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.