Transition, Preview, Slow Reveal

Mercer Museum (photo by Bestbudbrian / CC BY-SA (https://creativecommons.org/licenses/by-sa/3.0))

It’s time once again for another installment from the late Bill Kleinsasser’s self-published textbook SYNTHESIS. In the selection below Bill drew upon his extensive familiarity with the buildings of Henry Chapman Mercer to illustrate a key theory associated with experiential considerations in architecture.    

I previously mentioned how central Mercer’s idiosyncratic work was to Bill’s conception of richly developed buildings and places. As a student of his during the early 1980s, I found Bill’s fascination with the Mercer Museum, Fonthill, and Mercer’s Tileworks peculiar since I considered the buildings ugly and unworthy of his extensive attention; however, since then I have come to understand what he appreciated about these curious buildings. A visit to Doylestown, PA to see all three features prominently on my “bucket list” of things to do before I die. I look forward to someday experiencing these unique works of architecture, with the privilege of viewing them through eyes influenced nearly four decades ago by Bill’s teaching.

Transition, Preview, Slow Reveal

Buildings and places are invariably complex, especially when first experienced. Because of this complexity, they often are confusing. It is helpful if places are organized so that they may be approached and experienced gradually, so that foreknowledge may be gained ahead of full commitment. It is also helpful if a place (especially its special features) may be seen several times from several viewpoints, so that its overall pattern may be understood.

Upon entering Mercer’s Museum, one’s first view is into the great central space and up and across to the exhibits. One immediately understands the general arrangement, notices many of the larger or more spectacular exhibits, and proceeds up and around. As the central space is circled, many previews, back-views, and cross-views present themselves, constantly reinforcing one’s understanding of the place. After one circuit, or less, the place is clear.

In Fonthill, where again the circumstances of time and use are very different, previews and multiple views are present to a lesser extent. But here too Mercer provided hints of adjacent spaces, overviews, and internal vistas by making careful plan overlaps, multi-levels within spaces, and open stairs.

These clarifying, orienting provisions are also present in the Tileworks: the two-level studio (and open stair), the two-level gallery around the courtyard, and the stairs and walkways on the roof. In all three buildings, conditions exist that allow near-total traversing of all spaces. Nearly every nook and cranny can be explored.

And one more point: Previews and multiple views require openness, spatial interpenetration, and general spatiality.

(WK/1981)