Implicate Order

 

The interior of the main dome of the Selimiye Mosque in Edirne, Turkey (photo by Dosseman, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons)

 
Architecture is a field where the physical and the metaphysical converge, providing opportunities for profound exploration into concepts of beauty, order, and meaning. Among the metaphysical concepts that can influence architectural thought, the notion of implicate order stands out. Implicate order is a framework for the understanding of the nature of reality, and for this reason is applicable to the making of architecture. I find it compelling because it presents us with a means to conceptualize the design of a building as the expression of a universal and fundamental order.
 
Theoretical physicist David Bohm (1917-1992) first proposed a theory of implicate and explicate order during the early 1980s. Bohm posited that what we see and can tangibly experience in the visible world is a manifestation of a deeper, indivisible whole. According to Bohm, this unseen construct governs the surface reality accessible to human experience. He reasoned that implicate order represents the underlying structure from which all observable forms emerge. In other words, what appears separate and distinct is actually interconnected and part of a unified whole.
 
Given these ideas, it is no surprise some architects have embraced Bohm’s concepts, particularly those aiming to design spaces that reflect an underlying fundamental harmony.
 
Christopher Alexander's seminal work, A Pattern Language, while predating Bohm’s articulation of implicate order, provides a practical application of this concept in architecture. He and his colleagues identified recurring patterns that shape both the aesthetic and functional aspects of design, suggesting that these patterns represent a form of implicate order. By recognizing and applying these patterns, architects can create spaces that feel inherently "right" to human perception, resonating with a universal sense of beauty and coherence. Notably, Alexander met with David Bohm, having recognized the parallels between his and Bohm’s respective pursuits.
 
Nikos Salingaros, a follower of Alexander (and someone I’ve corresponded with in the past), extended the concept of implicate order in architecture by emphasizing fractals, scale, and connectivity. Salingaros believes architectural design should reflect the fractal nature of the universe, creating lucid structures that resonate with the human experience. Architects influenced by this approach often design with a sense of harmony and integration, recognizing that buildings, spaces, and their components are part of a broader interconnected system. This design philosophy often leads to recurring patterns, symmetries, and elements that flow seamlessly into each other, creating a sense of continuity and coherence.
 
Beyond implicate order, other metaphysical concepts can add layers of meaning to architectural design. Teleology, for example, implies purposeful design, suggesting that spaces can embody a specific intention or narrative. Architects embracing teleology aim to create designs that feel coherent and meaningful, as if they are part of a larger story. Holism, another related concept, emphasizes viewing systems as integrated wholes. In architecture, this translates to considering buildings as part of a broader context, ensuring they work harmoniously with their environment.
 
Cosmology, with its focus on the origin and structure of the universe, can inspire architectural design. By incorporating geometric patterns and forms that reflect cosmic structures, architects can create spaces that evoke wonder and transcendence. This connection to the vastness and complexity of the cosmos can lead to designs that encourage contemplation and a sense of the infinite.
 
Ontology, the study of being and existence, raises questions about the fundamental essence of buildings and spaces. Architects influenced by ontological concepts explore the deeper meaning and identity of their projects, seeking to create spaces that resonate with authenticity and purpose. This approach can lead to designs that reflect the unique essence of a place or community, contributing to a sense of cultural continuity and belonging.
 
Applying these concepts to architectural design requires care to avoid superficiality. If architects focus solely on surface-level symbolism or aesthetics without understanding the deeper meanings, designs may lack substance or practicality. To dodge this, architects should thoroughly understand all theories and fields of study they draw inspiration from, consider the broader cultural and environmental context, and balance aesthetics with functionality. This balanced approach ensures that such ideas enrich architectural design without compromising practical considerations.
 
Incorporating metaphysical concepts into architecture can imbue it with significant depth and substance. By exploring deeper patterns, underlying purposes, holistic connections, cosmic influences, and fundamental essences, architects can design spaces that resonate with a profound sense of meaning and interconnectedness. By striking a balance between these metaphysical ideas and practical considerations, architects can create buildings that are both aesthetically pleasing and intrinsically meaningful.
 
Drawing associations between David Bohm’s ontological concepts for quantum theory and the design of buildings, spaces, and their components might be a stretch for some, but I find significant value in doing so. Acknowledging the primacy of structure and process in the conceptualization of architecture is an essential step in understanding that acts of design are not isolated but instead aspects of a vastly broader, interconnected system. Designs that embrace implicate order reinforce the idea that our built environments are parts of a larger whole.

Architecture is Awesome: #36 Architectural Oddities

Casa Batlló  (photo by ChristianSchd, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons)

This is another in my series of posts inspired by 1000 Awesome Things, the Webby Award-winning blog written by Neil Pasricha. The series is my meditation on the awesome reasons why I was and continue to be attracted to the art of architecture.

Architectural oddities are unique structures that defy conventional design norms, blending artistic expression, cultural commentary, and experimental innovation. The motivation behind these oddities can range from exploring new architectural concepts to evoking humor or challenging societal expectations. By pushing boundaries and encouraging dialogue, architectural oddities celebrate individuality and playfulness, offering a dynamic and unconventional perspective on the built environment.

There are many outstanding and well-known examples of architectural oddities around the world. Here are just a few that have captured global attention:

The Crooked House (photo is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license)

The Crooked House (Sopot, Poland)

Also known as Krzywy Domek, this whimsical building has a warped and crooked facade that gives it a fairytale-like appearance. It is part of a shopping center and is a popular tourist attraction. 

The Basket Building (photo by Derek Jensen Tysto, Public domain, via Wikimedia Commons)

The Basket Building (Newark, OH)

Shaped like a giant picnic basket, the former Longaberger Company headquarters in Ohio is a unique architectural oddity. The building (designed by NBBJ) served as the corporate office for the now defunct company, which specialized in handcrafted maple wood baskets.

Hundertwasserhaus (photo by C.Stadler/Bwag, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons)

Hundertwasserhaus (Vienna, Austria)

Designed by artist Friedensreich Hundertwasser and architect Josef Krawina, this apartment building is a colorful and irregular structure with uneven floors and a rooftop covered in vegetation. It stands out as a testament to non-conformist and eco-friendly design.

Casa Batlló  (photo by Chongming76, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons)

Casa Batlló (Barcelona, Spain)

Designed by Antoni Gaudí, Casa Batlló is a masterpiece of Modernisme architecture. Its surreal and organic design features a facade with undulating lines, colorful mosaic tiles, and fantastical shapes.

The Dancing House (photo by Danny Alexander Lettkemann, Architekt, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons)

The Dancing House (Prague, Czech Republic)

Also known as "Fred and Ginger," this modern building by architects Frank Gehry and Vlado Milunić is characterized by its unconventional and dynamic design, resembling a pair of dancers.

Kansas City Public Library Parking Garage (photo by Dean Hochman from Overland Park, Kansas, U.S., CC BY 2.0 <https://creativecommons.org/licenses/by/2.0>, via Wikimedia Commons)

Kansas City Public Library Parking Garage (Kansas City, MO)

This parking garage is designed to resemble a giant bookshelf, with each of the 22 "books" (measuring 25 feet tall by nine feet wide) representing a classic work of literature.

The Elephant Building (photo by Pier Alessio Rizzardi, CC BY 2.0 <https://creativecommons.org/licenses/by/2.0>, via Wikimedia Commons)

The Elephant Building (Bangkok, Thailand)

This building, officially named Chang Building, takes the form of an elephant, a symbol of strength and stability in Thai culture. Designed by architect Ong-ard Satrabhandhu, it's an example of how architecture can incorporate cultural symbolism.

The Hole House (photo from the Designing Buildings Wiki: File:Holehouse2.jpg- Designing Buildings).

The Hole House (Houston, TX)

Artist Dean Ruck worked with two houses slated for demolition to create an art installation that plays with the idea of negative space within architecture. The “Hole House” only existed for a few months in 2005 but left an indelible impression.

The Stone House (photo by Feliciano Guimarães from Guimarães, Portugal, CC BY 2.0 <https://creativecommons.org/licenses/by/2.0>, via Wikimedia Commons)

Stone House (Guimarães, Portugal)

Also known as Casa do Penedo or "House of the Rock," this unique dwelling is built between four large boulders, seamlessly integrating with the natural landscape. It’s so surreal in appearance that the photograph above looks like something created by DALL-E or Midjourney.

The Cube Houses (photo by GraphyArchy, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons)

The Cube Houses (Rotterdam, Netherlands)

Designed by architect Piet Blom, these cube-shaped houses are tilted at a 45-degree angle and rest on hexagon-shaped poles. Blom aimed to create a metaphorical forest within a city. The original goal was to build 55 houses but only 40 of the cube homes were completed.

These examples showcase the diversity and creativity found in architectural oddities, each with its own story, purpose, and impact on the surrounding environment.

Ultimately, architectural oddities remind us that architecture can be a playground for creativity and imagination. These unique structures are AWESOME in their ability to captivate, intrigue, and surprise us. They inspire a sense of wonder and encourage us to see the world from a different perspective, inviting us to embrace the unexpected. By breaking free from the constraints of tradition, architectural oddities open new possibilities for design and challenge us to think about the role of architecture in our lives. Whether they are whimsical, futuristic, or downright bizarre, these structures bring an extra layer of excitement and vibrancy to their designs.

Next Architecture is Awesome:  #37 Standing the Test of Time

Robertson/Sherwood/Architects' Newest Principals

Lana Sadler, AIA

Becky Thomas, AIA

Big news! Lana Sadler, AIA, and Becky Thomas, AIA are the newest principals and shareholders at Robertson/Sherwood/Architects, joining Carl Sherwood, AIA and Scott Stolarczyk, AIA, CDT, LEED AP BD+C on the firm’s leadership team. Lana and Becky assume their new roles as founding partner Jim Robertson, FAIA, FCSI, CCS and I step back from our senior leadership responsibilities.

 
Jim relinquished his ownership back in January 2023, and I just sold my interest in the firm earlier this month. Along with Scott, Carl remains a primary shareholder. As readers of this blog are aware, I intend to leave the workforce very soon, as early as this June if all goes to plan. Jim, and eventually Carl, will follow me into retirement.
 
As I mentioned upon Lana’s and Becky’s promotion to Associate status a few years back, the process of ownership transition does prompt reconsideration of old paradigms, especially those that are overdue for reexamination. Robertson/Sherwood/Architects will always retain elements of the successful culture and attributes instilled by Jim and Carl (and to a lesser extent, by me). On the other hand, the injection of energy and new vision that Lana and Becky promise to bring is precisely what the firm needs most at this moment.
 
The practice of architecture is dynamic, to say the least. The ongoing evolution of an architectural office is both a necessity and a driver for growth and change. Those firms poised to evolve with agility and foresight stand to flourish, leveraging innovation to stay relevant and competitive. Evolution isn’t just about survival on the competitive landscape—it’s about seizing the occasion to redefine and excel, to embrace new technologies and ways of working, and to shape the future of a firm with informed foresight.
 
I expect great things from Lana and Becky. They’ve waited patiently for this opportunity. Along with Scott, they’re more than ready to take the reins and carry Jim’s and Carl’s legacy forward for decades to come.
 
Here's the announcement we posted to our website:
 
All of us at Robertson/Sherwood/Architects (RSA) are excited to announce the newest evolution for our firm. Lana Sadler and Rebecca Thomas are our newest principals, extending the legacy that James Robertson and Carl Sherwood began in 1986.
 
Lana joined RSA in 2002 after graduating from Kansas State University and traveling across the country from Illinois to explore the Pacific Northwest. She has been a major contributor to several of our firm’s significant projects, including the Lane Community College Downtown College campus and Roosevelt Middle School. Lana was the Project Architect for the Edison Elementary School project and is currently taking on the lead for the second phase of work at Civic Park. Lana has also taken a strong lead in acting as production manager for the firm, coordinating work in the office and making sure we all stay on task. Outside of the office, Lana enjoys spending time with her children and taking advantage of the outdoor activities her adopted state provides.
 
Becky joined RSA in 2005 after graduating from the University of Oregon and working with the UO Facilities Division during school. She has led the charge for our office on projects such as the expansion for FOOD for Lane County, multiple athletic facilities for the Eugene 4J School District, and a new indoor aquatic center for the North County Recreation District. She is currently working as the Project Architect on the Lane Community College Health Professions Building which is nearing completion. In the office, Becky is our IT guru, making sure we all have the tools needed to do our job. She has also been a big advocate of the work experience for everyone in the office, not something explainable but incredibly important. Outside of the office, Becky loves spending time with her family. She also enjoys being outside any chance she gets, running, walking, hiking, skiing . . . anything active. Her extra time is spent volunteering at local schools and supporting her two boys as they pursue their passion for sports throughout the year. If she’s not at the office you can usually find Becky at a field, in a gym, at a school, or walking her dog.
 
Lana and Becky join Carl Sherwood and Scott Stolarczyk in leadership roles for RSA. Carl is a founding Principal of the firm. Scott has been with the firm since 1999 and joined leadership in 2020. It is exciting to bring Lana and Becky into our leadership team, moving us into great new directions.

Ethics in Architecture

Interior rendering of THE LINE, Neom, Saudi Arabia (from the project website).

I recently watched a video produced by architect and YouTuber Dami Lee about THE LINE, a project that raises significant questions regarding the ethical duty and moral obligations of architects. Typical of everything on her YouTube channel, the video is informative and entertaining, with impressively high production values. I encourage you to watch it. 

In a nutshell, The Line will be a colossal 170-kilometer-long linear city in Saudi Arabia's Neom region, aiming to accommodate a population of up to 9 million people. Some estimates project a cost of up to $1 trillion (USD). Designed to be car-free and powered by renewable energy, it's part of Saudi Vision 2030. Initial construction began in 2021, with a completion target of 2030. Despite promises of economic growth, the project faces criticism for displacing indigenous tribes and threatening wildlife. Architects, including Norman Foster and Francine Houben, withdrew due to ethical concerns, while others like Thom Mayne, David Adjaye, Peter Cook, and Rem Koolhaas remain involved despite the project’s adverse environmental and human rights impacts. 

As an architect, I inhabit a profession where ethical dilemmas are not merely theoretical constructs but real-world challenges that can profoundly shape the built environment and society at large. An unimaginably huge project like The Line poses an obvious ethical quandary. At the opposite end of the scale, architects regularly navigate through ethical shades of gray that equally test our moral compass and professional integrity. 

At the forefront of ethical debates lies the notion of complicity. The Line is a simply a prominent case in point, with architects knowingly collaborating on a venture linked to a regime accused of deplorable human rights abuses and political repression. The hypocrisy of architects who choose to prioritize financial gain or professional acclaim over ethical considerations highlights the complex interplay between personal values, professional obligations, and societal impact. 

Jamal Khashoggi, a Saudi dissident and journalist, was assassinated in Istanbul, Turkey by agents of the Saudi government in October 2018 at the behest of Crown Prince Mohammed bin Salman. (photo by April Brady / POMED, CC BY 2.0 <https://creativecommons.org/licenses/by/2.0>, via Wikimedia Commons) 

Architects face moral predicaments rooted in issues of social justice, environmental sustainability, and cultural preservation. For instance, when designing affordable housing projects, we routinely address competing priorities of cost-efficiency, community engagement, and design excellence while ensuring equitable access to safe and dignified living spaces. Similarly, in urban renewal initiatives designers balance the need to revitalize blighted neighborhoods with the risk of gentrification and displacement, striving to promote inclusive developments that benefit existing communities. 

Environmental ethics loom large in my profession. The imperative to mitigate climate change and minimize the ecological footprint is central to every project we undertake. Sustainable design principles, such as energy efficiency, net-zero and Passivhaus design strategies, and use of environmentally friendly materials, are second nature to our work. They reflect our broader commitment to environmental stewardship and responsible resource management. Yet, we must often confront trade-offs between sustainability goals and project constraints by resolving the tension between idealism and pragmatism in pursuit of environmentally conscious design solutions. 

Cultural ethics present another layer of complexity, as architects grapple with the necessity of preserving heritage sites, indigenous architecture, and cultural identity in an increasingly globalized world. The tension between modernization and tradition underscores approaching cultural heritage with sensitivity and respect, engaging in meaningful dialogue with local communities and stakeholders to ensure that design interventions uphold cultural values and foster a sense of belonging. 

My firm routinely faces the dilemma of balancing the client’s budget with a desire to deliver the highest quality or most sustainable solution possible. A client’s design preferences might clash with our own design principles or aesthetic sensibilities. Managing the tension between community input and the requirements of our public sector projects or balancing social equity with market demands are other examples. 

Cultivating a nuanced understanding of the architect’s professional responsibilities and ethical obligations is crucial. Carl M. Sapers (1932 – 2018), Hon. AIA, was an adjunct professor on legal practice at the Harvard University Graduate School of Design from 1984 to 2009, and one of the country’s preeminent lawyers in architecture and construction law. His framework of ethical obligations for the architect included four points: 

1. The architect is responsible for making sufficient income to support the architect and his or her family. 
2. The architect is responsible for the sometimes-conflicting requirements of serving the client. 
3. The architect is responsible for the sometimes preceding and competing interest of serving the public. 
4. The architect has the responsibility to have devotion to the art of architecture.

Similarly, the American Institute of Architects (AIA) Code of Ethics underscores the architect’s duty to promote the public interest, serve clients competently, uphold professional integrity, respect colleagues' rights, and safeguard the environment. The Code is structured into three tiers: Canons, Ethical Standards, and Rules of Conduct. There are six canons, prioritizing obligations to the public, clients, profession, colleagues, and the environment. Ethical standards outline goals and member expectations, while rules of conduct enforce the code. Canons emphasize advancing architectural knowledge, promoting public interest, serving clients professionally, upholding professional integrity, respecting colleagues, and prioritizing sustainable design. These guidelines ensure that we prioritize societal well-being, professionalism, and environmental responsibility in our practice. 

Western terminus of THE LINE at the Red Sea (from the project website).

Ultimately, ethical decision-making in architecture is fraught with ambiguity and uncertainty. Sooner or later, all architects confront moral jams that lack clear-cut solutions. For me, The Line presents no such ambiguity—I find it to be abhorrent on multiple levels. The preposterously dystopian project does serve as a stark reminder of the ethical challenges inherent in routine architectural practice.
 
Architects must remain vigilant in scrutinizing their actions and strive to uphold ethical standards that transcend individual projects and shape the profession's collective ethos. By engaging in ongoing dialogue, reflection, and ethical inquiry, we can tackle the moral complexities of our profession with integrity, humility, and a commitment to the common good.