5 Three-dimensional formation of positive and negative

We are trying to make a system of space in which each part is positive, where the spaces are coherent in their own terms, and where the solid structure of the building as a whole, is orderly, too.
Both the spaces and the solids must form deep centers. This is the volume of the actual physical stuff of which the building is made.
To get both systems of spaces and solids to form beautiful and coherent centers, we must go step by step, from large to small. First we have to get the largest room, in the most beautiful place, just where we want it. Then we have to go gradually to the next largest rooms, then the still smaller ones, each one adjusted perfectly in its proper place. To make this work, there is always some kind of syncopated arrangement. Often there is a little leftover space, tucked in among the big spaces. We cannot get it all to work perfectly. In fact we should not try. What matters is that the big room is perfect, with regard to position, height, volume, view. Get that exactly right. Then adjust others rooms in relation to it, and get them exactly right. To do this, there will always be funny little bits of space left over — forming closets, walls, toilets, rather thick, in between the other spaces as a kind of buffer — allowing the larger spaces to have exactly the right feeling.
At the same time that all this is developing, the structure itself, a syncopated system of grids, columns, beams, floors, walls, and arches, must also form a beautiful and coherent thing, in which these solid elements again have their own perfect shape, and in which moments and shears — with overall stability — work perfectly. Once again, it is the hierarchy of the biggest and most fundamental decisions coming early at the time the largest spaces are formed — then working our way down to the smaller ones, and all the time, keeping the rhythm of repetition, and spaces between the repetition just right — that is crucial.

To get coherent structure, the engineer Antonio Gaudi often used an interesting kind of living process. He hung wires and strings, with weights on them, to form a rough upside-down model of the building while he was working it out. The wires and strings naturally fell into parabolic curves and catenaries under the impact of pure tension — finding balance with the system of weights. When he turned the configuration discovered by the model upside down, it then formed a system of pure compression arches, one of the most natural ways of using mass material to form a building.
Here the living process not only created space in a natural way, but also found positions for compression members that were congruent with the space.

#book/The Nature of Order/3 A Vision of a Living World/6 Positive space in engineering structure and geometry#