you can already start to compare them nevertheless.

One is made of stone.

The other one is made of white stuff and glass, probably wood or steel.

Look at how they meet the ground.

One is nestled into the ground.

It almost seems to be emerging from the earth.

Indeed, some scholars would say that it even compares itself to the landscape

and to the mountains around it.

It almost wants to become like a mountain.

Now, the other one is also very conscious of the landscape,

but it's lifted off the earth.

It doesn't emerge from the earth, but it kind of perches on the earth.

But both of them are conscious of the ground.

Already, the architectural imagination is starting to emerge.

And then we could also say they have something else in common.

They both have a kind of wrapper, which encloses a single volume.

But the wrapper is very special.

It's a modulated wrapper.

It's made of columns.

Even though one has stone columns, one has steel columns,

even though the columns have different spacings,

the space in between the columns is important.

The proportion of space in between the columns and the rhythm of the columns

is important.

And then look at how the columns meet the horizontal beam,

or what we call the entablature.

In one case, there's a very articulated picture

of the joinery, the way the vertical column meets the entablature.

And there are several pieces in between that

make that transition from horizontal to vertical articulate.

Now, the other one doesn't have all those pieces.

But it almost seems like there's still great thought about the pieces.

But it's a kind of negation of all the articulation.

And yet, in the very negation, the intensity of that joint is still made.

So what do we have?

They're both empty, rectangular volumes defined by a wrapper.

And the wrapper is articulated by columns

and space that have a geometry, a kind of geometrical, proportional system.

They both pay a lot of attention of how they meet the ground.

And they both pay a lot of attention about how they're in a landscape.

So what has happened is that we have constructed.

And what has started to emerge is a very particular kind of imagination

that is purely architectural.

It's independent of the materials.

It's independent of the function.

It's independent of who paid for it.

And we have adapted a set of assumptions about one building

to a set of perceptions about another building.

We've worked across those two buildings.

Now, what's implied here is that template of things, in some sense,

had to preexist our understanding of those buildings.

That set of architectural characteristics

that they share in common had to, in some sense, already be there when

we start to perceive those buildings.

This is nothing less than the architectural imagination at work.

And what we have arrived at is a fundamental instance

of aesthetic judgment.

In the comparison, that set of assumptions emerged.

And it is as if it preexisted in order that you could

make the comparison in the first place.

So what's happening is that, let's say, a very old building

is shaping our perception of a very new building,

but also that that more modern building is shaping

our perception of the old building.

And it seems as if that template of items and assumptions

that we made about the wrapper, about the ground, about the landscape--

it seems as if those assumptions preexisted our perception.