33, The Defining of Space as a Design Objective The Architecture of Aldo van Eyck in CRIT 15, Architectural Journal, Washington DC, s. 54-64The Defining of Space As a Design Objective The Architecture of Aldo van Eyck By Casey Mathewson “11 és worth noting that the new bistoricists and ectectics whose habit itis to misquote {the past instead of coming up with a large tarlety of cocktails, produce—all of them to ‘gether-Uttle more than a single, standard twatery monomix: What is needed ts better Juunctioning—on far more levels this time” (Alo van Eyck) Equipoise (N. Equi+ Poise) 1. State of Equilibrium 2, Counter-balance 3. Balan [No matter which school of thought one is Closest to in design, we all approach a design project with an acquired body of knowledge 4nd our own individual prineiples about de ‘Sign. And even if ideological differences in ‘contemporary architecture make it appear that architecture is i a state of disarray, we are all seeking to attain the same quality In our ‘Work: Multiple Meaning in Equipoise (MMIE}. "This particular definition ofthe quality which enriches architecture and sls i with ‘meaning isthe Dutch architect Aldo Van Eyck’s way of explaining this phenomena, ‘others have called it something else all have hhoped to define the same quality. Perhaps Kahn would have called tthe "will t0 be, to express” Chaistopher Alexander discusses his “quality without a name” in 2 poetic and en: lightening way, Anthony Vidler describes the ‘essential qualities which remain the same through time in his typological approach, and Rob Krier seeks to define the elements of ar chitecture which, together, constitute MMIE for him, So we sce that many ofthe best archi tects of our time have striven to attain mult ple meaning in their work. Although their in ‘ividual design philosophies seem a ist quite incompatible, they are all seeking to create a meaningful architecture which goes beyond the utilitarian concerns which make architec ture diffrent from other art forms. That is Casey Mathewson is an architecture student in the Department of Architecture at the University of Oregon, 54 The Design Process in Practice ‘why Multiple Meaning in Equipoise is so im: portant as a design objective: tis the quality ‘which makes architecture rich and meaning lover time, the quality which we all hope to lachieve in our architecture ‘While the creation of multiple meaning in architecture may be seen asa design objec tive, ts actually the successful combi ‘of all design principles at the same time. What isa successful combination? Its when a set of design principles which assure intrinsic mean ig have reached what the word equipoise implies a state of equilibrium, balance or counterbalance. It is when all issues are ad dressed well. When certain principles begin to ‘determine a design project. they may be pur ‘sued to such an extent that other important principles are neglected. The design may lose As balance, important issues are not ad dressed, Holistie meaningful architecture ‘must be highly developed and comprehensive at the same time, Much present clay architec ture is highly developed in that i adresses some (usually arbitrary) design issues—but this does not make it whole and comprehen sive In fact, much present-day architec deals with diverse principles but ends up gen: ‘eral, vague and uncomfortable Much Neo-Ra tionalist architecture of recent years isa sad ‘example of how an incomplete set of design principles make for cold, literally humane Architecture. One senses here that the n {Important factor in design—human experi fence-—has been rationalized right out of a. chitecture We as designers need to identify a wide range of rich design principles and address all ‘of them to achieve holistic “humanistic” archi tecture, Ths isthe lesson inherent in the idea ff Multiple Meaning in Equipoise, Under: Standing of this all-encompassing design prin ciple is key to creating powerful, meaningful architecture, MMIE could be summed up in ‘one word: SYNTHESIS; MIE i intrinsic tn ar‘hitecture which isa result ofthe synthesis of 1 complete set of rich design principles “Multiple Meaning” implies that architec ‘ure will Be experienced diferenty by fer. {ent people a diferent times but some kind of mmicaning remains for all—holistic architecture will be new each time itis experienced, be Cause meaning is intense a all levels This is what Van Eyck calls “functioning on many levels” “In Equipoise” implies that in determining the nature, or essence, ofa given design project, some principles may be more impor: {ant than others. A eyelic design process sures that other important design principles will be developed in later design cycles, Syn thesis and MMIE both imply a clear whole Which is comprised ofa unified set of diverse ‘design principles. The architecture and theory ofthe Dutch architect Aldo van Eyck are particularly rich ‘examples of how Multiple Meaning in Equi: poise can actually be attained in architecture. In analyzing his work of the past 30 years, one {encounters a sound design theory which i= ‘comprised ofa complete set of design princi ples which assist meaningful architecture ‘These principles are especially evident in his most recent work, the Hubertus House in Am sterdam. Van Eyck has defined some 28 con ‘ect principles, some more fundamentally important than others, which together const: tute his interesting design theory. Van Fyck has long recognized that architecture fs acre tive art: many of his principles are intrinsic in other art forms as well We will see how Van Eyck operates with the essential clements \hich constitute architecture's autonomous fanguage—a language which must be inde. pendent from other disciplines such as socio: ‘gy or engineering but his work transcends the essential utilitarian basis which makes ar ‘chiteeture diferent from other art forms. This tendency was erystalized in Van yck’s theory as early a6 1948, when he was 36 ‘busy giving the ensconced first generation CCIAM gentlemen something to think about “Altbough architecture—planning in _general—answers many tangible unc Hons ultimately its objective difers in ‘no way from that of any otter creative activity, Le 10 express through man ‘and for man the natural flow of exts ‘The most essential key to understanding ‘Van Eyck isto know that his prime concern is the creation of meaningful places for people to be. This does not mean cute, cozy or warm ‘cubbyholes in any way—it simply impics that ‘human appreciation of architecture must be the prime objective ofthe design process. Van Eyck sums it up eloquently ‘Never cease to identify that which you ‘construct withthe people you are con structing It for—Jor those Ht will a commodate Identify a butlding with ‘that same building entered and define space—every space built—stmply as the ‘appreciation of > “The Desig Process in Practice 55,Van Byles “Great Gang” 36 Shedd. (ie ths building, te be a brnate. te CU (Cotta Ginn Welter) lees— 1079 ond Me Gyeeat Gang, the Un deritecd. fo Wall! Breneuti, Faye, ep, Eenit, Sehuibeer ies, Hive Plondeseu, Richal, Lic! Picneie, Bresien, Chive Jerr, Apainaive ee mod for the Soph Uap he gtd) Van Eyck, behind all his at frst glance seemingly abstract and inconcise writings, simply aware and convinced that architecture {snot only building but poetry as well His, goal is to make us cognizant ofthis important Insight, Michael Graves, in his introduction to 2 collection of his recent work, writes ofthe Same notion, describing architecture as being Comprised of utilitarian and poetic concerns Aldo van Eyck has been talking about the same thing for years. To understand Van Fyck’s work one must know something of the man and the people who have influenced him, Van Eyck (b. 1918) stuaied atthe Swiss Federal Institute of Tech 56. The Design Proces in Practice nology in Zurich, (1954-42). This was not ‘only the time of the Nazis, but also of Preasso, Hesse, Arp, Miro, Gideon, Brancusi and Gro- pilus. Van Eyck was caught up in the powerful discourse taking place inthe artistic commu: nity. He refers often to the “Great Gang + group of 20th Century artists, writers and ae hitects who inluenced him greatly and helped him attain poetry and meaning in his architecture Artists of the modern movement were in strumental in forming Van Eyck’s design proc fs. Iris i the essence of thelr work that the roots of his theory le. Van Eyck realized that what he came to call Multiple Meaning in Equipoise is not only important for good ar chitecture; creative aets rely ia MMIE for se To illustrate how MMUE i intrinsi architecture a5 well asin good poetry oF painting we can Took to specific examples of Poetry and painting. When we have seen how [MMIE and the principles which together com Prise it are present in these rich examples we ‘cam then understand and apprectate i in the architecture of Aldo van #yek and other archi tects of our time. We could then, aways see ing MMIE asa primary design objective, begin to enrich our own architecture Poetry, Georg Trakt’s°A Winter ood A Winter Evening Window with falting snow is arrayed, Long tolls the vesper bell. The bouse is provided wel, The table is for many tad Wandering ones, more than a feu Come to the door on darkesome courses Golden Blooms the tree of races Drawing up the earth's cool de Wanderer quietly steps within, Pain bas turned the threshold to stone There tie, in limped brightness showin ‘Upon the table bread and wine37 -.-human appreciation of architecture must be the prime objective of the design process. ‘Trak!’ interesting “A Winter Evening” relies strongly on many ofthe same principles ‘Van Eyck utilizes to achieve multiple meaning Most obvious s the paradox of “twin phe ‘nomena” as Van Eyck cals tof Inside-Outside created between the feast inside and the snowy, eerie outside, Reading through the poem several times one almost begins to feel the freezing world beyond the door. Trakl un ‘derstood the principle of twin phenomena” ‘quite well—he even provides a transition be "ween the opposites, an “in-between” be tween the cold outside and the ch side: the threshold whieh has been stone. Many other paradoxical “twin phenom: {ena enrich Trak’ vision. DarkLight the dark paths beyond the door vis-a-vis the bright Feast on the able. WarnvCold; Trakl describes the cool dew flowing in the earth and the snow atthe window, but inside a feast about to begin in the warm well provided house “Trak albo images transition or built homecoming" one of Van Eyck’s most impor: ‘ant principles. He implies system of spaces which one passes through as one comes nearer fo the house: one approaches on the dark paths, moves through the door and ca tiously approaches the threshold. On the other side of the threshold lies sceuriy-—the warm, bright Feast on the ‘And, most importantly, Trakl’s poem goes even farther eattemprs th most essential twin phenomena” of allie Death He equates the wanderer with some {me who as not yet ound sown rath Scotia every person ye living beets onc ever ds teh (a Hesse showed os gun fn agai), The wanderer transcend the door, comes facet face with he tee of race and crowes threshold whieh has been Dainty tured to stone (xayol for death {The feat inside symbolizes some Kind ofa tele, nt necessary Chetan The spirit captured in Tak’ work s eter: nak the event deseribed could take place in ‘medieval times as well as in one of our mod: fern cities. Trakl epitomizes the things which the same—the essences of being. By ‘new grammatie eve greater descr car expression of is ime, In striving to lend ‘meaning our existence, Teak! “went beyond!” that which had been known up to his time and created a new statement Gradually one becomes aware ofthe many ‘many levels on which this poem is function, Jing. Atthe first reading one begins to sense the ‘win phenomena” Inside/Outside. Using this 484 point of departure, one begins to see the ‘deeper meanings. Especially important to note Is the descriptive clarity which Trakl achieves in these twelve lines, using only sixty words altogether Trakl limits himself to very precise ‘description and siys everything with such vie ‘oso clarity that everything acquires deep ‘meaning without becoming superiaous. Trak! attains Multiple Meaning in Equi poise, his work remains rich and meaning and an expression of is own time. Study of Design “sate” “The Design Process in Practice 57‘Avignon’ 1907 (The iris from Avignon) se 38 ‘Van Eyck’s works shows that the same kind of _qualty—uilizing some ofthe very same pein: ‘iples (paradox, transition, zeitgeist) can alo be achieved in architecture: MMI is neces sy forthe real success of many creative acts not just poetry or architecture. Music Sculpture and painting all utilize many of th Same prineiples to attain multiple meaning The painting ofthe early 20th Century ofers 2 wealth of ideas which illustrate the notion of [MMIE, MME in modern painting, Pcassso's The Girls from Avignon he Design Process in Practice “The dilemma of the modern move ‘ment in architecture is that tt missed ‘the boat by sidestepping the philosopb. ‘cal implications of what came to light ‘around the turn ofthe century and Since, through the astounding intelli gence, artistry and perseverence of a ‘small number of artists and scientists ‘in every media and field. What the discovered, unfortunately bardly pene ‘rated the minds of architects" (A. san Eyck, 1981) ‘Van Eyck keeps directing us toward other facets of 20th Century thought which have changed our bass for understanding the world we live i; he refers to R: Delaunay and (Claude Levi Strauss as well a5 to G. Rictueld and Le Corbusier. As architect is direct ex pression of cultural values, it must respond to ‘the implications of what came to light around the turn ofthe century and since.” Van Eyck i cceruainly no, on the other hand, forthe abrupt break away from tradition perpetrated by the architects of the "modern movement. AXholistic architecture operates with the es sential elements of architecture which have been passed on t0 us through time. Ke must at the same time, however, bean original ex pression of our own unique time—seen in the light of both the collective memory and the dynamic future The artists of the early 20th Century were especially atunded to this way of thinking They created meaningful work which re sponded to the enormous changes happening inthe world. The opening of the Eifel Tower iin 1889 marked the beginning of a new era, Robert Hughes has analyzed the effect ofthe tower on perception, on the way we sec ‘Nobody except «few intrepid balloon {sts had ever risen more than i thou ‘sand feet above the earth... But when the tower was opened, nearly a million30 ‘The Cubists realized that perspective is a generalization about experience. eople rode to its top platform, and ‘there they saw what modern travelers ‘ake for granted every time they fy ‘he earth on which we tive seen fal as Pattern, from above. As Paris turned its ‘once invisible roofs and the now clear labyrinth of is alleys and streets to ‘wards the tourists eye, becoming a ‘map of itself. a new type of landscape began to seep into public awareness It ‘wuts based on frontality and pattern ‘rather than on perceptive recession and “depth. This way of seeing was ome of ‘the pivots of buman consclousness. The characteristic flat, patterned space (of modern art-~ Gauguin, Denis, Surat —wus already under development be: fore the tower was built” And this development went on at an ever Inceasing pace: most technological develop iments which would greatly shape our century were discovered in rapid succession soon thereafter: the recoiling machine gun (1882), the Ford ear the discovery of x-rays and rocket drive, che Wright brothers’ hist pow: cred flight (1905) and Einstein's Theory of Relativity (1905). The rapid succession of ‘changes generated a new way of thinking about the way we see ‘The first artists to assimilate all of eis into work rich in multiple meaning were the C bists. Cubism was a radical departure from the theory of perception that had prevailed since the Renaissance, The Cubist realized that perspective isa generalization about exper fence. The fact s that one never experiences An object ina single glimpse. We are always moving, any sight i the sum of dllerent slimpses. ‘Both the viewer and the view arc [art oF the sume field. Reality, in short yin teraction The frst Cubist painting, Picasso's “The ls from Avignon” (1906), goo! ‘cxample of MME in modern painting. In it, Picasso utilizes many of the same devices which Trak! and Van Eyck, and many others, have used to give their work meaning. We have seen how paradox and "twin phe: nomena” enrich poetry, recognition of may ‘of these same “twins” is one quality which 'makes this painting exceptional 100. Picasso created a complex mosaic of Solid’ Void spaces by making it dificult co distinguish be: "ween opaque and transparent. Three ofthe “irls" appear diseased, the other two some: ‘what heal song sense of inside/Outside, This “twin” is cenhanced even more by the fact that the viewers ofthe painting, us, are outside the in Side of the painting's scope And, just as we have seen in Trak!’ poem, this work gains more meaning each time one ‘encounters it, One gradually understands Pr ‘casso's vivid depiction of an abstracted brothel. Robert Hughes has recognized that the painting is meant to be an allegory of ve rnereal disease. Nothing about the gazes ofthe “rls could be seen as welcoming —they are more like judges than prostitutes. The paint ing deals with a major problem of the time (penicillin was not discovered until later) We see that boxh Picasso and Trak dealt with the real essence of being with the “twin” Life Death, Passo t00 “went beyond!” that which had been known up to his time and created a ‘We see that Pleaso attains MAMIE in his ‘work by utilizing many ofthe sume principles ‘which had comprised art for centuries. But {the combination of these known elements in new setting makes fora new, unique mean: ing within the context ofthe old. And this is ‘exactly the same synthesis which our own at chitecture must attain, iit sto be whole and of owe time. Tis i the lesson to be learned from Van FEyck’s "Great Gang” their work went far Me Design Process in Practice 5940 “ ‘Architecture need do no more, nor should it ever do less, than assist man’s homecoming.” beyond that which was required of tit strove to lend some meaning to the complex ‘world in which it was created. The result: statements which remain rich and meaningful throw ‘Multiple Meaning in Equi poise MMLE as Desiga Objective in the Architecture of Aldo van Eyck Its important to note here the base dit ference between the art forms of poet, painting and architecture, While poetry and. painting may be full of meaning and powerful for some, they can also be absolutely mean {ngless for others and sill retain thee value 35, featve statements, But the very utilitarian rnature of architecture makes it drastically dit ferent in this respect architecture is inhabited ‘by human beings. I cannot be esoteric oF ex Clusive in the same way that art can, And Van Eyck, while drawing heavily from the lessons inherent in other creative aes, is more aware fof this fact than a great many of our conte porary architects: "For there is no such thing as a solid {teapot that also pours tea Sucb an ob: oct might be a penetrating statement (Cand perbaps still a work of art), but tt tsn't a teapot because 11 can't pour tea The idea that architecture buld- ‘ings—sbould no longer belp mitigate inner stress, but should instead. pro- ‘oe ti @ hardly conceivable objec tee” distress and insecurity of thele world into their work and gave meaningful expresssion to thei time, but this is notin any way the ‘role ofan autonomous architecture. Arc ‘ure which results as expression oft quieting distress of our time fs unsuccessful every time: A tip (0 visit contemporary archi fof this appeoach vividly: The prime object ‘The Design Process in Practice of architecture isto provide meaning full places for people to be, aot places for them to be tense and Insecure about their complex world. Actually, rather than embodying inse ity, a8 Me Eisenman would have us Believe, architecture really has much more to do with Droviding security for man—shelter—physical And psychological. Aldo van Eyck recongized this Years ago, before anyone had even ‘dreamed of the term post modern “Architec ture need do no more, nor should it ever do less, than assist man's homecoming: ‘One of the most important hypotheses of Van Eyek’s theory is what he calls "the ph osphy of the doorstep” of "built homecom. ing.” as we found it in Trakl's poetry. Van Eyck ‘emphasizes transitional zones in providing se ‘curity and facilitating homecoming”. He pro vides a conerete alternative to the theory of the CIAM, which usually deale with interior space at the expense of exterior spice: “To establish the IN-BETWEEN ts to ree oncite conglicting polarities, Provide lhe place where they interchange and 10u provide tbe original twin pbenon tna... Perbaps the greater reality of a ‘door isthe localized setting for a won erful buman gesture, conscious entry “and departure... A DOOR IS A PLACE MADE FOR AN OCCASION. think that 4s symbotical And what Is the greater reality of a window? Il leave that to you.” ‘Van Eyck’ notions of “twin phenomena ‘of paradox, as wells built homecoming” and. between space” are all inherent in this 1959 quote, One begins to realize that Van Eyck was years ahead of many developments ‘which we normally assoctate with the post modem movement. Van Fyck even recognized the power ofthe city of history: “For years ar cchiteets have been providing OUTSIDE for man, even inside. But that not theie job atall their job isto provide INSIDE for man, ceven outside.” ‘The prolific Van Eyck has built a small, ‘number of power buildings, His best, projects—the Amsterdam Orphanage (1957 61), the Catholic church in the Hague (1968. 70) and the Hubertus House for Single “Mothers and ‘Their Children ia Amsterdam, ((1975.80)—all ook quite some time to com: plete. Van Eyck’s care for detail and human ‘experience makes his design process long and thorough. So itis thatthe creative energies of Van Eyck have been confined to but afew highly developed buildings. “The Amsterdam orphanage, the Cathol ‘church in the Hague and several other projects are the focus of other articles by the author. Van Eyek’s most recent and probably his best work, The Mother's House in Amster «dam, is fll of built examples of his design principles. This seemingly complicated building is easily understood —i we try to an alyze itusing the sume principles which we Found in the works of Tak! and Picts (par dox, transition, zeitgeist...) Instead of totally ‘discounting the architecture and art ofthe [past 60 years as incorrect and inhumane, Van Eyck strives fora truly contemporary solution —an expression of our time and of the state of our society This house for families without fathers is 4 place where mothers and children find ten porary shelter—a social center for fatherless families. It provides a place where families can {in a tochold and start over agai, The project deals with helping people, with pro viding them with spaces in which they can hheal and readjust—Just the project for Van Eyck Starting with the orphanage, Aldo's best, projects have heen those where social cle ‘ment is involved—literally architecture which ‘must deal with special human neds and problems "The Mother's House i located on a busy steeet near the center of Amsterdam. While the orphanage stands isolated om the outskiets a of town, this is a sensitive urban site with ‘older buildings on both sides, But instead of laying to direcly respond to the styles of the neighboring buildings i banal way, Van Fyck developed a new aesthetic which should ‘express the special function of the house in ‘our society and atthe same time make it Clearly a building of our time Paradox or “twin phenomena” is intrinsic ina multitude of ways here—all working to ‘gether at the same time to create what Van Eyck calls "abyringhian clarity” To take just few examples of many, one thinks of (1) the dichotomy of New'Old formed between the Huburtus House and its context; (2) the “original win", Inside/Outside “reeipro cated” through the “in-between” of the en trance (3) Solid/Void atthe facade (he stephack marking the entrance is carved out of the continuous street facade (G4) the building is held together by the star, ‘The Desig Procesin Practice 6Mother's bouse—front flewation 42 Can architecture express that which is different in our society and perhaps even hope in the positive future development of “man”. . .? which makes it possible to sense the Whole Parts relationship cleaely (5) High Low and Darl Light ae all working together in the children's rooms: (6) Public Private realms have been created with inter medlate layers (the sta, for one )"in be tween" (7) Transparent Opaque— the walls have heen made into layers of planes, ‘which, while sometimes quite transparcn {reate a greater Feeling of security than sin fle pane of glass can provide (8) Heavy/Light—Van Fyck sets his building on 3 heavy base, then lightens up this very base ies and mirrors; (9) 62. The Design Process in Practice Place/Space—by including all the above “wins,” Van Eyck, in his desire to inchude hhuman experience in architecture, makes places out of mere spaces. He explains it wel: ‘Space, in the image of man, is place; and time, in the image of man, fs occasion. Space has no room, time not a moment for man, He is excluded. the entry system “tied in all” ya sin ‘one moves up, then through layers of Space (doors, bays alcoves) before discover: {ng the inviting sta and then eventually look {ng back out to the street and the city. The subile layering utilized here isthe essence of ‘builthhomecoming’—it can be thought of as the “humanization”of transition, But built homecoming doesnt stop atthe entry —it happens again as one leaves the central public iividual private iiding is thought ofa a ety the individual “blocks” of rooms being the houses . One "comes home,” or transcends security —giving layers, until one reaches the most private zones—the bed: hack 1 Trak’s poem, one is struck by the similarities in the principles, or images, utilized by both artists, Both isolate the act of ‘crossing the threshold, the in-between, and make it an important focus ia the compos tion. The central stale takes one nearer tothe sky and the heavens, The almost sacred act of Climbing the stars toward some goal is not tunlike notion of wandering toward the threshold and arrives “home’—safe, secure and warm, Just as Trakl and Picasso "went beyond” what had been known before them in thee striving to lend meaning to the complex world, Van Fyck shows how architecture can do the same thing—contain “multiple mean lings in equipoise” and therefore be rich and caning Over time Analyzed as 4 cultural statement, thebuilding goes beyond its utilitarian function And contains powerful poctic qualities. Van Eyck’s notion of COUNTER FORM is one gen ‘erator ofthe “poetry” of the building. The ‘complex has Been conceived as the Counter form, or as the mollusk for the shell of the circumstances which generated it Francis Stauren writes: The building itself as a whole engages ‘with its context much as the compo ‘nent parts engage one another. Far from conforming to its neighbors, or ‘accommodating isel/ 0 a supposed ty ological order, 11s grafted onto tts ‘context in am equal but contrasting re lationship.” ‘Close examination reveals thatthe design responds strongly to the neighboring context {it strikes an imteresting balance between old and new ‘The new addition is broken into ewo sec- tons. One recedes from the street and sets as 8 connector between new and old as well as the vertical circulation space. The other se tion fronts the street and fas the same width and similar window sizes and propor the older building tothe right, which Is also part of the design In this way Van Eyck inte [ates the context without copying it. ARer all, what use i it copying an old eclectic townhouse which was built under entirely diffrent social conditions? Can (oF should) architecture express that which f diferent in ‘our society and peehaps even hope inthe pos itive future development of “man” or should it bbe more a literal copy of ather epochs as ‘hen, indirectly, of other social systems with entirely dflerent social characteristics than ‘ours? This is the question which Van Eyck ad “esses here, and only time will ell which an: swer, if any, is correc. Van Eyck, in much the same way in which Picasso and Trak! did s cereainy "going. beyond.” His whole striving here was create an architecture which helps make existence 43 ‘meaning full The advent of a new “type,” « “Mother's House” called for this particular so fution, which may well be the origin ofa new building type in architectural history The bullding is certainly functioning on ‘many. many levels. Analyzing it one discovers ‘new, previously unscen qualities which, all ‘combined, create just the “multiple meaning in equipoise” we set out to define. By utilizing complete set of design principles, many of ‘which are common to all creative aets, an Fyck creates 800d building ome that has what tt should bave and bast got wbat it ‘needn't have. This results when the ‘multiple meaning (intrinste umbigu ity) of every twin phenomenon begins to replace the single one-sided false ‘meanings of the separated bales Meaning continually embraces further ‘meaning Since the meaning of one ‘component carvtes that of tts comple ‘ment within it (forms tts reciprocal ex tension), leading to the meaning of the ‘ther, this dialectic relies om a fast both-and instead of a faltering either (or, It depends on a more inclusive kind of thinking." (A. tan Fyeck) Francis Strauven notes that Van Eyck as always worked in the conviction that an ar Chitecture which is built up on various levels ‘out of metaphors of reciprocity ean be cone ‘ive tothe development of forms of reciproc ity in human relations. Van Eyck, by including Jhumans asthe principle par of the design process, certainly "goes beyond” the utltar. fan considerations normally equated with ar chitecture. The result? Muluiple meaning in fequipoise Returning to our point of departure to lit erature that i, we ind thatthe notion of mul tiple meaning in equipoise being comprised of ‘win phenomena’ oF “paradox” of “recipro- ‘The Desiga Procenin Practice 63Van Eyck’s theory isa result of his striving to give lasting meaning to existence and life. ators" has been dealt with extensively inthe literature ofthe 20th Century. Hermann, fesse in the Steppenwolf (1927), describes ‘auch the same quality: ‘This division into wolf and person, {into an emotional and a rational side ‘or into lust and reason, with which Harry bopeed to make bis destiny easter to understand was a very blatant stm piification Harry ts comprised not only spirits of two but of a hundred, ofa thousand His tfe swings (as does every one’s) ‘not only between two poles. such as lust and reason. No, life swings be: ‘aveen thousands, or beter yet, between uncountable potar pairs (win phe nomena.” twas Aldo van Eyck who frst applied the inciple of multiple reciprocity, so clearly i Tustrated in Hesse's work, to architecture, Van Eyck, secing life itself as composed of un countable polar pairs, conceived of an archi tecture which would be able to respond 1 a5, ‘many reciprocal qualities as possible, heace the extensive use of color atthe Hubertas House: “The spectral colours, in spectral all ance. form a single phenomenon, a multiple ‘unity but not a twin phenomenon .. The fainbow is my favorite color” We see once again that Van Eyek's theory, right down to its Origins, ia result of his striving to give lasting ‘meaning to existence and ile The beauty of ‘Van Eyck is that he takes the elements of a. chitecture which have been handed down 10 ts in the form of "Kultur or tradition and uses them solely to ameliorate the condition of 20th Century *man”. This implies using the knowledge of history i an enlightened Way not blatently copying it “1 have beard that an architect cannot bea prisoner of tradition in a time of ‘ange. It seems to me that be cannot bbe a prisoner of any kind. And at no time can be a prisoner of change Detailed analysis of Van Eyck's work ee vals that he advocates a holistic, humanistic architecture which responds to much more than does most esoteric "Neo Rationalism” oF "Neo-Classcism "Ie is certain that, no matter hhow Van Eyck may be labeled and remem ‘ered, his work is among the best of ou time: [Asa design process his “typology” of eternal humanistic concerns—lerived from liters ‘ure, painting, music and other creative ar, ‘much more altencompassing and meaningial than any “typology” of historical building type ‘composivons. While humanistic concerts lating to existence always remain, the mean ing of particular building type directly ‘connected fo its time. Understanding of both kinds of “typology” i essential if we want to make holiste, "humanistic" architecture ‘which is of our time, ‘an Eyck offers solid advice forthe archi tecture of tomorrow —so “start with this" and make the most of him!™ XV Bibliography