Building a form-language from theory
A successful building, one which has life, will always be entirely made of living centers, so that every part, and every part of every part, and every part between two parts, has been shaped and made as a tangible being — that is to say, a living center.
In order to describe the creation of a building in these terms, we may then, reformulate the idea of the iterated application of the fundamental process, creating centers one by one as a system of transformations in which each transformation introduces further living centers into the unfolding structure. […] A form language able to produce life must be a system of transformations which allows such living centers to be created, one by one, or a few at a time, gradually creating a profusion of coordinated and interdependent living centers, each well-related and supportive to the larger wholes around it.
We may see how this tower was conceived, if we imagine a series of transformations, starting only with the general idea of a tower (a tall, thin, stick-like building). Let us consider what happens if this undifferentiated stick idea is transformed by a succession of transformations based on the fifteen properties.
(1) First, we give the “stick” a top — this is the [boundary] transformation.
(2) Next we give it a base — another [boundary] transformation.
(3) The shaft is now given a good shape (by the [strong center] and [good shape] transformation).
(4) The ensuing shaft is now transformed by a series of horizontal bans or belts — the [alternating repetition] transformation.
(5) We now introduce elements — into these belts. They differ from belt to belt — that is the most important aspect — and is created by the [contrast] transformation.
(6) We now introduce living centers into one of the belts — a series of arches. This is the [levels of scale] transformation, acting together with [strong centers].
(7) We also pay attention to the graded series of elements, from top to bottom, in the different width of the belts. This is produced by the [gradients] transformation.
(8) We make sure that each element introduced within the belts is locally symmetrical — this is produced by the action of the [local symmetries] transformation.
(9) We also place the elements — arches — in such a way that the space between the arches is as strong as the arches themselves — the action of the [positive space] transformation.
(10) As we introduce elements in further bands, we maintain a general similarity of form — applying the [echoes] transformation.
(11) We elaborate the top pf the tower, with ribs, (the [alternating repetition]) transformation, and with a beautiful pregnant shape (the [good shape] transformation).
(12) To elaborate it further, we give the top a balcony that projects out into the air around the tower (the [deep interlock] transformation).
(13) Again and again and again, we apply the [local symmetries] transformation, the [positive space] transformation, and the [alternating repetition] transformations.
Repeated use of these transformations, and little else, has created the tower.
It must be noted that the production of the tower as a living center, is caused, not by the historical period, or by any particular style, but primarily by the repeated application of these very general transformations.
#book/The Nature of Order/2 The process of creating life/16 Form language and style#