PREFACES PREFACE TO THE FIRST EDITION The intentions of this study are to assist the understand- ing of architectural history,to examine basic similarities of This book is about architecture. architects'designs over time,to identify generic solutions to In particular,it focuses on a way of thinking about archi- design problems which transcend time,and to develop tecture that emphasizes what is in essence the same.rather analysis as a tool for design.Of importance is the develop- than different.Our concern is for a continuous tradition that ment of a vehicle for the discussion of ideas through the use makes the past part of the present.We do not wish to aid the of example.The understanding of history derived from this repetition or revival of style whether in whole or part. kind of investigation can only be obtained by far greater Rather,by a conscious sense of precedent that identifies pat- labor than that involved in acquiring a knowledge of history terns and themes,we hope to pursue archetypal ideas that that focuses on names and dates.The reward for this effort might aid in the generation of architectural form. is a design vocabulary that has evolved and been tested over While architecture embodies many realms,we concen- time.We believe designers benefit from a comprehensive trate on built form.Without apology,we make no attempt to understanding of formative ideas,organizational concepts, discuss the social,political,economic,or technical aspects and partis. of architecture.The domain of design ideas lies within the As a resource,this book offers factual graphic informa- formal and spatial realm of architecture,and thus it is this tion on 64 buildings,a detailed analysis of each of these arena that is explored in this book. buildings,a range of designs by individual architects,a com- Obviously,a sound architectural idea will not,as a tool pilation of formative ideas for design generation,a collec- for design,inevitably lead to a good design.One can imagine tion of architectural images,and a reference for a technique many undesirable buildings which might originate with of analysis.Some of this information is not readily available formative ideas.To be sensitive to the potential of archetyp- in other sources. al pattern in design does not lessen the importance of con- We are indebted to the Graham Foundation for cern for other issues or for the building itself.However,one Advanced Studies in the Fine Arts for support to make this commonality shared by the great buildings of this era with study possible. those of the past is a demonstrated understanding of basic Any effort of this nature is the fruit of many encounters architectural ideas which are recognizable as formative pat- with individuals and ideas,but one debt in particular stands terns. out as significant.Through a series of conversations with Our analysis and interpretations are of built form and, George E.Hartman,Jr.,several years ago,some of our therefore,may not necessarily coincide with the architect's thoughts and ideas about architecture and history were intentions or the interpretations of others.The analysis is focused.Since that time,he has continuously and enthusias- not all-inclusive in that it is limited to characteristics which tically offered support and encouragement.James L.Nagel, can be diagrammed. Ludwig Glaser,William N.Morgan,and the late WilliamPREFACE TO THE FIRST EDITION This book is about architecture. In particular, it focuses on a way of thinking about archi￾tecture that emphasizes what is in essence the same, rather than different. Our concern is for a continuous tradition that makes the past part of the present. We do not wish to aid the repetition or revival of style whether in whole or part. Rather, by a conscious sense of precedent that identifies pat￾terns and themes, we hope to pursue archetypal ideas that might aid in the generation of architectural form. While architecture embodies many realms, we concen￾trate on built form. Without apology, we make no attempt to discuss the social, political, economic, or technical aspects of architecture. The domain of design ideas lies within the formal and spatial realm of architecture, and thus it is this arena that is explored in this book. Obviously, a sound architectural idea will not, as a tool for design, inevitably lead to a good design. One can imagine many undesirable buildings which might originate with formative ideas. To be sensitive to the potential of archetyp￾al pattern in design does not lessen the importance of con￾cern for other issues or for the building itself. However, one commonality shared by the great buildings of this era with those of the past is a demonstrated understanding of basic architectural ideas which are recognizable as formative pat￾terns. Our analysis and interpretations are of built form and, therefore, may not necessarily coincide with the architect's intentions or the interpretations of others. The analysis is not all-inclusive in that it is limited to characteristics which can be diagrammed. The intentions of this study are to assist the understand￾ing of architectural history, to examine basic similarities of architects' designs over time, to identify generic solutions to design problems which transcend time, and to develop analysis as a tool for design. Of importance is the develop￾ment of a vehicle for the discussion of ideas through the use of example. The understanding of history derived from this kind of investigation can only be obtained by far greater labor than that involved in acquiring a knowledge of history that focuses on names and dates. The reward for this effort is a design vocabulary that has evolved and been tested over time. We believe designers benefit from a comprehensive understanding of formative ideas, organizational concepts, and partis. As a resource, this book offers factual graphic informa￾tion on 64 buildings, a detailed analysis of each of these buildings, a range of designs by individual architects, a com￾pilation of formative ideas for design generation, a collec￾tion of architectural images, and a reference for a technique of analysis. Some of this information is not readily available in other sources. We are indebted to the Graham Foundation for Advanced Studies in the Fine Arts for support to make this study possible. Any effort of this nature is the fruit of many encounters with individuals and ideas, but one debt in particular stands out as significant. Through a series of conversations with George E. Hartman, Jr., several years ago, some of our thoughts and ideas about architecture and history were focused. Since that time, he has continuously and enthusias￾tically offered support and encouragement. James L. Nagel, Ludwig Glaser, William N. Morgan, and the late William v PREFACES