《设计基础》课程教学资源（电子图书）Diagramming the Big Idea——Methods for Architectural Composition.pdf_大学文库

FOREWORD Architects don't make buildings Architects make diagrams not buildings.Most of these diagrams organize the details of how someone else will make the building and architects refer to them as drawings.Even as we drift toward the virtual,designers refer to the building's documents-its'blueprints'-as contract drawings.However,if we wish to be accurate we would deem even these as diagrams-defined in the Oxford English Dictionary as'Figures composed of lines,serving to illustrate a definition or statement,or to aid in the proof of a proposition." Architects draw lines to define a proposition.The proposition is architecture. History Most books have a story behind their writing.Ours begins four years ago with an epiphany-a realization that,in the absence of any specific instruction, schools expect architecture students to know how to diagram.Given its fun- damental role in design,Jeff discovered-much to his surprise-the absence of useful texts on diagramming.He suggested to Michael that such a book needed writing. Michael meanwhile completed What We Do Now,a treatise on our first- semester curriculum.As a painter,he believed that a primer on diagramming must also include the fundamentals of visual composition.Together,we real- ized that the issue went further than that of diagrams.Our entire system of education values text over image-it neither celebrates nor cultivates visual aptitude.As a result,novice architecture students confront enormous chal- lenges,faced as they are with an entirely unfamiliar mode of knowledge- what we call design thinking. Beyond the immediate purview of problem solving,design comprises a search for possibilities.As described throughout this book,design thinking defines a method for engaging the world through observation and analysis. For designers,observation is necessarily extra-verbal,even when we stress the requirement to articulate our findings.Design analysis,though methodical,is seldom linear.It requires the synthesis of deductive and imaginative reason- ing,both shrewd scrutiny and fevered speculation. The result of our discussions led us to focus on diagramming-making vis- ible the abstractions that order and support the phenomena of the built envi- ronment.Moreover,as the diagram shares conceptual space with the PARTI, we adopt the'Big Idea'as a foil and as a suitcase to package student learn- ing.Above all,our goal is to make explicit to students what they are learning, why they are learning it and how to internalize such lessons for their lifelong development as designers. www.ebook3000.com

FOREWORD Architects don’t make buildings Architects make diagrams not buildings. Most of these diagrams organize the details of how someone else will make the building and architects refer to them as drawings. Even as we drift toward the virtual, designers refer to the building’s documents – its ‘blueprints’ – as contract drawings. However, if we wish to be accurate we would deem even these as diagrams – defined in the Oxford English Dictionary as ‘Figures composed of lines, serving to illustrate a definition or statement, or to aid in the proof of a proposition.’ Architects draw lines to define a proposition. e proposition is architecture. History Most books have a story behind their writing. Ours begins four years ago with an epiphany – a realization that, in the absence of any specific instruction, schools expect architecture students to know how to diagram. Given its fundamental role in design, Jeff discovered – much to his surprise – the absence of useful texts on diagramming. He suggested to Michael that such a book needed writing. Michael meanwhile completed What We Do Now, a treatise on our firstsemester curriculum. As a painter, he believed that a primer on diagramming must also include the fundamentals of visual composition. Together, we realized that the issue went further than that of diagrams. Our entire system of education values text over image – it neither celebrates nor cultivates visual aptitude. As a result, novice architecture students confront enormous challenges, faced as they are with an entirely unfamiliar mode of knowledge – what we call design thinking. Beyond the immediate purview of problem solving, design comprises a search for possibilities. As described throughout this book, design thinking defines a method for engaging the world through observation and analysis. For designers, observation is necessarily extra-verbal, even when we stress the requirement to articulate our findings. Design analysis, though methodical, is seldom linear. It requires the synthesis of deductive and imaginative reasoning, both shrewd scrutiny and fevered speculation. e result of our discussions led us to focus on diagramming – making visible the abstractions that order and support the phenomena of the built environment. Moreover, as the diagram shares conceptual space with the , we adopt the ‘Big Idea’ as a foil and as a suitcase to package student learning. Above all, our goal is to make explicit to students what they are learning, why they are learning it and how to internalize such lessons for their lifelong development as designers. www.ebook3000.com

FOREWORD The structure Our first-year program uses a project structure that follows an intentional skills-based sequence.We articulate design projects as daily tasks that teach specific skills,with a reasoned sequence of design strategies and tactics as context.Skills are thus central to method.The context of strategies and tac- tics represents an unabashed entreaty for order.We teach our students how to make things through order and pattern.Moreover,we teach them in a transparent,illustrative manner,responsive to feedback.That order,in turn, defines the architecture of our learning outcomes. On a practical level,the assignments embody several broad concepts or procedural themes.We organize them through recursive development.The lessons build an increasingly complex matrix of design experience.The basic structure of the first semester follows three procedural themes and moves from figure-ground,to plan and proportion,and thence to structure and vol- ume.In the second semester,we turn to the study and use of precedent and companion issues of site and landscape. Educational intent The structure of both our teaching and this book also reflects our audience- students beginning the study of architecture.This leads to three important considerations. Where do the students come from? 。 Where do they need to go? What skills and capacities do they need to construct a suitcase for the trip? Because students do not arrive uniformly equipped for the study of archi- tecture,it is of paramount importance that their first course of study fur- nishes a consistent preparation.Those familiar with the language of instruc- tional design will recognize this as a request for probable outcomes.After all, if we must judge students on how well they accomplish tasks,we ought to define those tasks clearly.In the studio and this book,tasks-as practices- commingle with defined skills. The first skills discussed in our narrative address higher-order concept skills With roots in the literature of visual psychology,they focus on the percep- tion and implementation of order.Order leads to pattern and ideas of pattern. Thus,our first discussions confront recognizing patterns and pattern systems, identifying useful strategies and tactics,and diagramming patterns with par- ticular intent. Mastery of design thinking takes more time than any single course can pro- vide.However,the capacity for judging order in a constructed environment builds from simple cognitive steps using diagrams.In this book,those steps include:inferring structure from formal order,recognizing scale within struc- ture and imagining space through visualizing order-all of which lead to an understanding of architecture. The role of examples One of the tools present throughout our first-year program is the deliberate and extensive use of images and models as exemplars for the project sequence. Models and drawings-digital and hand-made-form a particular background for the daily assignment and lectures.Together with photographs,they pro- vide a consistent visual reference for study.After nearly seven years there are a lot of them-at last count over six thousand.This profusion led us to begin

x  The structure Our first-year program uses a project structure that follows an intentional skills-based sequence. We articulate design projects as daily tasks that teach specific skills, with a reasoned sequence of design strategies and tactics as context. Skills are thus central to method. e context of strategies and tactics represents an unabashed entreaty for order. We teach our students how to make things through order and pattern. Moreover, we teach them in a transparent, illustrative manner, responsive to feedback. at order, in turn, defines the architecture of our learning outcomes. On a practical level, the assignments embody several broad concepts or procedural themes. We organize them through recursive development. e lessons build an increasingly complex matrix of design experience. e basic structure of the first semester follows three procedural themes and moves from figure-ground, to plan and proportion, and thence to structure and volume. In the second semester, we turn to the study and use of precedent and companion issues of site and landscape. Educational intent e structure of both our teaching and this book also reflects our audience – students beginning the study of architecture. is leads to three important considerations. · Where do the students come from? · Where do they need to go? · What skills and capacities do they need to construct a suitcase for the trip? Because students do not arrive uniformly equipped for the study of architecture, it is of paramount importance that their first course of study furnishes a consistent preparation. ose familiar with the language of instructional design will recognize this as a request for probable outcomes. After all, if we must judge students on how well they accomplish tasks, we ought to define those tasks clearly. In the studio and this book, tasks – as practices – commingle with defined skills. e first skills discussed in our narrative address higher-order concept skills. With roots in the literature of visual psychology, they focus on the perception and implementation of order. Order leads to pattern and ideas of pattern. us, our first discussions confront recognizing patterns and pattern systems, identifying useful strategies and tactics, and diagramming patterns with particular intent. Mastery of design thinking takes more time than any single course can provide. However, the capacity for judging order in a constructed environment builds from simple cognitive steps using diagrams. In this book, those steps include: inferring structure from formal order, recognizing scale within structure and imagining space through visualizing order – all of which lead to an understanding of architecture. The role of examples One of the tools present throughout our first-year program is the deliberate and extensive use of images and models as exemplars for the project sequence. Models and drawings – digital and hand-made – form a particular background for the daily assignment and lectures. Together with photographs, they provide a consistent visual reference for study. After nearly seven years there are a lot of them – at last count over six thousand. is profusion led us to begin

FOREWORD the process of outlining this book.It also brought with it our most difficult task:translating an overabundance of images from lectures and assignments into a more compact form Although we base this narrative on our teaching,this book remains an inde- pendent discussion.It draws from but does not replicate our classes.The book describes diagramming as an intellectual method of analysis and action in service of architectural study in general.We have attempted to address a gen- eral audience and diverse reasons for study by describing an analytical method that has broad utility and relevance Much of architectural learning occurs in reaction to individual work.In studio discussion,the creative output of the students serves as the cause of important commentary.Student questions also create important learning opportunities and sponsor rich dialogue wherein everyone-including the instructor-finds inspiration. In addition,when showing drawings,models and photographs,we routinely point,zoom in on and explain various features,supplemented by improvised drawings on chalkboard or paper.Digital technology expands these actions to include on-the-fly animation and live sections.In contrast,a book remains a fixed resource.It follows a predetermined path.It manifests an idealized if not ideal discourse In response to that challenge,we integrate into our text,thematic asides- DISCUSSIONS-and allied materials-DEMONSTRATIONS.These represent some of our more fruitful extemporaneous moments.To adopt the lesson structure to the book,we found it necessary not only to edit the lessons,but also to reformulate and reinvent most of the illustrations for the book. Figure1:Teaching is an interactive exercise. Making the images serve As teachers,we use our images in both printed handouts and digital presen- tations.In response,we have developed particular techniques and practices for developing and using images,relying on Adobe Creative Suite and Vector Magic,a clever autotrace program.We have developed most of our diagrams as layered Illustrator files,allowing for rapid conversion from color to grayscale, and to various sizes.We adapted and processed photographs using Photoshop, Vector Magic and Illustrator in order to reduce their visual complexity in accordance with their captions.This process served for hand drawings,maps and engravings as well. We used two applications to create digital models.The first,Strata Design 3D,served to develop the majority of our virtual model renderings.Some we subsequently exported to the second program,Google SketchUp Pro,to ren- der as vector images.SketchUp was also instrumental in preparing the three- dimensional diagrams shown in CHAPTER 9.For layout in preparation for pub- lication,we used Adobe InDesign. Last words We have one clear hope for this book:to improve and expand the discourse of design.Adapting our methods to a new format-from the classroom to a book-sharpened our understanding of the material.By sending it out into a wider realm,we aim to prompt further discussion and feedback.We encour- age readers from a wide range of places and perspectives to share their impres- sions.Remaining open to that possibility leaves us with an intoxicating sense of potential. xi

xi  the process of outlining this book. It also brought with it our most difficult task: translating an overabundance of images from lectures and assignments into a more compact form. Although we base this narrative on our teaching, this book remains an independent discussion. It draws from but does not replicate our classes. e book describes diagramming as an intellectual method of analysis and action in service of architectural study in general. We have attempted to address a general audience and diverse reasons for study by describing an analytical method that has broad utility and relevance. Much of architectural learning occurs in reaction to individual work. In studio discussion, the creative output of the students serves as the cause of important commentary. Student questions also create important learning opportunities and sponsor rich dialogue wherein everyone – including the instructor – finds inspiration. In addition, when showing drawings, models and photographs, we routinely point, zoom in on and explain various features, supplemented by improvised drawings on chalkboard or paper. Digital technology expands these actions to include on-the-fly animation and live sections. In contrast, a book remains a fixed resource. It follows a predetermined path. It manifests an idealized if not ideal discourse. In response to that challenge, we integrate into our text, thematic asides –  – and allied materials – . ese represent some of our more fruitful extemporaneous moments. To adopt the lesson structure to the book, we found it necessary not only to edit the lessons, but also to reformulate and reinvent most of the illustrations for the book. Making the images serve As teachers, we use our images in both printed handouts and digital presentations. In response, we have developed particular techniques and practices for developing and using images, relying on Adobe® Creative Suite® and Vector Magic, a clever autotrace program. We have developed most of our diagrams as layered Illustrator® files, allowing for rapid conversion from color to grayscale, and to various sizes. We adapted and processed photographs using Photoshop®, Vector Magic and Illustrator® in order to reduce their visual complexity in accordance with their captions. is process served for hand drawings, maps and engravings as well. We used two applications to create digital models. e first, Strata Design D, served to develop the majority of our virtual model renderings. Some we subsequently exported to the second program, Google SketchUp Pro, to render as vector images. SketchUp was also instrumental in preparing the threedimensional diagrams shown in  . For layout in preparation for publication, we used Adobe® InDesign. Last words We have one clear hope for this book: to improve and expand the discourse of design. Adapting our methods to a new format – from the classroom to a book – sharpened our understanding of the material. By sending it out into a wider realm, we aim to prompt further discussion and feedback. We encourage readers from a wide range of places and perspectives to share their impressions. Remaining open to that possibility leaves us with an intoxicating sense of potential. Figure 1: Teaching is an interactive exercise

ACKNOWLEDGEMENTS This book reflects the efforts of a host of good people.They deserve public recognition. First,we wish to thank Wendy Fuller,our editor at Routledge.We thank Wendy for her expertise and her wisdom.Most of all,we give thanks for her belief in this project,and for providing the possibility of its very existence.We thank our managing editor,Laura Williamson,for her professionalism and enduring patience,as we struggled toward the timely completion of the man- uscript while maintaining a busy teaching schedule.Proof-reader,Kate Man- son,provided a keen and careful review that helped hone the look and feel of the book's text and visual material,making them both clearer.We also wish to express our sincere appreciation to Joanna Endell-Cooper,our production edi- tor,for her constant wisdom and encouragement while readying the text and images for publication. Among our colleagues at the College of Arts Architecture at UNC Char- lotte,we wish to thank Dean Kenneth Lambla for his endorsement of excel- lence in first year teaching,first as a colleague,then chair and continuing into his current position.We thank Associate Dean Lee Gray for his good advice and good cheer.Special appreciation also goes to Chris Jarrett,Director of the School of Architecture.Without his encouragement and support,the first-year teaching program would simply not be what it is. During the past eight years,a group of faculty worked together to define and construct an integrated pedagogy of particular clarity and organization. The structure continues to refine and change,however,there is recognition due for their contributions. The first-year program's teaching structure is straightforward.Each semes- ter,two permanent faculty members teach in studio and one in the visual studies class-a.k.a.skills.In addition,two adjuncts teach studio sections in both semesters.The four studio sections share assignments,teaching materi- als,lectures,critiques and other activities.There is much to coordinate and abundant opportunity to collaborate. We are two of the permanent faculty members in the first semester studio. Past visiting colleagues have included Jason Slatinsky,Jeremy Fisher,Chris- tine Abbott,Nora Wendl and Kristina Luce.They all helped to make the Col- lege,the School and the first-year richer,better and more effective.They left their mark on the program.Acknowledgement of our debt to them is too little, even if it is all we have to give here. Our current adjuncts are Landon Robinson and Christopher Campbell. Aside from teaching studio,they have improved the visual studies compo- nent of the program beyond measure.They also participated substantively in our examination of Kahn's Exeter Library.Our undergraduate assistant,Ryan

ACKNOWLEDGEMENTS is book reflects the efforts of a host of good people. ey deserve public recognition. First, we wish to thank Wendy Fuller, our editor at Routledge. We thank Wendy for her expertise and her wisdom. Most of all, we give thanks for her belief in this project, and for providing the possibility of its very existence. We thank our managing editor, Laura Williamson, for her professionalism and enduring patience, as we struggled toward the timely completion of the manuscript while maintaining a busy teaching schedule. Proof-reader, Kate Manson, provided a keen and careful review that helped hone the look and feel of the book’s text and visual material, making them both clearer. We also wish to express our sincere appreciation to Joanna Endell-Cooper, our production editor, for her constant wisdom and encouragement while readying the text and images for publication. Among our colleagues at the College of Arts + Architecture at UNC Charlotte, we wish to thank Dean Kenneth Lambla for his endorsement of excellence in first year teaching, first as a colleague, then chair and continuing into his current position. We thank Associate Dean Lee Gray for his good advice and good cheer. Special appreciation also goes to Chris Jarrett, Director of the School of Architecture. Without his encouragement and support, the first-year teaching program would simply not be what it is. During the past eight years, a group of faculty worked together to define and construct an integrated pedagogy of particular clarity and organization. e structure continues to refine and change, however, there is recognition due for their contributions. e first-year program’s teaching structure is straightforward. Each semester, two permanent faculty members teach in studio and one in the visual studies class – a.k.a. skills. In addition, two adjuncts teach studio sections in both semesters. e four studio sections share assignments, teaching materials, lectures, critiques and other activities. ere is much to coordinate and abundant opportunity to collaborate. We are two of the permanent faculty members in the first semester studio. Past visiting colleagues have included Jason Slatinsky, Jeremy Fisher, Christine Abbott, Nora Wendl and Kristina Luce. ey all helped to make the College, the School and the first-year richer, better and more effective. ey left their mark on the program. Acknowledgement of our debt to them is too little, even if it is all we have to give here. Our current adjuncts are Landon Robinson and Christopher Campbell. Aside from teaching studio, they have improved the visual studies component of the program beyond measure. ey also participated substantively in our examination of Kahn’s Exeter Library. Our undergraduate assistant, Ryan

CHAPTER Introduction Read me first! Approaching the study of architecture can be a daunting prospect.Though we spend the majority of our lives inside and among buildings,the processes that underlie their design remain impenetrable to most,even to those who profess a keen interest in the built environment. We might ask why these processes remain obscure,even while the prod- ucts of architectural design appear all around us.Three common answers to that question suggest themselves.First,the criteria for realizing buildings are intrinsically complex,comprising the aspirations of client and designer, the utility and comfort of intended occupants,and compliance with myriad legal and life-safety regulations.Second,the process of designing and build- ing engages the technical expertise of a wide range of specialists,including designers,engineers,builders,financiers and public officials,and this network of expertise lies beyond the direct experience of the rest of us.Third,archi- tects indulge in bewildering jargon that renders their discourse largely unin- telligible to others. All of the suggestions above have merit.However,the primary reason that design thinking remains inscrutable to most is,in our opinion,the same rea- son that it provides such a perplexing challenge to students beginning the study of architecture:the fundamental alpha-numeric bias of our education system.Reading,writing and arithmetic alone do not and cannot provide the means for evaluating form and space.Despite living in a culture commonly described as 'visually oriented',few learn to analyze what,and how,we see.At the same time,each of us shares in an innate understanding of order in the perception and comprehension of the world around us.This native sensibility can,and should,form the basis for engaging the fundamental principles that underpin architectural composition. This book is the product of almost fifty years of combined experience teach- ing architecture.The essential challenge faced by beginning students-learn- ing to think as a designer-shaped our efforts.We have come to believe that the most effective way to introduce DESIGN THINKING is to study and practice one of the primary means by which experienced designers analyze and gener- Figure:Tothentitedhsmae may red as astyzetha ate architecture:through the use of diagrams.Architects create diagrams in reversed umlot.Someone familiar with plan conventions might recognize itas a simplified antique temple plan,in this case the Syoyomian Treasury order to clarify their understanding of both particular projects and general Olympia. principles.Diagrams can form the basis for analyzing existing precedents,or they may generate entirely new works of architecture. We have written this book with the beginning design student in mind.At the same time,this work aims at a broader audience,one with a general inter- est in architecture.Using diagrams,drawings and virtual models,we aim to illustrate the broad reciprocity between geometric composition and order in

Figure 1: To the uninitiated this image may read as a stylized ‘A’ with a reversed umlaut. Someone familiar with plan conventions might recognize it as a simplied antique temple plan, in this case the Sycyonian Treasury, Olympia. CHAPTER Introduction  Read me rst! Approaching the study of architecture can be a daunting prospect. ough we spend the majority of our lives inside and among buildings, the processes that underlie their design remain impenetrable to most, even to those who profess a keen interest in the built environment. We might ask why these processes remain obscure, even while the products of architectural design appear all around us. ree common answers to that question suggest themselves. First, the criteria for realizing buildings are intrinsically complex, comprising the aspirations of client and designer, the utility and comfort of intended occupants, and compliance with myriad legal and life-safety regulations. Second, the process of designing and building engages the technical expertise of a wide range of specialists, including designers, engineers, builders, financiers and public officials, and this network of expertise lies beyond the direct experience of the rest of us. ird, architects indulge in bewildering jargon that renders their discourse largely unintelligible to others. All of the suggestions above have merit. However, the primary reason that design thinking remains inscrutable to most is, in our opinion, the same reason that it provides such a perplexing challenge to students beginning the study of architecture: the fundamental alpha-numeric bias of our education system. Reading, writing and arithmetic alone do not and cannot provide the means for evaluating form and space. Despite living in a culture commonly described as ‘visually oriented’, few learn to analyze what, and how, we see. At the same time, each of us shares in an innate understanding of order in the perception and comprehension of the world around us. is native sensibility can, and should, form the basis for engaging the fundamental principles that underpin architectural composition. is book is the product of almost fifty years of combined experience teaching architecture. e essential challenge faced by beginning students – learning to think as a designer – shaped our efforts. We have come to believe that the most effective way to introduce   is to study and practice one of the primary means by which experienced designers analyze and generate architecture: through the use of diagrams. Architects create diagrams in order to clarify their understanding of both particular projects and general principles. Diagrams can form the basis for analyzing existing precedents, or they may generate entirely new works of architecture. We have written this book with the beginning design student in mind. At the same time, this work aims at a broader audience, one with a general interest in architecture. Using diagrams, drawings and virtual models, we aim to illustrate the broad reciprocity between geometric composition and order in

WHAT IS ARCHITECTURE? Figure 2:To the left,a figure-ground demonstration in dynamic spatial ordering:identical squares on a grid demonstrate principles of movement, combination,shape,size,removal and rotation. Diagram 2-1:Thirty-six squares Diagram 2-2:One element on a grid. moved vertically. architecture.The text also lays out a road map for design thinking,illustrating processes by way of exercises that begin with simple figure-ground organiza- tion and progress toward more complex spatial investigations.These exer- cises proceed in a manner that encourages the reader to test and to explore their premises.The book thus invites a high degree of participation-we have designed it to be engaged with as readily as we mean it to be read. Learning to think like a designer is no small task.It calls upon faculties and Diagram 2-3:One element Diagram 2.4:Two elements patterns of thought seldom exercised by the modalities of alphanumeric edu- moved laterally. ioined. cation.It obliges us to perceive and to interact with our environment in unac- customed ways,even as it requires us to recover an innate sense of order and orientation.It compels us to question all our assumptions and expectations, yet also asks that we draw deeply from hard-won experience.Perhaps most paradoxically,design thinking directs us to assess dispassionately all that sur- rounds us,all the while admonishing us to experience the world in a state of wonderment. As design instructors,we confront these same challenges.In determining Diagram 2-5:One element Diagram 2-6:Three elements what-and how-to teach novice students,we feel compelled to question the changes shape. change size. way that we ourselves discovered architecture.In doing so,we have cause to interrogate any and all assumptions about best practices in beginning design pedagogy.A simple question guides our research:What is design thinking. and how do we teach it best?The degree to which our students acquire these concepts and skills leads us to another simple question:Have they acquired the ability to decide and to describe what is important in their work?Under- pinning these questions is another that we ask of ourselves and bring to our students,a question so fundamental that it usually remains hidden in plain Diagram 2-7:One element Diagram 2-8:One element sight:What is architecture? removed. rotates. What is architecture? Defining what architecture is proves to be more difficult to do than one might Figure 3:The image to the right shows the combined first imagine.Despite centuries of debate concerning architecture,its defini- changed elements from the tion remains unsettled.Moreover,because other disciplines borrow the term sequence above. 'architecture,its parameters inevitably vary by CoNTEXT.When asked on their first day,our students offer a range of definitions,usually including the design of buildings The definition that we share with them on that first day is as follows:archi- tecture is organization toward a purpose. 'What about buildings?'they ask.This is an excellent question.Our Figure 4:This image shows the response goes something like this:While it is possible and desirable to build changed elements alone in the toward a purpose,it is not a foregone conclusion.Sadly,examples of buildings context of the grid. without clear organization or clear purpose surround us. The alternative to these ill-conceived constructions enriches our definition. First and necessarily,architecture is a conceptual organization,an intellectual structuring.It is the means by which we give order to what is knowable.It is 2

 Figure 2: To the left, a gure-ground demonstration in dynamic spatial ordering: identical squares on a grid demonstrate principles of movement, combination, shape, size, removal and rotation. Diagram 2·1: Thirty-six squares on a grid. Diagram 2·2: One element moved vertically. Diagram 2·3: One element moved laterally. Diagram 2·5: One element changes shape. Diagram 2·7: One element removed. Diagram 2·8: One element rotates. Diagram 2·6: Three elements change size. Diagram 2·4: Two elements joined. Figure 3: The image to the right shows the combined changed elements from the sequence above. Figure 4: This image shows the changed elements alone in the context of the grid. architecture. e text also lays out a road map for design thinking, illustrating processes by way of exercises that begin with simple figure-ground organization and progress toward more complex spatial investigations. ese exercises proceed in a manner that encourages the reader to test and to explore their premises. e book thus invites a high degree of participation – we have designed it to be engaged with as readily as we mean it to be read. Learning to think like a designer is no small task. It calls upon faculties and patterns of thought seldom exercised by the modalities of alphanumeric education. It obliges us to perceive and to interact with our environment in unaccustomed ways, even as it requires us to recover an innate sense of order and orientation. It compels us to question all our assumptions and expectations, yet also asks that we draw deeply from hard-won experience. Perhaps most paradoxically, design thinking directs us to assess dispassionately all that surrounds us, all the while admonishing us to experience the world in a state of wonderment. As design instructors, we confront these same challenges. In determining what – and how – to teach novice students, we feel compelled to question the way that we ourselves discovered architecture. In doing so, we have cause to interrogate any and all assumptions about best practices in beginning design pedagogy. A simple question guides our research: What is design thinking, and how do we teach it best? e degree to which our students acquire these concepts and skills leads us to another simple question: Have they acquired the ability to decide and to describe what is important in their work? Underpinning these questions is another that we ask of ourselves and bring to our students, a question so fundamental that it usually remains hidden in plain sight: What is architecture? What is architecture? Defining what architecture is proves to be more difficult to do than one might first imagine. Despite centuries of debate concerning architecture, its definition remains unsettled. Moreover, because other disciplines borrow the term ‘architecture’, its parameters inevitably vary by . When asked on their first day, our students offer a range of definitions, usually including the design of buildings. e definition that we share with them on that first day is as follows: architecture is organization toward a purpose. ‘What about buildings?’ they ask. is is an excellent question. Our response goes something like this: While it is possible and desirable to build toward a purpose, it is not a foregone conclusion. Sadly, examples of buildings without clear organization or clear purpose surround us. e alternative to these ill-conceived constructions enriches our definition. First and necessarily, architecture is a conceptual organization, an intellectual structuring. It is the means by which we give order to what is knowable. It is   